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INTERVIEWS 葉樹堅《日光下澈》 邱美琪《活 * 存》 Wong Chun-wai's "Waning Moon, Shivering Glimmer" 王宇軒《月色》 王廣宇《粵香》 劉詠浲《頂》 Ada Lai's "Studississimo" 陳雅雯《沒有斷線的風箏》 甘聖希《迪》 1 2 3 4 5 *Some content is available in Chinese only.

《謎》 Enigma 伍昕靈 Ng Yan-ling Illuminatius 伍昕靈於香港演藝學院主修作曲及電子音樂，在四年的學習中，曾多次獲獅子會音樂慈善基金獎學金、柏斯音樂創作奬學金、及香港演藝學院成績優異獎學金。其作品多次獲獎，包括2017年美國紐約金鑰匙音樂節鋼琴作曲比賽第二名、2022年香港電影作曲家協會主辦香港原創電影音樂作品優秀評審推薦獎第一名、2023年香港作曲家聯會的音樂新一代作曲比賽第三名等。 伍氏的不同作品屢次獲邀作首演，包括於香港電台第四台、西九龍文化區、台灣當代文化實驗室（C-LAB）、及維也納Palais Ehrbar等，並獲2019年聯合國可持續發展高級別政治論壇之「和諧與和平」周邊會議委約，於紐約開幕禮上首演，大獲好評。伍氏亦經常與香港及世界著名團體及藝術家合作，包括羅曼四重奏、香港創樂團、創不同及敲擊襄等等。 Ng Yan-ling Illuminatius is now studying at the Hong Kong Academy for Performing Arts, majoring in music composition and electronic music. She was awarded the Lions Music Charity Foundation Scholarships, Parson Outstanding Composition Student for Creative Music Scholarships, and The Society of Hong Kong Academy for Performing Arts Merit Awards for Local Students during her four years of study. Her works won many awards, including the second place in the 2017 Golden Key Music Festival - Piano Composition Competition in New York, the United States, the first place in the 2022 Hong Kong Original Film Music Outstanding Jury Recommendation Award, organized by Hong Kong Film Composers’ Association, and the third place in New Generation 2023, organised by Hong Kong Composers’ Guild etc. Ng’s work has been premiered and broadcasted in Radio Television Hong Kong Radio 4, West Kowloon District, and Taiwan Contemporary Culture Lab(C-LAB), and Palais Ehrbar in Vienna. She was also well received in the opening ceremony of “The Side Event at the 2019 High-level Political Forum on Sustainable Development under the auspices of the Economic and Social Council of the United Nations: Harmony and Peace” which was commissioned in New York, the United States in 2019. NG worked with various music groups, artists in Hong Kong and wordwide, including Romer String Quartet, Hong Kong New Music Ensemble, MaD (Make A Difference), and Toolbox Percussion etc. 面對世間萬事萬物，我們能希望處之泰然，從容面對。當我們鼓起勇氣，迎難而上，本相是問題比方法多。作品旨在描繪世界種種，皆高不可際，深不可測。 《謎》分為四部份。「玄．謎」運用各種不平均節奏與不協和音程探索敲擊四重奏特別的聲音融合，例如特別用敲擊棒側部敲打馬林巴琴邊，帶出清脆的聲音。音樂勾畫不如意事對人帶來的衝擊，面對無法解拆的紛擾時，人感到內外交困，束手無策。「困．謎」以各種敲擊樂互相的交替，伴隨着既散亂又迫切的節奏，展現人面對困難時的茫然若失。「懸．謎」，敲打樂段以自由拍子、各種音色概念的變化（如大鼓、鑼、小鼓的superball效果及用硬幣在鈸轉動的聲音），帶出徬徨的情緒。「樂．謎」則以強烈的節奏感，帶出人可樂觀面對眼前的阻攔。。 We all hope to be at ease and face our daily life calmly. When we muster up the courage to face difficulties, the truth is that there are far more problems than solutions. The work aims to describe the world, which is immeasurable and unfathomable. Enigma is divided into 4 sections. The first section, ‘Mysterious’ uses various uneven rhythms and dissonant intervals to explore the unique sounds for percussion quartet, such as playing on the edge of the bar with mallet handles. The music outlines the impact of matters going against people’s wishes, bringing out that when faced with unresolved turmoil, people feel troubled and helpless. The second section, ‘Trap’ utilizes the alternation of percussion instruments, accompanied by scattered rhythms, depicts the perplexity when people facing with difficulties. ‘Lost’ uses free tempo (senza misura) and diverse timbral changes (for example, the sound of superball for bass drum, tam-tam, snare drum, and the sound of a coin to scraping a cymbal) to illustrate the helplessness of people in obstacles. The last section, ‘Energetic’, the unison aims to describe that people can face the hurdles in front of them with optimism. Back

