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CHUNG Wai-hin 鍾偉軒 Chung Wai Hin is a Leader of S.T. Music & Art Folk Song Performance Group and a member of C.A.S.H. He learn compose under Mr. Chen Ning Chi. Chung’s had won the awards from different composition competitions. 鍾偉軒現為華偉音樂藝術民歌表演團團長、香港作曲家及作詞家協會會員，正師隨陳能濟老師學習作曲及理論。鍾氏作品曾獲作曲比賽一等獎、入選香港網上中樂節及本地歌曲創作比賽。 MAJOR WORKS 主要作品 聲樂 夜思 曲: 鍾偉軒 / 詞: 李白 2021 春曉 曲: 鍾偉軒 / 詞: 孟浩然 2021 泸杭車中 曲: 鍾偉軒 / 詞: 徐志摩 2021 相見歡．無言獨上西樓 曲: 鍾偉軒 / 詞: 李煜 2022 鋼琴 鳳陽花鼓 (安徽民歌) 曲: 鍾偉軒 2021 茉莉花 (江蘇民歌) 曲: 鍾偉軒 2021 器樂 Flute & violin Duets 曲: 鍾偉軒 2022 小提琴與鋼琴 曲: 鍾偉軒 2021 Back

HONG KONG CONTEMPORARY MUSIC FESTIVAL 2018 - HONG KONG DELIGHTS Concert Highlights 音樂會精華 The Hong Kong Children's Choir and Veloz Harmonica Quartet 19.10.2018 City Chamber Orchestra of Hong Kong with Erhu & Pipa Soloists 20.10.2018 HK Delights THIS IS A GREAT SHOW FOR INNOVATIVE MUSICAL CREATIONS The Hong Kong Contemporary Music Festival (HKCMF) will be a biannual event. This year HKCMF: Hong Kong Delights presents a rich and diverse program including the incorporation of music and dance from City Contemporary Dance Company. Ticketing > 場刊 Programme Note 26.9.2018 場刊 Programme Note 3.10.2018 場刊 Programme Note 10.10.2018 場刊 Programme Note 17.10.2018 The Hong Kong Children's Choir and Veloz Harmonica Quartet 19.10.2018 (Fri) at 8p.m. Theatre, Hong Kong City Hall Performers and Choir Conductors Programme Victor Chan Chan Ka- hei Chan Wing-wah Fong Lok-chi Lee Wan-ki Wendy Chen Ning-chi Galison Lau Mui Kwong- chiu Joshua Chan Leung Chung-yin Paul Desmond Cradle Song (2018) Xi Sai Shan (2018) The Lord’s Prayer (2018) Prayer of St. Francis (2018) Ashes of Life (2014) Stars from afar (1997) In and Out (2018) Medley of Rocky Eyes & Happy Carnival (2014) Summer Snowfield (2018) Nathan Road Tango (2018) Take Five (1959/2017) Composers 陳家曦 Chan Ka-hei 陳偉光 Victor Chan 陳永華 Chan Wing-wah 陳能濟 Chen Ning-chi 方樂知 Fong Lok-chi 李允琪 Lee Wan-ki Wendy 陳錦標 Joshua Chan 劉詠浲 Galison Lau 梁頌然 Leung Chung-yin 梅廣釗 Mui Kwong-chiu City Chamber Orchestra of Hong Kong with Erhu & Pipa Soloists 20.10.2018 (Sat) at 8p.m. Theatre, Hong Kong City Hall Programme Anthony Cheng Clarence Mak Chan Chin-ting Hui Cheung-wai Chris Hung Ng Chun-hoi Lee Kar- tai Phoebus Richard Tsang Symphonic Poem No. 2: Spirit (2018) Echoes with Dance (2011/2018) Dust Devil (2018) Autumn Script (2018) Unto the Twilight Zone II (2016/2018) Home Again (1993/2018) Withered Lotuses and Drooping Willows Speak of Our Times (2018) Of Random and Design (2012/2018) Performers and Conductors Composers 陳展霆 Chan Chin-ting 鄭汝森 Anthony Cheng 許翔威 Hui Cheung-wai 洪銘健 Chris Hung 李家泰 Lee Kar-tai Phoebus 麥偉鑄 Clarence Mak 吳俊凱 Ng Chun-hoi 曾葉發 Richard Tsang

PAST EVENTS

LAM Shun 林迅 LAM Shun, a member of Hong Kong Composers’ Guild and Vice-President of the Chinese Woman Composers’ Association is a member of the International Alliance for Women in Music , graduated from the Hong Kong Academy for Performing Arts and the Chinese University of Hong Kong. She studied composition, western orchestration and piano with Mr. Law Wing-fai, Dr. Chan Wing-wah and Miss Eleanor Wong respectively. Her works including both Chinese and western Chamber instrumentations’ work, Orchestral, dance music, Opera, hymns, songs and musical for children, piano works including Solo, duo & Piano concerto and also works for Konghou etc. Her compositions had been performed by the Hong Kong Philharmonic Orchestra, the Hong Kong Sinfonietta, the