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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

Top of Page Concert II. Chinese Ensemble Music Showcase Windpipe Chinese Music Ensemble The Hong Kong Children's Choir Concert I. Choral and Vocal Music Concert MUSICARAMA 2017: INTEGRATED DISSONANCE P_20180130_214945_p P_20180130_101606_p P_20180130_203926_p P_20180130_214945_p 1/9 Concert II. Chinese Ensemble Music Showcase Windpipe Chinese Music Ensemble II. Chinese Ensemble Music Showcase 中樂作品展演 30.1.2018 8 p.m. Tuesday 星 期 二 Lee Hysan Concert Hall, CUHK 香港中文大學利希慎音樂廳 Musicarama 2017 Programme by Windpipe Chinese Music Ensemble Conductor: Ho Man-chuen Stephen Yip │ Motto for Beauty (2017)(7’)* Law Wing-fai │ The Drunken Tai Bai (1985)(7’) Leung Ka-tung │ Desert Dew (2014)(7’) Chan Ming-chi │ The Legend of Windscape (2015)(9’) Leung Hin-yan│ Renovated Tradition (2017)(10’) Tang Man-ngai │ City of Lights (2017)(7’)* Chan Nga-man │ The Morning Mist (2015)(7’10”) Chris Hung │ The Yu Lan Festival (2014-15, rev. 2017)(10’) 竹韻小集節目 指揮：何文川 葉樹堅 │ 鏡明塵空 (2017)(7’)* 羅永暉 │ 太白醉酒 (1985)(7’) 梁家棟 │ 漠露 (2014)(7’) 陳明志 │ 風姿花傳 (2015)(9’) 梁騫仁 │ 古韻新音 (2017)(10’) 鄧文藝 │ 燈影城樓 (2017)(7’)* 陳雅雯 │ 晨靄 (2015)(7’10”) 洪銘健 │ 盂蘭盛會 (2014-15初稿，2017年修訂)(10’) *Commissioned by Hong Kong Composers’ Guild in 2017 with support from Hong Kong Arts Development Council. 此作品於2017年由香港作曲家聯會委約，費用由香港藝術發展局資助。 House Programme Concert I. Choral and Vocal Music Concert Performer 演奏者 30.1.2018 - Chinese Ensemble Music Showcase 中樂作品展演 Windpipe Chinese Music Ensemble 竹韻小集 Conductor: Ho Man-chuen 指揮：何文川 Founded in 2003, Windpipe Chinese Music Ensemble is a professional Chinese music ensemble actively promoting local talents and producing quality chamber concerts with a mission to promote Chinese music culture in Hong Kong and to show the unique charm of Chinese instrumental ensemble music. The Ensemble bears the artistic motto ‘Small but Elegant, Simple yet Refined’ of characteristic Chinese music, passing on Cantonese, Hakka and Chiuchow music culture. Since its establishment, it has presented over 50 series concerts and 400 outreach concerts, commissioned and premièred over 20 new works by Hong Kong composers, and cooperated with many international and local maestros. In 2011, conductor Ho Man-chuen was appointed as its Artistic Adviser, and the Ensemble’s founder Chan Chiu-yin was appointed as its Executive Director. Currently it is a grant recipient of the Hong Kong Arts Development Council and a registered non-profit-making organization in Hong Kong. Representing Hong Kong, the Ensemble has been engaging in various cultural exchange performances in over 20 countries and regions. Invited performances include Zhangjiajie International Country Music Week (2011), the Chinese Traditional Wind Instrument Music Week at the Shanghai Conservatory of Music (2012), China-ASEAN (Nanning) Music Week (2013), Musicarama (2014), Macau International Music Festival (2015), Silk Road International Arts Festival (2016), Chengdu International Sister Cities Youth Music Festival (2017) and other international music festivals. 