Hāni 《哈尼》 Hua Wenyao William 華文堯 Hua Wenyao William, born in Shenzhen, China in 2001, specializes in contemporary music composition, film scoring, and music production. He is currently studying at the Hong Kong Academy for Performing Arts under the guidance of Prof. Clarence Mak and Dr. Cheung Pui-shan. Previously, he studied with Dr. Chen Yeung-ping at South China Normal University exploring different ways of musical expression. He has won awards for his scores and music production in competitions, contributed to various multimedia and film soundtracks, with his works published in music journals. His works were performed at the Hong Kong International Film Festival, and his multimedia works have been performed at the Hong Kong Palace Museum and the Hong Kong Jockey Club Amphitheatre. He has also collaborated with the Hong Kong Toolbox Percussion, Academy Symphony Orchestra, Chinese Orchestra and the South China Normal University Chorus. The Hani is an ethnic minority in China Yunnan Province. The Hani believe in polytheism and worship natural deities. Their traditional festivals such as the Torch Festival are important celebrations with rich folklore and rituals. This piece combines the sounds the author heard during his travels in Yunnan Province to create an imagination of the Torch Festival rituals. Previous Next

*In the Flow of Resonance *《餘韻流轉》 Zheng Enzhe 鄭恩哲 Zheng Enzhe, the winner of "New Generation 2024", is currently a doctoral candidate at The Chinese University of Hong Kong. Drawing from his Chinese heritage, Zheng’s compositions merge traditional themes and folk materials with contemporary, innovative expressions, creating a unique musical language that reflects the cultural and spiritual essence of modern China. His orchestral piece Rosefinch won the Grand Prize at the Golden Bells International Composition Contest and was premiered at Carnegie Hall. The Time Capsule in the Azure Depths , written for a large Chinese ensemble, was selected for the 2025 "Music from the Heart" series and awarded the "Audience's Favorite Original Work" prize. His composition also won the 3rd Prize at the Musicacoustica Hangzhou 2023 Electroacoustic Music Composition Competition. In the Flow of Resonance is a composition that reinterprets and reconstructs Cantonese music within a contemporary context. While this musical tradition has gradually faded from the mainstream aesthetic landscape, it remains deeply rooted in local culture, subtly influencing and flowing through our lives. This composition draws on some well-known melodies of Stepping High and Autumn Moon Over the Calm Lake , paying tribute to the classics while attempting to fuse them with new musical language. It expresses a nostalgic connection to the sounds of an era and inspires imagination and anticipation for the future development of Cantonese music. While its future remains uncertain, its resonance continues to flow through our collective cultural memory. Previous Next

*《迷霧庭園》 *Garden of Mists 林俊熹 Matthew Lam 林俊熹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，尤其現代樂器技巧和現場電子音樂。 林氏贏得了不同獎項，而他的作品曾於June in Buffalo、International Rostrum of Composers (2023:荷蘭)、MUSLAB (2023:厄瓜多爾)、soundSCAPE Festival、Connecticut Summerfest、SCI National Conference 等多個不同場合演出。 他的作品亦被香港管弦樂團、 Toledo Symphony、Mivos Quartet、Del Sol Quartet、[Switch~ Ensemble]、Mise-en Ensemble,、Du.0、Cong Quartet 等不同團體演奏。 林氏於香港中文大學取得學士學位，並於鮑林格林州立大學修畢作曲碩士。他將於伊士曼音樂學院修讀作曲博士。 