Hong Kong Chinese Orchestra, the Japan’s Ensemble Kochi, the Scottish Chamber Orchestra, the Chinese Virtuosi(HK), Shenzhen Symphony Orchestra, China National Symphony Orchestra, Guangdong National Orchestra, Evergreen Symphony Orchestra of Taiwan, Dun Huang Chinese Ensemble(Shanghai), Shanghai Philharmonic Orchestra and City Chamber Orchestra of Hong Kong. Her compositions had been presented in Hong Kong, Beijing, Shanghai, Taiwan, Italy and Paris respectively. LAM is now working as a composer, piano teacher and accompanist respectively. 林迅 ，香港作曲家聯會會員、華人女作曲家協會副主席及 國際女音樂家聯會會員，先後畢業於香港演藝學院及香港中文大學。師承羅永暉老師習作曲、陳永華教授習西方管弦樂配器、以及隨黃懿倫教授習鋼琴。 林氏的作品包括獨奏、室樂、管弦樂、舞蹈音樂、聖詩、兒歌、歌劇及兒童音樂劇等等。其作品曾由香港管弦樂團、香港小交響樂團、香港中樂團、曰本東風合奏團、蘇格蘭室樂團、龢鳴樂坊、深圳交響樂團、中國交響樂團、廣東民樂團、長榮交響樂團、敦煌民樂小組、上海 愛樂樂團及香港城市室樂團等演奏；並於香港、北京、上海、臺灣、意大利、及巴黎等地發表。 林氏現正從事作曲、編曲、鋼琴教學及伴奏等工作。 MAJOR WORKS 主要作品 Orchestral Reflections by the Lake II (1995) 15' for string orchestra Twilight of Swayanbonath (1994) 3' Saytankarxi (also called Ghost Town) (1993) 12'43" Beyond the Border (1988) 6' Chamber (Western) Reflections by the Lake (1994) 12' for string quartet Chi Di (1992) 13' for fl, cl, vn, vc & pf Life (1992) 10' for cl, marimba & vibraphone Duet for Clarinet, Bass Clarient & Percussion (1991) 8' Mi (1989) 6' for double zheng's, vn, vc & perc Trio (1989) 7' for fl, cl, bass cl Reminiscence (1988) 5' for string quartet Chamber (Chinese) - also for Chinese modern dance Clerical Script (1996) 2' for dizi, pipa, zheng, erhu & perc Regular Script (1996) 7' for dizi, pipa, zheng, erhu & perc Instrumental Solo Irresistible Impulse (2001) 2' for pf Life II (1992) 10' for marimba Spingende Golden Bohne (1991) 7' for marimba Celestial Fire (1990) 5' for pf Chamber Opera The Divorce (2000) 50' Vocal / Choral 套曲 (2001) 1. 私家車 for children voices & pf 2. 火車 for children voices & perc 3. 交通工具–車輛 for children voices, pf & body movement Electronic Music Accidents (1992) 8' for tape Discography Saytankarxi Hugo HRP 7209-2 Publications 「套曲 (私家車，火車，交通工具–車輛)」《教樂樂、學樂樂：歌集附鐳射唱片》Hong Kong: The Hong Kong Institute of Education, 2001. 「小小實驗室」及「遊戲廣場」《小學聲響設計作品指引》Guidelines for School Creative Music Project, 22-27. Hong Kong: Advisory Inspectorate (Music), Eduaction Department, 1998. 管弦樂 湖想（二）(1995) 15' for string orchestra 職斯瓦楊布勒的晨曦 (1994) 3' 沙依坦克爾西（又名：鬼城）(1993) 12'43" Beyond the Border (1988) 6' 室樂 (西樂) 湖想 (1994) 12' for string quartet 赤地 (1992) 13' for fl, cl, vn, vc & pf 生命 (1992) 10' for cl, marimba & vibraphone Duet for Clarinet, Bass Clarient & Percussion (1991) 8' 迷 (1989) 6' for double zheng's, vn, vc & perc 三重奏 (1989) 7' for fl, cl, bass cl 憶 (1988) 5' for string quartet 室樂 (中樂)與中國現代舞 隸書 (1996) 2' for dizi, pipa, zheng, erhu & perc 楷書 (1996) 7' for dizi, pipa, zheng, erhu & perc 獨奏曲 Irresistible Impulse (2001) 2' for pf 生命(二) (1992) 10' for marimba Spingende Golden Bohne (1991) 7' for marimba Celestial Fire (1990) 5' for pf 室內樂歌劇 離婚 (2000) 50' 聲樂 / 合唱 套曲 (2001) 1. 私家車：for children voices & pf 2. 火車：for children voices & perc 3. 交通工具 - 車輛：for children voices, pf & body movement 電子音樂 Accidents (1992) 8' for tape 唱片目錄 Saytankarxi, Hugo HRP 7209-2 出版刊物 「套曲一 (私家車，火車，交通工具–車輛)」《教樂樂、學樂樂：歌集附鐳射唱片》Hong Kong: The Hong Kong Institute of Education, 2001. 「小小實驗室」及「遊戲廣場」《小學聲響設計作品指引》Guidelines for School Creative Music Project, 22-27. Hong Kong: Advisory Inspectorate (Music), Eduaction Department, 1998. Back

MATCH MAKING CONCERT 2018 - EMERGING COMPOSERS x EMERGING PERFORMERS Click here for the house programme.