竹韻小集成立於2003年，為重視本土、製作精緻、充滿活力的專業小型中樂團體，以發揚「香港中樂文化」為目標，致力展現中國音樂「小而美、簡而精」的獨特魅力。現任常任樂師皆為香港各大專院校音樂科系畢業的優秀青年音樂家，具有豐富演出經驗。樂器種類齊全，編制上繼承了傳統絲竹樂演奏形式，表現手法靈活，勝任傳統與現代的作品，配備各種香港本土傳統和特色樂器，薪傳具有香港特色的廣府、客家及潮汕音樂文化，並委約及首演香港作曲家新作品逾二十首。自成立至今已策劃系列音樂會逾五十場及社區外展音樂會逾四百場，曾合作演出的國際與香港本地名家多不勝數。2011年成立「竹韻小集有限公司」，由知名指揮家何文川擔任藝術指導，樂團創辦人陳照延擔任行政總監，帶領樂團開創新里程。現為香港藝術發展局資助藝團及香港註冊慈善機構。 竹韻小集曾多次代表香港作交流演出，介紹「香港中樂文化」，足跡遍及亞洲、北美洲及歐洲二十多個國家和地區。曾應邀出席之藝術節活動包括「張家界國際鄉村音樂週」(2011)、「上海音樂學院民族管樂週」(2012)、「中國-東盟（南寧）音樂週」(2013)、「音樂新文化」(2014)、「澳門國際音樂節」(2015)、「中國國際青年藝術週」(2016)、「絲綢之路國際藝術節」(2016)、「成都國際友城青年音樂週」(2017)等。 Performers 演奏者 13.10.2017 - Choral and Vocal Music Concert 合唱及聲樂作品音樂會 HKCC Concert Choir HKCC Boys Chamber Choir The Hong Kong Children’s Choir 香港兒童合唱團 Music Director/Principal Conductor: Kathy Fok 音樂總監兼首席指揮: 霍嘉敏 The Hong Kong Children’s Choir (HKCC) was founded in 1969 as a registered non-profit-making charitable organization and has made tremendous contributions for children’s arts training in Hong Kong. HKCC is now the biggest choir in the world and has grown into a diversified arts organization for children. HKCC is invited to perform overseas each year, spreading the message of love and peace in different parts of the world. The Choir has been well received and appreciated in many countries, gaining an international reputation as the “Little Goodwill Singing Ambassadors” and “one of the best children’s choirs in the world”. HKCC was named “China’s Top Ten Children Chorus” in 2003 and won the prestigious “Award of the Audience” at the “Vivace 2006 International Choir Festival” in Hungary. In 2008, the choir was awarded the “Gold Cup” from “Shanghai International Children’s Chorus Festival”. In 2014, HKCC is selected by the International Federation for Choral Music (IFCM) as one of the IFCM Ambassadors for 2013 to 2015. The Choir was invited to perform in the 2014 “10th World Symposium on Choral Music” in South Korea and 2015 “The 1st IFCM World Choral Expo” in Macau. Apart from touring abroad, HKCC also actively participates in local charitable events, including the 1999 “Chorathon” to raise fund for children with hearing disabilities, 2001 “Bridges of Friendship, Bridges of Songs” concert for the Hong Kong Association of the Deaf, 2003 “All for Love” fundraising concert for We Care Education Fund established for children who lost their parents in SARS, 2006 fundraising concert