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【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// 王廣宇《粵香》 I. Q&A 1) 樂曲如何與影像掛勾和配合？ 音樂與影像的聯繫是直接的。音樂開始時纏繞的二度音程，模仿烏蠅嗡嗡聲。隨後出現的舒展的旋律，似從畫面中飄出蛋黃香味。 2) 請簡單分享創作此樂曲的方法或技巧。 不同段落安排不同類別的和聲。開始時用不協和的多調性，中段轉為協和的單純調性。 3) 在這首作品中聽眾可特別留意之處？ 熟悉粵劇的聽眾會立即認出其中一個主題的出處。 II. 作曲家簡介：王廣宇 創作習慣：一日內隨時可以寫 喜歡的香港地方：所有舊區 喜歡的導演／電影：李安

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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// Tsui Mei-ling Meilina's Frost I. Q&A 1) Briefly introduce your commissioned work. Frost is a 2-minute piece written for Xiao, Tenor Sheng, Er Hu and Yang Qin. It is based on a photograph of the Nina Tower in Tsuen Wan and its surroundings at night taken from a less urban area in Hong Kong. 2) How did the image inspire you to write this piece? The orange-tainted sky, the still, unobtrusive boats and dark waters had a profound influence on the slow pace and harmonic language used, especially in the beginning of the piece. The contrast to that, the lights from modern skyscrapers and ‘beehive’ residential buildings across the waters inspired different musical ideas which altered the mood of the piece to something more lively and dynamic. 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? My musical interpretation of frost would have been very different had I not seen a specified visual image of it. Pictures have incredible power in evoking emotions, a single look at a picture can instantly affect your mood. You could also imagine yourself standing in the same spot as the photographer. For my case, I imagined myself standing alone on a shore facing the Nina Tower in Tsuen Wan on a cold winter night, feeling the winter chill blowing against my face, listening to the sounds of anchored boats rocking on small waves, trying to find peace in this remote part of Hong Kong but at the same time marvelling at the busy lights of the urban area from across the waters. The picture serves as a guide, and in a way it dictates what the observer should think about or feel. It could evoke many different emotions or it could evoke very little emotions, it all depends on what the focus, layers, and scope of the picture are. Composing music without the aid of visual image, on the other hand, would just mean that I am free to express things without limiting myself to the inspiration that I get from a picture. II. About the Composer - Tsui Mei-ling Meilina Composing habit:
 1) Trying out different ideas on the piano and jotting them down on paper 2) Pacing up and down or laying in the foetal position because I am stuck 3) Extending or creating variations of the ideas 4) Then somehow miraculously finishing the piece with lightning speed. Favorite place in Hong Kong:TST Promenade Favorite director/ movie: Peter Jackson/ the Lord of the Rings trilogy

【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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 劉詠浲《頂》 I. Q&A 1) 樂曲的創作靈感？ 從來樓群聯想到香港的未來和港人的生活。香港人最重視樓，相片中大片樓群形成一個震懾的觀感。2047年後與樓宇相關的一切還會一樣嗎？ 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？ 快是香港的其中一個特色，每天生活得匆匆忙忙。就算以為自己放慢了，但其實也沒有慢幾多。樂曲中以快和線條交織開始，繼而形成緊繃的高潮。之後是似慢非慢、比較舒情的樂段去表現出港人就算去減壓都比較來去匆匆。 3) 請簡單分享創作此樂曲的方法或技巧。 以(0247)選音，以20+47拍為一組(共3組)寫成。 II. 作曲家簡介：劉詠浲 喜歡的香港地方：蒲台島，南丫島 喜歡的聲音：浪聲，風聲，大雨聲 喜歡的作曲家：Thomas Ades, Michel van der Aa, Oliver Knussen, Esa-Pekka Salonen

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 甘聖希《迪》 I. Q&A 1) 樂曲的創作靈感？ 樂曲的創作靈感來自於相中水滴內平靜的景像。它帶出一點點恬靜和平淡的意境，而音樂所描寫的就是這淡淡的味道。 2) 請簡單分享創作此樂曲的方法或技巧。 音樂由兩句樂句和一個小結尾組成。全曲沒有太大聲響上的變化，只用了一條旋律線貫穿。但寫曲人用旋律的動向和音程上的空間感製造出樂曲的張力和方向感，並運用笙來加強張力的鬆緊程度。 3) 在這首作品中聽眾可特別留意之處？ 這只是一個很簡單很舒服的音樂，寫曲人反而不想聽眾故意留意什麼。放鬆精神，好好休息分半鐘便夠了。 II. 作曲家簡介：甘聖希 日常嗜好：Play video game 喜歡的香港地方：大排檔 喜歡的作曲家：Mozart

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

【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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 林建兒《燈海幻舞》 請簡單介紹在「聲影集:映照香港」中你的新作。 香港夜景委實多姿多彩，我所收到的照片，上半部是雲海，下半部是燈海與黯密的山丘對立，而最觸動我心，要算是閃爍迷離的燈海了。 故以幻光舞影作為創作 “燈海幻舞” 的靈感。閃爍的燈海，有若天星舞動，故我先以矢量式音型朔造閃爍迷離的光影，繼而以舞蹈節奏配以光影無處不到的旋律穿梳交替而繪形繪聲的一霎流光舞影。 II. 作曲家簡介 : 林建兒 日常嗜好 : 平日愛好砌茶及遠觀遼闊景色，尤其是山景。 創作習慣 : 「蹈虛揖影，別構靈奇，游心所在，藝思尚美。意境由心發，活筆手生花，遼闊天地間，流黃濺飛白。」(林建兒•作詩言志) 喜歡的景象 : 我喜歡從平凡景色中，撮取目外之景，耳外之音，意外之情。 有如空中音，相中色，水中月，鏡中像，言有盡而意無窮。 [if !supportLineBreakNewLine] [endif]