Born and raised in Hong Kong, Matthew Lam is an active composer and an enthusiast of contemporary music style. His goal is to explore and experiment on a wide array of sounds and timbre, especially with contemporary instrumental techniques and live electronics. Winning multiple awards, his works were featured in various festivals and conferences, including June in Buffalo (USA), International Rostrum of Composers (2023: Netherlands), MUSLAB (2023: Ecuador), Nanhua University International Symposium of Contemporary Music Research (Taiwan), soundSCAPE Festival (Italy), Connecticut Summerfest (USA), SCI National Conference (USA), Toolbox International Creative Academy (HK), and Hong Kong Contemporary Music Festival (HK). His works were played by various groups, including the Hong Kong Philharmonic Orchestra, Toledo Symphony, Hong Kong Chinese Orchestra, Mivos Quartet, Del Sol Quartet, [Switch~ Ensemble], Mise-en Ensemble, Du.0, Cong Quartet, NEXUS Ensemble, and Toolbox Percussion. Lam earned his Bachelor of Arts in Music with first class honours from the Chinese University of Hong Kong, and completed his master’s studies in composition at Bowling Green State University. He will commence his doctoral studies at Eastman School of Music this fall. 我在創作《迷霧庭園》時一直想著被晨霧籠罩的日本庭園的畫面。此曲並沒有描繪一個特定的庭園（每個庭園皆有其歷史及美學），但就捕捉了庭園的氣氛：靜謐而神秘。以此，我選擇的樂器大部分以金屬所造，並在此曲前後半用了兩組不同的聲音：第一組的特點是通過現代技巧發出相對持續的聲音，例如用超級球及弓演奏。 第二組則相對傳統的使用琴棍。 整首曲沒有明顯的旋律，旨在把所有的音色組合成一個聲景，讓聽者感受意景。 Garden of Mists is composed with Japanese gardens covered in morning mists in mind. Though I do not want to specifically depict any of the Japanese gardens (as each has its history and aesthetic), I attempted to capture the atmosphere of the garden with it being meditative, peaceful, and at the same time, somehow mysterious. With that in mind, I chose a combination of mostly metal percussion instruments using two groups of sounds in two different sections: the first group features ‘sustained sounds’ achieved by non-conventional means of playing such as rubbing with super ball and playing with a bow. The second group returns to the conventional way of using mallets. The entire piece does not have a significant melody, with the aim of combining all sounds into a single soundscape and letting listeners ‘feel’ the atmosphere. Back

Genesis 《創》 Leung Kai-sun Joshua 梁啓新 Leung Kai-sun Joshua is a third-year Music student at the Chinese University of Hong Kong. He currently studies composition under the tutelage of Dr. Lo Hau-man and Prof. Chan Kai-young. During his secondary education, he had studied composition with Dr. Lee Kar-tai Phoebus, Dr. Wong Yat-wai and Mr. Ting Yim-ting. In GalaMusica • School Chamber Compositions 2021, Leung was awarded the Outstanding Composition Award and Best Creative Ideas Award. He was consequently selected to participate in the Hong Kong Composers' Guild Mentorship Scheme. The Versatile Euphonium Ensemble and the Education Bureau have also commissioned Leung, and his compositions are also thrice selected to be featured in Bauhinia Concerts. In August, Leung’s commissioned work “三番” will be premiered by Hong Kong Cohesique Symphonic Band. Besides composition, Leung majors in Trombone, and is currently under the tutelage of Mr. Ben Pelletier. Leung previously studied trombone performance under Mr. Lam Howang and Mr. Cheung Ying-hung. Alluding to the first book of the Old Testament , the brass quintet work Genesis refers to the beginning and becoming of sonorities and intervals. Several extended techniques are employed to highlight the timbral qualities of the brass instruments in both the energetic and enigmatic episodes. Following some gradual unfolding, Genesis ruptures into a “brassy” cliched fanfare, which subsequently simmers down into a slow-moving segment of music. It is then further developed before transitioning back to the pompous fanfare with all the presented patterns incorporated, and descents into utter chaos. Audience members may observe the intervallic changes across the entire piece; as well as the contrasts between, and the integration of order and disorder in various metrics. Previous Next