for the Chinese University of Hong Kong, 2008 fundraising music marathon for UNICEF to help children after the Sichuan earthquake, 2010 “Qinghai Earthquake Relief Fundraising Concert” for World Vision Hong Kong to help earthquake victims in Qinghai, “Carol Singing Festival 2011 Sing for Our Next Generation Charity Concert” for the Child Development Matching Fund and 2012 “Bridge of Love Fundraising Concert” for Suen Mei Speech & Hearing Centre which serves children with hearing impairment. As the children’s choir that best represents Hong Kong, HKCC took part in many historical moments, including the Hong Kong Handover Ceremony in 1997, the opening ceremony of the Hong Kong International Airport in 1998, the Hong Kong Disneyland Grand Opening in 2005, various performances to commemorate the 10th Anniversary of Hong Kong’s reunification with China in 2007, and series of performances celebrating the 2008 Beijing Olympic Games, celebrations for the 60th Anniversary of the Founding of the People’s Republic of China, the East Asian Games in 2009, and performances celebrating the 15th Anniversary as well as the 20th Anniversary of the establishment of HKSAR in 2012 and 2017. 香港兒童合唱團（簡稱「香兒」）成立於1969年，為政府註冊非牟利慈善團體，多年來積極推動藝術培訓，為香港音樂及文化界培育不少人才。現時「香兒」已成為世界上人數最多、組織最龐大的兒童合唱團，更發展為一個多元兒童藝術團體。 「香兒」每年均到外地演出，把愛與和平的訊息傳遍世界，獲譽為「小小音樂親善大使」和「世界最傑出兒童合唱團之一」。「香兒」於2003年獲選為「中國十大少年合唱團」，2006年於匈牙利「Vivace國際合唱節」中奪得最高殊榮的「最受觀眾歡迎大獎」，2008年在「上海國際童聲合唱展演」獲頒贈「金杯獎」，2014年更獲選為2013至2015年度「國際合唱聯盟大使」，並獲邀出席2014年韓國「第十屆世界合唱會議」，以及2015年澳門「首屆國際合唱聯盟世界合唱博覽會」，同時作示範演出。 除外地演出，「香兒」亦積極參與各項慈善表演，包括1999年為聽障兒童籌款的「香港合唱馬拉松」、2001年為香港聾人協進會籌款的「2001慈善音樂會——橋」、2003年聯同護幼教育基金為沙士孤雛籌募教育經費而舉辦的「全賴愛：護幼音樂會」、2006年為香港中文大學籌款的「萬眾童心籌款音樂會」、2008年為聯合國兒童基金會募捐以幫助四川大地震受災兒童的「『童聲傳千里．愛心暖蜀童』馬拉松音樂會」、2010年為香港世界宣明會募捐以協助青海地震災民的「青海地震籌款音樂會」、2011年為兒童發展配對基金籌款的「『聖誕頌歌節2011』啟動慈善音樂會」及2012年為服務聽障兒童的宣美語言及聽覺訓練中心籌款的「心．橋籌款音樂會」。 「香兒」為本港最具代表性的兒童合唱團，經常於香港的歷史性時刻演出，包括1997年香港政權交接儀式、1998年香港國際機場開幕典禮、2005年香港迪士尼樂園開幕典禮、2007年多場慶祝香港回歸10週年的活動、2008年一系列迎接北京奧運活動、2009年多場慶祝建國60週年系列活動、東亞運動會開幕禮、2012年多場慶祝香港回歸15週年的活動及2017年回歸20週年文藝晚會及活動。 I. Choral and Vocal Music Concert 合唱及聲樂作品音樂會 13.10.2017 8 p.m. Friday 星 期 五 Theatre, Hong Kong City Hall 香港大會堂劇院 Programme by the Hong Kong Children's Choir Conductors: Albert Lim, Vivian Suen Hui Cheung-wai │ The Bamboo Grove (2014)(3’40”) Leung Chi-hin │ Thoughts of Separation (2016)(4’) Thomas Wong│ Here’s to Life (2016)(4’30”) Wong Kong-yu │ Two Poems of Chen Zi-ang (2017)(5’30”) Viola Yuen │ On a Sleepless Night (2016)(7’10”) Li Kar-yee │Waiting for…x3 (2017)(5’40”)* Chan Sze-rok │ The Superstitious Ghost (2017)(5’)* Vocal works: Lin Sheng-shih│ Four Cancrizans Poems by Su Shi (1963-65)(12’) Chan Kai-young │ Poem Without a Title: Hard it is to Meet and Part (2014)(4’30”) Galison Lau │ When I