LAM Chun-hei Matthew 林俊熹 Matthew Chun-hei Lam is currently a music undergraduate at the Chinese University of Hong Kong, specialising in composition. He is now studying composition with Prof. Wendy Lee and he had also studied with Prof. Chan Kai-young, Dr. Lo Hau-man, and Dr. Phoebus Lee Kar-tai. He is also studying piano under Dr. Timothy Kwok Ka Ho. He is an active composer and an enthusiast of contemporary music style, with his goal being exploring and experimenting on a wide array of sounds and timbre, especially with contemporary instrumental techniques. Lam is the winner of Toolbox Percussion International Composition Competition 2019 (TPICC 2019), the finalist of New Generation 2020, and awarded honourable mentions of Hong Kong New Music Ensemble call-for-scores 2020 and 2019 Ensemble Ibis Composition Competition. As an active composer, his works were featured in various events and were selected by various call-for-scores, most notably including Musical Convergence concert held by Hong Kong Composers Guild, Music from the Heart concerts held by Hong Kong Chinese Orchestra, and Toolbox International Creative Academy 2020 opening concert. His works were played and read by various groups, including the Mivos Quartet (USA), Mise-en Ensemble (USA), Cong Quartet (HK), Music-joint Association (HK), Stellar Trio (Beijing), Toolbox Percussion (HK), and the Hong Kong Chinese Orchestra. 林俊熹現為香港中文大學音樂系本科生，專攻作曲。他現正跟隨李允琪教授修讀作曲，並曾跟隨陳啟揚教授，盧厚敏博士和李家泰博士。他現在亦跟隨郭家豪博士修讀鋼琴。林氏是一位活躍的作曲家，他熱衷於現代古典音樂，且經常發掘及實驗新風格和技巧。 林氏贏得了敲擊襄國際作曲比賽2019的冠軍，2019 Ensemble Ibis Composition Competition和香港創樂團call-for-scores 2020的Honourable Mention，並入圍了香港作曲家聯會主辦音樂新一代2020的決賽。他的作品曾於香港作曲家聯會主辦琴緣飛渡音樂會，心樂集，國際共襄創意學院開幕匯演等多個不同場合演出。而他的作品亦被不同團體演出，如香港中樂團，米費斯弦樂四重奏（美國），紐約室樂團（美國），CONG四重奏（香港），凝音樂坊（香港），史黛拉三重奏（北京），和敲擊襄（香港）。 MAJOR WORKS 主要作品 Orchestral Death is What You Embrace With (2020), for wind orchestra Garden Sketch (2018), for string orchestra, vibraphone and percussion Chamber (Western) Antithesis (2021), for 2 violins Acrimonies (2020), for clarinet in B♭ and viola Undine (2020), for clarinet in B♭, violin, cello and percussion When Light Vanishes (2020), for string quartet Elements Garden (2019), for 3 percussionists They are at Rest (2019), for flute, horn, vibraphone, percussion, piano, and string quartet Drunken Dance (2019), for clarinet in B♭, piano and cello Silent Spring (2018), for clarinet in B♭, flute, violin, cello, vibraphone and piano Shōrin-zu (松林図) (2018), for string quartet Anemoi (2017), for piano, violin and cello Chamber (Chinese and mixed) 獨步雪原 (Walking Alone in Snowfield) (2020-21), for chamber Chinese orchestra 幻蜃 (Mirage) (2020), for sheng, pipa, zhongruan, percussion, erhu, gehu Windchaser (2019), for Sheng, Violin and Cello 夢醒之時 (Awakening from Dream) (2019), for qudi, yangqin, erhu and gehu A Night Between Woods…and Melancholy (2019), for (western) Flute, Yangqin, Liuqin, Zhongruan and Guzheng Vocal 還有行李要帶走嗎？(Are There Still Luggages to be Brought?) (2021), for SATB choir and piano When Lilacs Last in the Dooryard Bloom’d (2021), for SATB choir, piano and media Solo Freesia (香雪蘭) (2021), for solo erhu Meditation - Clear Mirror Still Water (2021), for solo flute Shimmering Tides (2020), for solo cello Back

SOUND-IMAGination 2016: Interview SOUND-IMAGination 2016: HONG KONG LANDSCAPE Concert 音樂會 Composers' Biography 作曲家簡介 Composers' Sharing 作曲家分享 分享可見於： https://thestandnews.com/art/聲影集-香港景觀作曲家分享/ https://thestandnews.com/art/sound-imagination-hong-kong-landscape-composers-sharing-1/ https://thestandnews.com/art/sound-imagination-hong-kong-landscape-composers-sharing-2/ 1/ 蘇家威《時日如飛》 I. Q&A 1) 圖像/影像如何啟發你的創作靈感？ 我代入了自己是拍攝者。拍攝的角度令我虛構了一位老人望著故居有感而發的情景。 2) 請形容一下你眼中的「香港」，在樂曲中如何呈現這感知/意像？ 「香港」是一個多元社會，但找一種聲音可以表達出「香港」則甚艱難。我利用了中國的五聲音階和西方的動機寫作技巧「製造」這種感覺。 3) 是次的委約作品都是根據特定的圖像/影像而創作並於音樂會一併呈現，這創作過程和純綷的音樂創作有何不同？ 圖片伸延了音樂的創意。透過圖片提供的元素，想像空間亦得以擴闊。這比抽象的思維更為實在。 II. 有關作曲家－蘇家威 創作習慣：我總會乖乖的先寫好草稿 喜歡的香港地方：澳牛 (Australia Diary Company) 喜歡的作曲家：陳其鋼、吉松隆、西松朗、Arvo Part 2/ 葉浩堃《縫》 I. Q&A 1) 樂曲如何與影像掛勾和配合？ 就如錄像一樣，在開始的部份看見船慢慢的經過，然後一 個身影隱約的在後方出現。在音樂方面，在緊密的和聲及織體設計下，將主旋律隱藏，然後又偶爾出現。 2) 請形容一下你眼中的「香港」，在樂曲中如何呈現這感知 ／意像？ 香港是一個急速的城市，在過往的作品中，我經常把這緊張的元素加入。在是次首演的作品《縫》當中，我刻意把速度變慢，但卻在這個「慢」的氣氛中加入一些快速的節奏，猶如普遍的香港人般，雖然身體想放鬆，但腦袋仍然不斷在工作。 3) 在這首作品中聽眾可特別留意之處？ 聽眾可以留意和聲的轉變，及弦樂四重奏內四聲部的交錯與交流。 II. 有關作曲家 - 葉浩堃 創作習慣：晚上，很晚的晚上 喜歡的香港地方：我家 喜歡的作曲家：Lutoslawski 3/ Kwok Tsun-huen’s The Barber I. Q&A 1) Briefly introduce your commissioned work. It's a viennese waltz. The music divided into two part, Slow and fast. 2) How did the image/video inspire you to write this piece? The Photograph is about a Barber shaving customer's hair when H5N1 was spreading. I tried to have a piece of music that prove a feeling as if they are having a little shelter from the storm there. 