Mountain Chain 《山脈》 Cheung Hei-lam 張希琳 Cheung Hei-lam is a year two student at the Hong Kong Academy for Performing Arts, majoring in music composition and electronic music. She is currently learning from Dr. Florence Cheung Pui-shan. Her works include chamber music, film music and electronic music. This piece is inspired by the topography of mountain range. The music uses the contrast between long notes and staccato, also the rise and fall, and continuous phrases to imitate mountain chain formed by many ridges and valleys. Previous Next

Stonescape 《石景》 Cheung Ho-ming Felix 張浩銘 Cheung Ho-ming Felix is currently a doctoral student at The Chinese University of Hong Kong, studying composition with Professor Lee Wan-ki Wendy. He focuses on exploring the spectrum of elements of a concert performance and composes his pieces by adopting those elements to create an immersive concert-going experience. In recent years, he also explores and composes ambient music for his multi-media works. He graduated from the Royal Conservatoire of The Hague, Netherlands, with a Master of Composition Research degree under the guidance of renowned contemporary composers Martijn Padding, Jan van de Putte, and Alison Isadora. He was also awarded a Master of Music (Composition) degree at the Royal Birmingham Conservatoire and a Bachelor of Arts in Music degree at Brunel University London. During which he was tutored by renowned composers Peter Wiegold, Jennifer Walshe, Ed Bennett, and Andrew Toovey to gain exposure to a wide variety of performing arts, ranging from conventional contemporary genres to improvisations and theatrical performance. Stones come in different shapes as they are the fantastic crafts of Mother Nature. Going through thousands of years of harsh and gentle weather, each tells a story of where it belongs. Therefore, they often resemble different landscapes such as mountains, lakes or rivers, and even shapes of different kinds of animals or sculptures. The beauty of stones has been appreciated since the Tang Dynasty in China and later influenced the development of different forms of stone appreciation in Japan and Korea respectively. Although stones give us an impression of being staunch and tough, their beauty often comes from their surrender towards Mother Nature. This seems to resemble our relationship with nature. Previous Next

CONTEMPORARY WIND BAND COMPOSITIONS BY HONG KONG COMPOSERS 2019 One of the Hong Kong Composers’ Guild (HKCG) artistic missions is to aim at virtuosity in music composition especially in the integration of traditional and contemporary compositional skills to couple with a rich music color palette of artistic forces. Contemporary Wind Band Compositions by Hong Kong Composers is indeed a golden opportunity to showcase the particular music color of the wind band. Concert Date & Time: October 20, 2019 (Sunday) at 3 p.m. Venue: Auditorium of Tsuen Wan Town Hall Concert Producers: Leung Chi-hin, Austin Yip Conductor: Lio Kuokman Performers: Hong Kong Band Directors Association Programme: Christopher Marshall - The Audacity of Hope (2008)(6'30") Shing Chun-hay - The Wind Blows On (2019)(6') Chan Chin-ting - Deform and Reform (2019)(8')* Leung Chi-hin - Spinning Machine (2019)(8') Wong Hok-yeung Alfred - Digital Hub (2010)(8') So Ka-wai - Refined Vermilion Bird (2019)(8')* *Commissioned by Hong Kong Composers' Guild in 2019 with support from Hong Kong Arts Development Council.