have Thought of You (2017)(6’)* Austin Yip │ The Poetess (2011)(7’) Anthony Cheng │ Chanson Triste (2002, rev. 2017)(8’) Lee Kar-tai│ Nostalgia in Four Rhymes (2013)(5’) Tam Chin-fai │ Liao Zhai: Wailing Ghosts (2017)(6’)* 香港兒童合唱團節目 指揮：林俊、孫明慧 許翔威│ 竹里館 (2014)(3’40”) 梁智軒│ 離思 (2016)(4’) 黃子衡│ 將進酒 (2016)(4’30”) 王廣宇│ 陳子昂詩兩首 (2017)(5’30”) 阮慧玲│ 不寐倦長更 (2016)(7’10”) 李嘉怡│ 等‧等‧等 (2017)(5’40”)* 陳詩諾│ 迷信的幽靈 (2017)(5’)* 聲樂作品： 林聲翕│ 蘇軾迴文詞四首 (1963-65)(12’) 陳啟揚│ 無題：相見時難別亦難 (2014)(4’30”) 劉詠浲│ 當我想到你的時候 (2017)(6’)* 葉浩堃│ 易安居士 (2011)(7’) 鄭汝森│ 悲‧歌 (2002初稿，2017年修訂)(8’) 李家泰│ 鄉愁四韻 (2013)(5’) 譚展輝│ 聊齋之鬼哭 (2017)(6’)* The Hong Kong Children's Choir

MUSICARAMA 2017: CHINESE ENSEMBLE MUSIC SHOWCASE Concert Date & Time: Jan 30, 2018 (Tuesday) at 8 p.m. Venue: Lee Hysan Concert Hall, CUHK Programme by Windpipe Chinese Music Ensemble Conductor: Ho Man-chuen Stephen Yip - Motto for Beauty (2017)(7’)* Law Wing-fai - The Drunken Tai Bai (1985)(7’) Leung Ka-tung - Desert Dew (2014)(7’) Chan Ming-chi - The Legend of Windscape (2015)(9’) Leung Hin-yan - Renovated Tradition (2017)(10’) Tang Man-ngai - City of Lights (2017)(7’)* Chan Nga-man - The Morning Mist (2015)(7’10”) Chris Hung - The Yu Lan Festival (2014-15, rev. 2017)(10’) *Commissioned by Hong Kong Composers’ Guild in 2017 with support from Hong Kong Arts Development Council. Click here for the house programme.

MOK Kei-hon Simon 莫麒瀚 Simon K. H. Mok is a pianist composer in Hong Kong. He learnt music composition from Dr. Joshua Chan and attained his M. Phil. degree from the University of Hong Kong in 2008. His work ranges from piano solo, transcriptions, ensembles, choral, orchestral and local pop music, with special interest in virtuosic pieces for the keyboard. MAJOR WORKS 主要作品 Western Orchestra Melancholy Variations (2005) [9'17"] Cantilena (2004) [2'25"] Chamber Paraphrase on 18th Variation for Cellos (2018) [3’12”] Amusement Park (2013) [7’15”] Jungle Folk (2004) [2’40”] Sonata for Piano, Violin and Drums (2001) [5’59”] Farewell (1999) [3’29”] Romance (1998) [2’20”] Instrumental Solo Piano Work for Single Hand, Op. 23 (2014-2021) [16’59”] Lullaby (2018) [2’31”] Angry Bird Prelude and Fugue (2013) [2’57”] Five Bagatelles, Op. 15 (2000-2008) [8’21”] Five Preludes Op. 17 (2003-2005) [11’9”] Brazillian River (2004) [1’34”] Autumn Barcarolle (2004) [2’56”] Six Waltzes Op. 5 (2000-2004) [19’27”] Waltz in Four Op. 22 No. 1 (2004) [2’15”] Piano Sonata, Op. 9 No. 3 (2001) [9’7”] Five Romantic Sketches Op. 13 (2000-2003) [16’2”] Chopin’s Medley Transcription (2003) [5’29”] Seven Preludes Op. 8 (2000-2002) [10’39”] Four Images, Op. 7 (2000-2002) [17’37”] Ten variations on Chopin’s Largo, Posthumous (2001) [17’41”] Reverie (2000) [8’18”] Fantasy Variations (1999) [4’59”] Waltz Op. 1 No. 1 (1997) [4’57”] Vocal / Choral Canon in D (2004) [2’47”] Christmas Chorale (2003) [1’57”] Multimedia By the Sea (2001) [5’27”] Back