3) How does your commissioned work correlate with the visual image/video? The image gives me a feeling that the two people were having their own shelter when serious disease was spreading. They trusted and didn't mind if each other got the disease and might infect their own. This gives me a very cozy feeling and write the music. II. About the Composer – Kwok Tsun-huen Favorite composers: Stockhausen, Joseph Schwantner, Beethoven, the Beatles Favorite visual artists: Leonardo de Vinci, Pablo Picasso Favorite movies: 2001: Space Odessy, Watchmen 4/ Boo Chun-kit’s Looking from the Below I. Q&A 1. How did the image/video inspire you to write this piece? The duality of this image provides me an inspiration of the number of two. 2. Please share your perception of “Hong Kong”. How did you convey this perception in your work? I think there is full of juxtaposition in Hong Kong, especially for the cultural aspect. In my work, I decide to use two contrasting melodic motives; sometimes I make the two motives appear at the same time. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? To compose with a specific visual image, I think composers should aware of the extra-musical elements that may be induced from the image, for example memories, emotion. This can affect how the audiences perceive your music. II. About the Composer - Boo Chun-kit Hobbies: Reading books, watching movies Composing habit: Improvise at first, then find some crucial relations between the musical elements, and recompose Favorite composer: Brahms 5/ Chan Chin-ting’s Reaching Up, Touching Down I. Q&A 1. Briefly introduce your commissioned work. This piece explores different perspectives of Hong Kong’s cityscape, particularly of the perspective looking from below. It is inspired by an image that portrays a person lying on a rooftop amid city noise, facing up against the sunshine but with the face covered. 2. How did the image/video inspire you to write this piece? The music takes inspiration from the image, re-imagines and vitalizes the sound world surrounding the subject, as though the collage of city noise uncovers his/her face, rising up to above and beyond the infinite layers of Hong Kong’s modern cityscape. 3.) Briefly share with us the composing techniques or styles you used in the piece. The composition uses Serial techniques as a foundation for the harmonic contents. The use of certain pitch sets is associated with my impressions of the photograph. II. About the Composer - Chan Chin-ting Hobbies: photography, writing computer programs Composing habit: can compose anywhere with a pencil, eraser and staff paper Favorite sound: sound in nature 6/ Chan Ho-yi’s The Lost Days I. Q&A 1. How did the image/video inspire you to write this piece? The photo makes me to meditate and reminisce my old young days in Hong Kong. And they are only left for me to cherish so I write a sentimental piece. 2. How does your commissioned work correlate with the visual image/video? The music correlates the visual image by its harmonic design. The linear writing in strings also depicts the ladder in the playground. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? With a specified visual image, the purpose of music is to serve the message hidden beneath. Music without visual is purely the establishment of relationship through sound. II. About the Composer - Chan Ho-yi Hobbies: Cooking, Eating Favorite scene: The elegance and peacefulness of the medieval town in United Kingdom Favorite music: Chinese choral music 7/ Chan Kai-young’s Variations on Light and Space I. Q&A 1. How did the image/video inspire you to write this piece? I was inspired by the contrasting elements abound in the image: the moving and the still, the living and the lifeless, space and obstruction, natural and artificial entities, to name just a few. 2. How does your commissioned work correlate with the visual image/video? The timeline of piece follows the trajectory of natural light from left to right, following the direction of the protagonist. Incomplete statements of thematic fragments correspond to the hidden subject, and the sudden change of register and texture mirrors the change of spaciousness across the image. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? The image is fundamental to guiding the imagination of the audience and offering an extra dimension of meaning in the music. II. About the Composer - Chan Kai-young Hobbies: Travel and Photography Favorite sound: All forms of water Favorite film director: Hayao Miyazaki 8/ Chris Hung’s Leaving I. Q&A 1) How does your commissioned work correlate with the visual image/video? Image serves as the catalyst of the music, being treated as the guiding direction for the idea of the composition. I would reserve my thought here in order to give you some space of free imagination. However, a trace of hint is shown in my program notes: "In the midst of climbing my mountain, On the verge of leaving my dream… Are you just an illusion?" 