LEE Kar-tai Phoebus 李家泰 Born and raised in Hong Kong, Dr. Lee Kar-tai Phoebus is an active composer, contemporary-music researcher, and educator. His music have been performed in numerous international music festivals and conferences. He writes music for concerts, multimedia-staged performances, dances, galleries and exhibitions, short films and movies. His music has always been described as poetic and refined by listeners. His music often suggests inspirations from oriental aesthetics, philosophies, and classic literatures, and displays multicultural assimilations and contemporary visions through fine techniques and sophisticated musicality. Lee attained the Doctor of Music degree at The Chinese University of Hong Kong. He has been a part-time lecturer at the Chinese University of Hong Kong and the Education University of Hong Kong, a composition tutor at the Hong Kong Art Festival youth programme and Hong Kong University of Science and Technology summer programme, as well as an editorial assistant, music researcher, presenter at RTHK Radio 4. He has been teaching music and conducting composition programmes at universities, colleges and schools, giving workshops and lectures to school teachers, students, and the general public, serving as an adjudicators at music festivals and competitions, and being a writer for compositional teaching materials. At various occasions, he also performs as a choral, orchestral or chamber-music conductor, harpsichordist, organist, and pianist on both traditional and contemporary works. 李家泰博士為土生土長的香港作曲家，熱衷於音樂創作、當代音樂研究、音樂教育及創意推廣，他的作品曾經多次於國際音樂節與會議發表。 他的音樂喜好取材自東方美學、哲學與經典文學，不時融匯中西，並以當代手法細緻演繹。作品多被譽為充滿詩意，處理細膩。 李氏在香港中文大學取得音樂博士銜，曾出任香港中文大學的兼職講師及香港教育大學的客席講師、於香港藝術節青年計劃及香港科技大學暑期課程擔任作曲導師、以及香港電台第四台作編輯助理及音樂曲目編輯。李氏亦曾於不同大學、學院、中學、小學授課及主導作曲培訓，並曾於教育局及公開講座演講班，亦於眾多音樂節及比賽中擔任評審，以及執筆編寫音樂創作教材。 李氏亦經常以不同形式參與傳統古典音樂與當代音樂的演出，例如擔任指揮、演奏古鍵琴、管風琴及鋼琴等等。 MAJOR WORKS 主要作品 Western Orchestra Nocturne (2013) 7' for Symphonic Winds Canvas (2012) 10' for large orchestra 4.4.4.4 – 6.4.4.1 – Timp.+3 Perc. – 2 Hp – Pn – 16.16.12.10.8 Palpitation - Montage for Large Orchestra in 100 Seconds (2011) 100" 4.4.4.4 – 4.4.4.1 – Timp.+4 Perc. – Hp – Pn – Strings Carnival (2009) 4' for symphonic band Spring Flowers, Autumn Leaves, Summer Rain, Winter Snow (2008) 7'30" for orchestra and boys choir Large Chamber Yearning . Sober Anguish (2012) 4' for 12 musicians (fl., ob., cl., bsn., tpt., hn., perc., pno., vln., vla., vc., db.) The Reminiscence of Foliage Silhouette (2012) 8' for 10 musicians The Dirge of Remnant Florets (2010) 5' for 9 musicians (fl., ob., cl., hn., bsn., 2 vln., vl., vc.) Cerulean Spectrum (2009) 7' for string octet Opus 18b (2007) 7' for 18 musicians Chamber Creative Musicking (2015) 5' for string quartet Better Half (2014) 9' - 12' for flute, clarinet, violin, cello, and piano Everlasting is the Moon (2014) 7'30" for violin and viola Deliquenscence (2013) 10' for percussion trio A Mirror of Clouds (2012) 6' for 4 violins and piano Half Glass of Water (2011) 6'30" for wind quintet A Lagoon of Clouds (2011) 6' for flute, clarinet, violin, viola, and piano In the Labyrinth of Stained Glass Mosaic (2011) 6' for Bang On A Can All-Stars (clarinet, cello, double bass, electric guitar, piano, percussion) Arid Branches Resound (2010) 4'30" for flute, oboe, horn, viola, cello, and piano Celadon (2009) 4' for clarinet, guzheng, and vibraphone Percussion Quartet (2009) 11' Paper . Jolt and Gu . Zheng (2008) 10' for female voice, Chinese drum daigu, and guzheng Sognando (2007) 18'30" for flute, violin, viola, piano, organ, and percussion Meditation (2007) 3'30" for violin, recorder, and piano Instrumental Solo Pyrus Flower in Rain (2010) 7' for piano Fantasy and Celebration (2010) 8' for organ Scar (2010) 11' for double bass Thousand Piano for piano and MAX/MSP (2008) 6' 17 Piano Works Vocal / Choral Flying Dreams (2015) 3’ for speech choir On the White Stork Tower (2014) 3'30" for SATB and piano Nostalgia in Four Rhymes (2013) 5'40" for SATB and piano Nostalgia in Four Rhymes (2013) 5'40" for soprano/tenor and piano To Actuate (2010) 5' for speech choir A Recitation on Vegetables and Fruits (2010) 3'30" for speech choir I’m a Goldfish in a Globe (2010) 2' for UMS n’ JIP (tenor and recorder) Dews on Bamboo Leaves (2010) 4'30" for SSAATTBB a capella Miniatures A Little Match That Sparkles (2014) 30" for flute, clarinet, violin, cello, double bass and piano Lamma Winds (2013) 81" for bass clarinet, double bass and piano Quiet Carriage / Susurrus (2012) 1' for bass clarinet, cello and piano I’m a Goldfish in a Globe (2010) 2' for UMS n’ JIP (tenor and recorder) Discography HKIEd 20th Anniversary Tan Poetry Choral Project (2015) / HUGO Productions (HK) Ltd. LPCD1630-7343 On the White Stork Tower for SATB and piano 詩人的繆思－余光中詩作聲樂專輯(2014) (trans.: Muse of the Poet – Music for Poems’ by Yu Kwong-chung) / HUGO Productions (HK) Ltd. HK2530-2 Nostalgia in Four Rhymes for tenor and piano Resonating Colours: Chamber Work (2013) / Published by Hong Kong Composers’ Guild Ltd. A Lagoon of Clouds for flute, clarinet, violin, viola, and piano 管弦樂 （西樂） 夜 (2013) 7' 為銅管樂團而寫 畫布 (2012) 10' 為大型管弦樂團而寫 4.4.4.4 – 6.4.4.1 – Timp.+3 Perc. – 2 Hp – Pn – 16.16.12.10.8 悸動 (2011) 100" 為大型管弦樂團而寫的一百秒作品 4.4.4.4 – 4.4.4.1 – Timp.