【SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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

【SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 葉劍峰《粼》 I. Q&A 1) 樂曲的創作靈感？ 粼 - 粼粼波光是形容水面平靜，閃閃發亮的景色，再加上了點點的的燈光這正是此曲的創作概念。 2) 樂曲如何與影像掛勾和配合？ 此曲中的笙正是代表著平靜的水面，而跳脫的裝飾音就好像水面上的漣漪一樣飛舞，楊琴則是代表明亮的燈光在水面上閃爍，此情境亦令作曲家想起了白居易的《江樓夕望招客》：「燈火萬家城四畔，星河一道水中央。」 。 3) 在這首作品中聽眾可特別留意之處？ 此曲中緩慢地變化的水面與急速的轉動的燈光相互地影響著各自的形態，這正是此曲特別之處。 II. 作曲家簡介：葉劍峰 地方:坪洲 景象:海 聲音:寧靜

【SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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

I.《靜音車箱》 請介紹一下《靜音車箱》的創作靈感，作品想表達什麼？ 這首作品是為聯會在2012年舉辦的SOUND-IMAGination音樂會而創作 (該音樂會展演作曲家拍攝或選取的香港照片配以1分鐘原創樂曲)，我當初著手捕捉城市中特別一瞬間，希望讓作品短短的一分鐘也值得欣賞，最後選取了東鐵的靜音車箱的標誌為圖，因為圖像本身和聲音也有關聯，而東鐵也是我日常經常乘坐的交通公具。在靜音車箱上理論上是沒有人聲的，乘客相對安靜，因此環境的雜聲例如火車的行駛聲音便顯得格外明顯，而《靜音車箱》這樂曲便是我對這環境聲音有感而發而寫下的。 作品運用大量延伸技法 (extended techniques)，在運用的時候你有什麼想法？ 在綜覽前人作品時看到很多延伸技法的運用，譬如美國20世紀初，延伸技法的運用是比較實驗性的，例如John Cage把螺絲放在鋼琴裡再彈奏。到了現代，20世紀後，有很多作曲家依然運用延伸技法，但那些聲響已不再是實驗而是已存在的素材，無疑延伸技法能製造一些特別的聲效去攝取觀眾的注意，但有時候卻如華美的包裝但失卻聲音背後的意義。我比較關注運用技法或聲音背後的意義，因此衍生出一個想法，希望使用延伸技法創作作品，但這些技法在作品中的運用是有意義，必須而不能被取替的。因緣際會這音樂會限定作品長度一分鐘的規限，我認為是個合適的機會嘗試在濃縮的時間內只運用延伸技法來創作，同時延伸技法的聲響十分適合表達靜音車箱內的環境聲音，所以作品就這樣完成了。 II. 城市影像與聽覺 想了解一下作品的長度與城市的速度有關係嗎？這首作品只有一分鐘，算是十分短的作品，短作品和長作品於創作上有哪些差異？ 創作時沒有考慮城市的速度與作品的關係，當時是因應徵收樂譜的長度規限來創作，但當我在研究短篇音樂（miniature music) 時就發現snapshot和短篇音樂有著某種同質的關係，都是捕捉剎那的視覺或聽覺，而一分鐘的音樂在嚴肅音樂來說是十分短促的，但最終音樂與影像的關連就很視乎觀眾的聯想。 短作品與長作品的取材會有所不同，短作品的表達會比較直接，長作品則容許更長時間的鋪排和沉澱，可包含更多層次的想法。短作品和長作品的規格(form)不一樣，時間的規限就如畫板大小，長作品是大畫板，而短作品是小畫板，因應畫板大小可以在上面發揮的東西也不一樣。 III. 錄像拍攝 為室內樂錄製短片於我們也是嶄新的嘗試，你對是次拍攝有何感想？ 這次拍攝很開心，好玩。當初沒有想過會自己彈奏，自己作為作曲家會想去看別人如何演奏自己的作品，在文學有個說法是「作者已死」(羅蘭・巴特)，作品在創作完成後就脫離了作者，可供閱讀者自由演繹，在音樂亦然，對創作者來說看演奏者如何詮釋自己的作品是有趣的觀察。然而，這次嘗試自己彈奏也很開心，創作時雖沒有這打算，但自己畢竟最清楚作品的原意，執行起來最貼近自己的意思。 是次拍攝能表達作品的原意嗎？ 這作品標明了樂器演奏每部份的時限，但演奏時不同樂器演奏的互動比起嚴謹地跟從秒數重要，而這次拍攝中雖然三件樂器分開錄音，在當中我同時充當指揮，也能保存作品的感覺。 ＊ 作曲家簡介・李家泰 喜歡的藝術家：Bach, Ligeti, 吳冠中, Jackson Pollock 創作靈感來源：畫、大自然 日常嗜好：食東西、看電影

【SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 葉樹堅《日光下澈》 I. Q&A 1) 請簡單介紹在「聲影集:映照香港」中你的委約作品。 時間，光暗，色彩 2) 樂曲的創作靈感? 調和，立體 3) 請形容一下你眼中的「香港」,在樂曲中如何呈現這感知/意像? 懷念，和諧，希望 II. 作曲家簡介：葉樹堅 喜歡的香港地方: 維港 喜歡的景象: 倒影 喜歡的聲音: 自然

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 陳雅雯《沒有斷線的風箏》 I. Q&A 1) 請簡單介紹在「聲影集：映照香港」中你的委約作品。 樂曲描繪風箏升空、在空中翱翔與降落。天空上的風箏看似自由，不受束綁。可是，風箏要有線才能安全升空飛翔，安全回到地上。這是自由還是不自由呢？我是找不到答案。 2) 樂曲如何與影像掛勾和配合？ 影像是一隻在天上飛翔的風箏，而樂曲描寫的升空與降落是在照片中看不見的部分，風箏與線的關係亦然。所以我以音樂刻劃那些影像中看不見的部分，令觀眾有更多的思考空間。 3) 在這首作品中聽眾可特別留意之處？ 聽眾可以留意樂曲的三個部份：由地上，到天上，再回到地上。亦可留意二個樂器之間的關係，思考那個代表風箏，那個代表線。 II. 作曲家簡介：陳雅雯 喜歡的景象： 山山水水 喜歡的聲音： 海浪聲 喜歡的作曲家／樂曲：Sibelius

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 邱美琪《活 * 存》 I. Q&A 1) 請簡單介紹在「聲影集：映照香港」中你的新作。 創作這首樂曲的時候我感到不安。照片中的婆婆為糊口掙扎，我卻安坐家中以她為題材寫作。在道德觀點上看，我覺得這樣是不對的。 2) 樂曲如何與影像掛勾和配合？ 樂曲安靜祥和，是我給這班拾紙皮婆婆們的祝福。 3) 請形容一下你眼中的「香港」，在樂曲中如何呈現這感知／意像？ 在我眼中，我覺得香港還是不少有正面有良知的人，但是都被社會的怨氣覆蓋了；很可惜。我當然沒有選擇將這些負能量帶進入音樂。 II. 作曲家簡介：邱美琪 喜歡的聲音：風聲，流水聲，火車聲。 喜歡的作曲家／樂曲：所有Bach的音樂 喜歡的導演／電影：伊朗導演 Kiarostami

SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// Wong Chun-wai's Waning Moon, Shivering Glimmer I. Q&A 1) How does your piece correlate with the visual image? The music captures the waning moon with shivering glimmer shown in the photo with a distorted version of the traditional Cantonese children song “Shiny Moon” ﹙《月光光照地堂》，又名《月光光》﹚. 2) How did the image inspire you to write this piece? Since the music is written for a photo, I have to observe the tone, the overall impression and special feature(s) of the image before I decide the mood, the materials and structure of my piece . 3) Please introduce the special features or fragments of your work. Audiences can try to see if they can follow the distorted tune of “Shiny Moon”, which is present almost throughout the piece. II. About the composer - Wong Chun-wai Hobbies: Composing Favorite composers: Joe Hisaishi/Gustav Mahler/Maurice Ravel/John Williams Favorite movie: Spirited away

【SOUND-IMAGination: Hong Kong Landscape 聲影集:香港景觀】 //Feature 特寫// 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