2) Briefly share with us the composing techniques or styles you used in the piece. Non-exact Imitative texture between different parts. Gradation of tension towards a climatic point. 3) Please introduce the special features or fragments of your work. In general, the melodic contour of the music is ascending with the metaphor of the first impression of the visual stimulus and physical presence of the photo. Very few extended techniques are employed in this work, probably one of the easiest piece I've composed... II. About the Composer – Chris Hung Composing habit: Gestural, fragmental, textural aspects first Favorite place in Hong Kong: Stanley Favorite composer(s): Karl Amadeus Hartmann / György Kurtág / Salvatore Sciarrino / 細川俊夫 9/ Lam Lai’s Twinkle Twinkle Little Tango I. Q&A 1) How did the image/video inspire you to write this piece? When I first viewed the photo, I immediately thought about street dancing. Since Milonga is one of my favourite dance, I was thinking to use an interesting tune that everyone is familiar with. I also think Mozart's Twelve Variations on "Ah vous dirai-je, Maman" may be an interesting match with tango. 2) How does your commissioned work correlate with the visual image/video? I remember I played this game on the street when I was small. There is an interesting rhythm in the foot steps, as most of the time you need to stop your posture and get the balance. I think this kind of irregular rhythm will also be interesting to hear in the piece. 3) Please share your perception of “Hong Kong”. How did you convey this perception in your work? I like the fast pacing of daily life in Hong Kong. When you are walking on the street, there are lots of fast repetition around you. Therefore, I try to put the piece to be similar to this circumstance, which is fast and having lots of tiny repetition. II. About the Composer – Lam Lai Composing habit: Start with a cup of milk tea Favorite place in Hong Kong: Central Favorite sound: water sound 10/ Livia Lin’s the tree says… I. Q&A 1) How did the image/video inspire you to write this piece? While many find Hong Kong to be a small vibrant city lacking recreational spaces, the image reminds me of pockets of nature and greenery in the city which we unconsciously not notice. The dense trees eclipsing the individual inspire me to put the trees on center stage in my composition. 2) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Music is a temporal form of art while a still image offers information instantly. I think composing with specific image prompts me to take more time in expressing an idea because I believe the audience, too, would have the luxury of delving deeper into the artists’ messages through listening and looking simultaneously. 3) Please introduce the special features or fragments of your work. This work anchors on two rhythmic elements – dotted rhythm and triplet. These rhythmic sways mimic the gentle flutter of the leaves throughout the composition. The audience will hopefully disengage from the steady pulse and assimilate with the ambience of the swaying leaves imperceptibly. II. About the Composer – Livia Lin Favorite place in Hong Kong: Lantau Island, Repulse Bay, Hong Kong International Airport Favorite scene: the meeting of the sky and water, the people flow in a cafe Favorite visual artist: Vasily Kandinsky, Jackson Pollock 11/ Lun Wai-kit’s Modernization I. Q&A 1) Briefly introduce your commissioned work. Migration of sound. 2) How did the image/video inspire you to write this piece? The first thing I have done was to find out the place/angle the photo was taken, then with the description of photo, I started to imagine what sound should be included in it. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? I don't need to think too much when there is an image. II. About the Composer – Lun Wai-kit Hobbies: DIY Composing habit: start actually composing at the last minute before deadline Favorite sound: Raindrops 12/ Shao Litang’s Seeking I. Q&A 1) How did the image/video inspire you to write this piece? The inspiration of the photo to me is that what we are really looking for in life. Life is full of experiences and anything can happen. Depending on what kind of person you are, you may be looking for different things. 2) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Composers will think about the interaction carefully between the message from the image and music. 