+4 Perc. – Hp – Pn – Strings 嘉年華 (2009) 4' 為銅管樂團而寫 春花秋葉、夏雨冬雪 (2008) 7'30" 為男童聲合唱團與大型管弦樂團而寫 大型室樂 魂牽夢縈 (2012) 4' 為十二人室樂合奏而寫 (fl., ob., cl., bsn., tpt., hn., perc., pno., vln., vla., vc., db.) The Reminiscence of Foliage Silhouette (2012) 8' 為十人室樂合奏而寫 殘花恨韻 (2010) 5' 為九人室樂合奏而寫 (fl., ob., cl., hn., bsn., 2 vln., vl., vc.) 蔚藍光譜 (2009) 7' 為弦樂八重奏而寫 Opus 18b (2007) 7' 為十八人室樂合奏而寫 室樂 弦樂四重奏的創意律動 (2015) 5' 另一半 (2014) 9' - 12' 為長笛、單簧管、小提琴、大提琴與鋼琴而寫 攸然是玉京 (2014) 7'30" 為小提琴與中提琴而寫 Deliquenscence (2013) 10' 為敲擊樂三重奏而寫 雲鏡 (2012) 6' 為四部小提琴與鋼琴而寫 半杯水 (2011) 6'30" 為銅管樂五重奏而寫 雲泊 (2011) 6' 為長笛、單簧管、小提琴、中提琴與鋼琴而寫 碎彩迷圖 (2011) 6' 為 Bang On A Can All-Stars（單簧管、大提琴、低音大提琴、電結他、鋼琴、敲擊樂）而寫 枯丫嘯鳴 (2010) 4'30" 為長笛、雙簧管、圓號、中提琴、大提琴與鋼琴而寫 青瓷 (2009) 4' 為單簧管、古箏與顫音琴而寫 敲擊樂四重奏 (2009) 11' 《紙 · 驚》與《鼓·箏》 (2008) 10' 為女聲、中國大鼓與古箏而寫 如夢 (2007) 18'30" 為長笛、小提琴、中提琴、鋼琴、管風琴與敲擊樂而寫 沉思 (2007) 3'30" 為小提琴、牧笛與鋼琴而寫 獨奏曲 夜雷細雨打梨花，靜聽微風響叮鈴 (2010) 7' 鋼琴獨奏 Fantasy and Celebration (2010) 8' 管風琴獨奏 痕 (2010) 11' 低音大提琴獨奏 千琴 (2008) 6' 鋼琴配以 MAX/MSP獨奏 鋼琴作品十七首 聲樂 / 合唱 夢想飛航 (2015) 3' 為動感聲藝團而寫 登鶴雀樓 (2014) 3'30" 為四部混聲合唱團與鋼琴而寫 鄉愁四韻 (2013) 5'40" 為四部混聲合唱團與鋼琴而寫 鄉愁四韻 (2013) 5'40" 為女高音/男高音與鋼琴而寫 啟動 (2010) 5' 為動感聲藝團而寫 蔬果誦 (2010) 3'30" 為動感聲藝團而寫 我是魚缸裏的小金魚 (2010) 2' 為UMS n’ JIP（男高音與牧笛）而寫 竹露 (2010) 4'30" 為四部混聲合唱團琴而寫 綪緻小品 A Little Match That Sparkles (2014) 30" 為長笛、單簧管、小提琴、大提琴、低音大提琴與鋼琴而寫 南丫風 (2013) 81" 為低音單簧管、低音大提琴與鋼琴而寫 靜音車箱 / 唧唧咕咕 (2012) 1' 為低音單簧管、大提琴與鋼琴而寫 我是魚缸裏的小金魚 (2010) 2' 為UMS n’ JIP（男高音與牧笛）而寫 唱片目錄 詩樂共融－唐詩新曲原創合唱系列 (2015) 雨果LPCD1630-7343 《登鶴雀樓》 為四部混聲合唱團與鋼琴而寫 詩人的繆思－余光中詩作聲樂專輯(2014) 雨果HK2530-2 《鄉愁四韻》 為男高音與鋼琴而寫 原音幻彩1：香港作曲家室樂作品(2013) 香港作曲家聯會出版 《雲泊》 為長笛、單簧管、小提琴、中提琴與鋼琴而寫 Back

LEUNG Hin-yan Austin 梁騫仁 Leung is a graduate of the University of Hong Kong and the Hong Kong Academy for Performing Arts. He is currently studying aboard. Leung has composed a number of pieces for Chinese instruments. Most of them features the guzheng as a solo instrument. Leung’s recent guzheng pieces includes Sailing, Along the Heart of Remembrance for guzheng and string quartet, Renovated Tradition for guzheng and 15 Chinese instruments and A City Lost/Tranquil times for guzheng and Chinese orchestra. The above mentioned pieces are performed by the Hong Kong New Music Ensemble, Mr. Chung Chiu Yee and the Hong Kong Chinese Orchestra respectively. 梁氏畢業於香港大學及香港演藝學院，現於海外進修。梁氏曾創作多首中樂作品，以古箏為獨奏的樂曲為主。 近期的古箏作品包括《撐篙，在回憶的深處》為古箏及弦樂四重奏而作，《古韻新音》為古箏及 15 件中樂樂器而作及《失城・靜好》為古箏及樂隊而作。上述樂曲分別由香港創樂團，鍾朝而先生及香港中樂團演奏。 MAJOR WORKS 主要作品 Back

CALL FOR SCORES 樂譜徵收 Title: Deadline: 2016-00-00 Entry Fee: Info link: Supporting Document: 項目： 截止日期： 費用： 詳情： 文件： I'm a paragraph. Click here to add your own text and edit me. It's easy. Back