3) Briefly share with us the composing techniques or styles you used in the piece. This piece starts with a vigorous six-note motive, followed by a peaceful harmonic section that gradually develops into a multi-layered chant-like theme. This theme becomes more energetic and rhythmic, moving towards a climax that resolves peacefully. II. About the Composer – Shao Litang Hobbies: Eating, Hiking Favorite place in Hong Kong: Tapmun (Grass-Island) Favorite scene: Maple leaves glowed red in the sunlight 13/ Shuen Lai-yin’s Street through a Glass Ball I. Q&A 1) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? The visual image gave me loads of inspiration. It helps me to determine the structure, atmosphere and musical flow of the piece. 2) Briefly share with us the composing techniques or styles you used in the piece. I have constructed a chord using diatonic scales, and the chord developed from a close position and expanded to open position, whereas music tension is created and resolved at the same time. 3) Please introduce the special features or fragments of your work. It is a simple short piece. I tried to avoid special gestures in my work, as I would like to express the feeling of "Lost" in my music, which is motionless and solitude. II. About the Composer – Shuen Lai-yin Hobbies: Playing guitar, singing in a choir, riding bicycle. Favorite scene: Sunset near seashore Favorite composer/music: Toru Takemitsu 14/ So Ho-chi’s Confined Matters I. Q&A 1) How did the image/video inspire you to write this piece? The dense composition of the image makes me think of how my life is in this dense city. Hong Kong always have many things happen in a small places. Sometime they are too many, but at least they are colourful and diverse. 2) Please share your perception of “Hong Kong”. How did you convey this perception in your work? I think Hong Kong is a fast-pacing city that people receive many information and feel very differently. In my imagination, it is like montage or painting by Pablo Picasso. Inspired by this idea, I try to organise different blocks of materials in a musical way. 3) Briefly share with us the composing techniques or styles you used in the piece. There are musical elements in the piece where distinguished gesture and texture existed. Some of them might have different pitch organisation system in order to create contrast between elements which is to create the idea of montage. II. About the Composer – So Ho-chi Hobbies: Hiking, wondering in Hong Kong, reading Favorite place in Hong Kong: Tuen Mun Favorite composer/music: Igor Stravinsky 15/ Tam Ka-shu’s Little Hidden Momentum I. Q&A 1) Briefly introduce your commissioned work. My work depicts the restless spirit of Hong Kong – there are motions even in a quiet situation. It is inspired by an image that centred a workman and a still curtain fills up the other space. 2) How did the image/video inspire you to write this piece? While the large curtain in the image seems to project a still atmosphere, the truck and the worker reveal a vivid motion. This contrast in activity immediately connects me to a night scene in Causeway Bay – streets are empty but still project a dynamic atmosphere. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Visual images set a fix parameter for composers. In order to bring out the theme of the images, composers have to fit their imagination within the set boundary. However, this does not mean to limit our creativity. Instead, we might see the parameters as guidelines for composing. II. About the Composer - Tam Ka Shu Favorite place in Hong Kong: Po Toi Island Favorite composer: Gyorgy Ligeti and Alfred Schnittke Favorite visual artist: Salvador Dali 16/ Wong Chun-wai’s Journey in the Dark I. Q&A 1) How did the image/video inspire you to write this piece? Through the video we observe people traveling in a train underground: to an observer they are isolated individuals on an aimless journey, moving forward passively and restlessly. It seems to be asking the meaning of life, a journey that we must all go on. 2) How does your commissioned work correlate with the visual image/video? The video is in black and white, and my music corresponds by carrying a dark tone, resulted from the use of non-functional harmonic progression, the domination of minor-sounding sonorities, and the prominent of the lower register of the instruments. 3) Briefly share with us the composing techniques or styles you used in the piece. In the music the string quartet is divided into three groups of instruments – violin I, cello and the inner group of instruments – each playing with their own materials and styles, symbolizing the isolation of individuals. There are almost no dialogues among them but the wheel of destiny pushes them all. II. About the Composers – Wong Chun-wai Hobbies: Composing Favorite composers: Joe Hisaishi/Gustav Mahler/Maurice Ravel/John Williams Favorite movie: Spirited away 17/ Wyman Wat’s Space Tight I. Q&A 1) Briefly introduce your commissioned work. My work “Space Tight” is about the high-density living environment in Central, Hong Kong. Fast, busy, crowded are the best words to describe the condition nowadays. 2) How does your commissioned work correlate with the visual image/video? According to the image, there are several high buildings surrounding a comparatively shorter yellow building in Central. We cannot find any space left in the picture. Thus, I composed my work with many compact rhythms to create this kind of tight feeling. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? With the specified visual image, it is no doubt that the composer’s idea will be more directly projected to the audience, which in turn helps the audiences’ understandings to the new works. Moreover, I believe that the visual elements will further stimulate the audiences’ own imaginations. II. About the Composers - Wyman Wat Favorite scene: Trams on rails in rainy day Favorite composer: Prokofiev Favorite visual artist: Piet Mondrian 18/ Yau May-kay’s The Road before me I. Q&A 1) Briefly introduce your commissioned work. 'The Road Before Me' was composed during busiest time of year 2015. 2) How did the image/video inspire you to write this piece? The video exactly reflects my commuting in Hong Kong - its repetitiveness, its tediousness ... 3) Briefly share with us the composing techniques or styles you used in the piece. Minimalism is used in this piece and I think it describes the video and my thoughts really well. II. About the Composer - Yau May-kay Favorite place in Hong Kong: I like hiking in Fanling, it overlooks the whole area of Fanling and the mainland which is breathtaking. Favorite composer/music: J.S. Bach Favorite director/movie: Abbas Kiarostami

YEUNG Sin-tung Jessie 楊倩桐 Yeung Sin-tung, Jessie, is pursuing a Bachelor of Arts in Music degree from the Chinese University of Hong Kong, majoring in the organ and minoring in the guqin under the teaching of Dr Anne Lam and Professor Lau Chor-wah. She previously studied at The Hong Kong Academy for Performing Arts and was a student in its Junior Music Programme. Upon leaving Munsang College, she studied composition with Poly Ng Hau-yee, Dr Phoebus Lee Kar-tai, and Li Kar-yee. She was granted a scholarship under the Hong Kong Composers’ Guild Mentorship Scheme and studied with Prof Wendy Lee in the GalaMusica•School Chamber Compositions 2019, organized by Hong Kong’s Education Bureau. She created signature tunes representing the four core collections of the Hong Kong Museum of Art under the guidance of Chiu Tsang-hei. She is now the double bassist for the Hong Kong Youth Chinese Orchestra. Yeung would like to express music’s simplicity and intrinsic qualities through performance and composition, exerting herself to explore the essence and inwardness of music in this boundless world of art. 楊倩桐現於香港中文大學就讀文學士（音樂）課程，主修管風琴，副修古琴，跟隨林芍彬博士及劉楚華教授學習。曾就讀香港演藝學院及其青少年音樂課程，畢業於民生書院，過去亦隨伍巧怡老師、李家泰博士、李嘉怡老師學習作曲。在教育局主辦「音樂薈萃．學校室樂創作 2019」獲得香港作曲家聯會導師計劃獎學金，跟隨李允琪博士學習作曲。前年2019 年在趙增熹先生指導下，為香港藝術館四大館藏譜寫和演奏主旋律。現為香港青年中樂團的低音大提琴手。 楊氏希望透過演奏和作曲，表達音樂的純粹。藝術的世界很大，還在探索，尋求音樂蘊含的意義和本質。 MAJOR WORKS 主要作品 Chamber Probity (2020) [8’30”] for Soprano Sheng, Zheng and Chinese Percussion 1st Movement: On the Love of Lotus 2nd Movement: Clean Forgive (2020) [5’] A duet for Cello and Piano Dash-Dots (2019) [3’16”] for Double Bass and Vibraphone with Electronic Sounds To a Tea Lover (2019) [3’] for Xiao, Erhu, Viola and Piano A Literati Painting of Bamboo from Black to Silvery Grey (2019) [4’] for Xiao and Double Bass A Peach Spring Beyond This World (2016) [4’30”] for Xiao, Clarinet in B♭, Erhu and Piano Instrumental Solo N Room (2020) [2’30”] Piano Solo World of Contrast (2019) [2’] for Cello and Electronic Sound Multimedia Volcano (Climax), Volcano (Co-composed) (2019) [2’30”] for Violin, Bassoon and Percussion, Electronic Sound with Dance Arrangement 廉潔進行曲 (2020) [2’10”] A Graduation Gift (2019) [6’] for a Symphony Orchestra 室樂 愛廉潔 (2020) [8’30”] 為高音笙、古箏和中樂敲擊而寫 第一樂章: 愛蓮說 第二樂章: 淨 寬恕 (2020) [5’] 大提琴和鋼琴的二重奏 點劃 (2019) [3’16”] 為低音大提琴、顫音琴和電子音樂而寫 煎茶 (2019) [3’] 為洞簫、二胡、中提琴和鋼琴而寫 渲竹 (2019) [4’30”] 為洞簫及低音大提琴而寫 桃花源 (2016) [4’30”] 為洞簫、單簧管、二胡和鋼琴而寫 獨奏 N 號房間 (2020) [2’30”] 鋼到獨奏 合士乙上 (2019) [2’] 為大低琴和電子音樂而寫 為多媒體創作 火山 (第三樂章) (2019) [2’30”] (合作創作) 為小提琴、巴松管、敲擊和跳舞而寫 編曲 Integrity March (2020) [2’10”] 畢業禮物 (2019) [6’] 為管弦樂團編寫 Back

CONTACT US The Hong Kong Composers' Guild Address: Unit 707 Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong Tel: (852) 2877-3982 Fax: (852) 2877-3380 E-mail: info@hkcg.org Office Hours: Monday to Friday 10:00 a.m. - 6:00 p.m. (Lunch hour: 1:00 p.m. - 2:00 p.m.) Closed on Saturdays, Sundays and Public Holidays SEND AN ENQUIRY If you have any enquiries or questions about the Guild, please complete the form below. We will reply to you as soon as possible. SUBMIT Thank you for your enquiry.

LIST OF MEMBERS AU Tin-yung Alex 歐天勇 BOO Chun-kit 布俊傑 BOZNOS James 龐樂思 BROMBERG Brian Patrick# 布萊恩 CHAN Chin-ting# 陳展霆 CHAN Heidi 陳曦梅 CHAN Joshua 陳錦標 CHAN Ka-fu Paul 陳家富 CHAN Kai-young 陳啟揚 CHAN Ming-chi 陳明志 CHAN Nga-man 陳雅雯 CHAN Nok-him 陳諾謙 CHAN Sze-rok 陳詩諾 CHAN Wai-kwong Victor 陳偉光 CHAN Wing-wah 陳永華 CHAN Yuk-pan 陳玉彬 CHANG Herbert# 張海伯 CHEN Chi-wai 陳智偉 CHEN Ning-chi 陳能濟 CHEN Yeung-ping 陳仰平 CHENG Anthony 鄭汝森 CHENG Chin-man 鄭展文 CHENG Ching-nam 鄭靖楠 CHENG Lee 鄭重言 CHENG Sik-nam 鄭錫楠 CHENG Zen-In Michelle 鄭心言 CHEUNG Pui-shan 張珮珊 CHIU Hok-man Elena 趙學文 CHOW Lora 周曉晴 CHUNG Chun-yiu 鍾振耀 CHUNG Tin-hon Aaron 鍾天瀚 CHUNG Wai-hin 鍾偉軒 FONG Lok-chi 方樂知 GWILT David (Honorary President) 紀大衛（名譽主席） HO Carmen 何嘉雯 HO Sung-chi Steve 何崇志 HO Tsz-yan 何子茵 HO Tze-yeung# 何子揚 HOFMANN Denise Mei-yan 何美恩 HUI Cheung-wai 許翔威 HUNG Ming-kin Christopher 洪銘健 IP Mun-wa 葉滿華 KAM Shing-hei Kahlen 甘聖希 KWOK Hang-kei 郭亨基 LAI Boon-tsing Joseph 黎本正 LAI Miu-yeung 黎渺揚 LAI Nga-ting Ada 黎雅婷 LAI Sheung-ping 黎尚冰 LAM Chi-ying Gigi 林芝瑛 LAM Chun-hei Matthew 林俊熹 LAM Doming (Honorary President) 林樂培（名譽主席） LAM Hong Chong Adrian 林瀚聰 LAM Kin-yee Gabriel 林建兒 LAM Kwan-fai 林鈞暉 LAM Shun 林迅 LAU Cheuk-Ho Fredrick 劉卓豪 LAU Hiu-lam 劉曉霖 LAU Siu-long Boris 劉劭朗 LAU Wing-fung Galison 劉詠浲 LAW Daniel 羅炳良 LAW Wing-fai 羅永暉 LEE Kar-tai Phoebus 李家泰 LEE Lok-on 李樂安 LEE Ping-kee Vincent 李秉麒 LEE Pui-shan Sandy 李佩珊 LEE Wan-ki Wendy# 李允琪 LEE Wing-wing# 李永榮 LEE Yi-wei Angus 李一葦 LEE Yin-ping# 李燕萍 LEUNG Chi-cheung 梁志鏘 LEUNG Chi-hin 梁智軒 LEUNG Chi-pong 梁志邦 LEUNG Chung-yin Ray 梁頌然 LEUNG Hin-yan Austin 梁騫仁 LEUNG Hong-yu 梁康裕 LEUNG Ka-tung Tony# 梁家棟 LEUNG Pak-hei 梁柏希 LEUNG Tai-wai David 梁大偉 LEUNG Tiffany 梁恩庭 LEUNG Wing-hang 梁永恆 LI Cheuk-yin 李卓賢 LI Kar-yee 李嘉怡 LI Kit-yiu Emily 李潔瑤 LIN Livia 凌崎偵 LO Hau-man 盧厚敏 LO Tsz-to Toto 盧子陶 LOH Ming-ching Mark 羅明正 LUK Wai-chun 陸尉俊 LUO Yanjin Lauren 羅彥瑾 MA Jiu-yue 馬久越 MAK Chi-piu 麥志彪 MAK Clarence 麥偉鑄 MAN Ho-yan 萬可仁 MOK Kei-hon Simon 莫麒瀚 MOK Kin-yee Raymond 莫健兒 MUI Kwong-chiu 梅廣釗 NG Chun-hoi Daniel 吳俊凱 NG Hau-yee Poly 伍巧怡 NG King-fung Kelvin 伍擎峯 NG Wah-hei 伍華晞 NG Yan-ling 伍昕靈 PANG Chun-ting 彭振町 PANG Kwan 彭珺 PONG Pak-kan 龐百勤 POON Po-choi Maurice 潘寶才 SHAO Litang 邵麗棠 SHING Chun-hay 成俊曦 SHIU Wai Yau William 邵偉祐 SHUEN Lai-yin 孫禮賢 SO Adrian 蘇哲 SO Chuen-on 蘇傳安 SO Ka-wai 蘇家威 SO Lok-pui 蘇諾培 Sandoval Inaki# TAM Chin-fai Samuel 譚展輝 TAM Ka-shu Kenneth 譚家樹 TAM Lok-hei Alvin 譚樂希 TANG Chak-yan 鄧澤恩 TANG Hoi-ching Katie 滕鎧晴 TANG Man-ngai 鄧文藝 TANG Pan-hang 鄧斌衡 TING Chung-wai Brian 丁宗偉 TSANG Chi-yeung 曾子揚 TSANG Lok-yan 曾樂欣 TSANG Shun-han 曾淳頎 TSANG Yip-fat Richard (Founding Chairman) 曾葉發（創會主席） TSANG Yiu-kwan 曾耀君 TSE Nok-kiu 謝諾翹 TSUI Mei-ling Meilina 徐美玲 TUNG Chi-wai 董智煒 TUNG Lai-shing 董麗誠 Talbot George# VONG Hin-ching 黃軒靖 WANG Qiang 王強 WAT Nga-man 屈雅汶 WONG Anson Ying-shun 王應淳 WONG Chi-san 黃志燊 WONG Ching-yin 黃正彥 WONG Chun-wai 黃俊諱 WONG Chung-hei 黃頌熙 WONG Hok-yeung Alfred 黃學揚 WONG Hung-pok 黃鴻博 WONG Kong-yu 王廣宇 WONG Lok-hang Amos 王樂行 WONG Yat-wai Joseph 黃逸偉 WONG Yeuk-hei 黃若曦 WONG Yok-yee 黃育義 WU Ho-chee 胡浩志 WU Yimin 吳藝敏 Wan Tsz-yui Isaac 尹梓睿 YAU Yuk-fung 邱玉鳳 YEUNG Hoi-ching Alice 楊凱晴 YEUNG Pak-lun David 楊伯倫 YEUNG Sin-tung Jessie 楊倩桐 YEUNG Tsz-yan 楊芷欣 YIM Fuk-wing 嚴福榮 YIP Ho-kwen Austin 葉浩堃 YIP Pui-lam Amos 葉沛林 YIP Shu-kin Stephen 葉樹堅 YIP Ting 葉婷 YIU Hon-fai Cliff 姚漢輝 YU Chiu-for 余昭科 YU Tsz-long 余梓朗 YUEN Viola 阮慧玲 YUNG Sin-kan Bonnie 翁蒨懃 YUNG Sing-nga Rita 翁聲雅 # Symbol of Associate Member.

SO Lok-pui 蘇諾培 MAJOR WORKS 主要作品 Back

AWARDS & RECOGNITION Title 項目 HKCG Awards PROGRAMMES RESULTS New Generation 音樂新一代 2024 Click here for the list of finalists and winners Members' Recognition Tam Ka-shu Kenneth wins second prize at the ACL Festival 2022 Young Composers Competition Congratulations to Tam Ka-shu Kenneth for winning second prize with his work “Flux”, at the ACL Festival 2022 Young Composers Competition. Yu Tsz-long was chosen as one of the Recommended Works by Composers Under-30 at the 67th IRC Congratulations to our member Mr. Yu Tsz-long, for his work ‘Please Don’t Open’ being chosen as one of the Recommended Works by Composers... Dr. Austin Yip wins the Award for Young Artist (Music) at the 15th Hong Kong Arts Development Awards Congratulations to our treasurer Dr. Austin Yip on receiving the Award for Young Artist (Music) at the 15th Hong Kong Arts Development... Dr. Mui Kwong-chiu wins the Artist of the Year (Music) at the 14th Hong Kong Arts Development Awards Congratulations to our chairman Dr. Mui Kwong-chiu on receiving the Award of the Year (Music) at the 14th Hong Kong Arts Development...