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

LI Cheuk-yin 李卓賢 李卓賢，香港作曲家，音樂製作人，古典結他演奏者，近年活躍於影視媒體配樂創作。2012年畢業於香港演藝學院，先後獲得音響設計及音樂錄音文憑、作曲文憑及音樂學士（榮譽）主修作曲。在學期間師隨潘寶才學習作曲，黃文錦學習古典結他。在學作品《Life Cycle of Mayfly》曾於入2009年度入選《音樂新一代》。 畢業後曾參與聖樂工作，與香港聖樂促進會創辦人譚靜芝博士合署翻譯《聖經與崇拜》一書。近年主要作品多以影視及多媒體為主，原創電影配樂包括《極限拯救》、《失蹤》、《逃獄兄弟》及《魔根》等等；電視劇集配樂製作多不勝數，其中包括超過2500集《愛回家》系列、《東方華爾街》、《PTU機動部隊》、《長安少年行》等等；舞台劇作品有包括《All's Well That Ends Well 終成眷屬》、《Moodless》、《Moodless II: Severely Unaffordable》及Inital 2018春夏《東方列車》發佈會。其舞台劇作品《火鳳燎原》舞台劇‧壹《亂世英雄》於2019年與林鈞暉和陳玉彬一同獲頒香港舞台劇獎最佳原創音樂（戲劇）。 李氏多年來積極為古典結他創作嚴肅音樂作品，亦曾參與不同古典結他工作坊及大師班，並參與Alvaro Pierri 及Gerald Garcia 的結他大師班演出並獲得指導。 李氏亦熱衷於多媒體科技、創意學及意識學研究，曾於2019-2022年任職香港理工大學多媒體及科技碩士課程作客席講師，教授音響設計與科技課程。 MAJOR WORKS 主要作品 管弦樂 雅歌 Song of Songs (2012) 為大型管弦樂團而寫 大型室樂 前奏曲 Overture (2010) 為十四人室樂合奏而寫 室樂 氣息 qi xi (2007) 為鋼琴和大提琴而寫 不能承受的生命之輕 L'insoutenable légèreté de l'être (2008) 為長笛、大提琴和顫音琴而寫 Life Cycle of Mayfly (2009) 為單簧管、大提琴、笙、古箏和敲擊樂而寫 Dead Man Walking (2009) 為低音結他和顫音琴而寫 綠感 Quartet for the Touch of Green (2010) 為單簧管、巴松管、豎琴和中提琴而寫 死水 (2010) 為女高音、單簧管、大提琴和鋼琴而寫 念 nim6 (2011) 為弦樂四重奏而寫 憂愁變為喜樂 Grief Will Turn To Joy (2012) 為手鈴獨奏和結他而寫 三首歌 Three Songs (2012) 為女高音和結他而寫 獨奏 凝望星星的耳朵 Stargazing Ears (2008) 為鋼琴而寫 小品一號 Miniature No.1 (2010) 為中提琴而寫 眼淚的香膏 Perfume of Tears (2012) 為結他而寫 聖三一默想 Meditation on the Holy Trinity (2012) 為管風琴而寫 電子音樂 Stillness Flow (2011) 為Max/MSP 而寫 Back

The International Society for Contemporary Music (ISCM) is an international network of members from around fifty countries, devoted to the promotion and presentation of contemporary music. It is a premier forum for the advancement, dissemination and interchange of new music from around the world. The annual ISCM World New Music Days festival presents music from each of ISCM member sections, showcasing the incredible diversity of musical practice in our time.  ISCM WORLD MUSIC DAYS The International Society for Contemporary Music (ISCM) is an international network of members from around fifty countries, devoted to the promotion and presentation of contemporary music. It is a premier forum for the advancement, dissemination and interchange of new music from around the world. The annual ISCM World New Music Days festival presents music from each of ISCM member sections, showcasing the incredible diversity of musical practice in our time. Hong Kong Composers' Guild represents Hong Kong section as one of ISCM's member. For more details, please visit the ISCM Website . Selected pieces by Hong Kong composers: 2025 Lisbon, Portugal Leung Hong-yu: Variations 2022 Auckland and Christchurch, New Zealand Richard Tsang: Distant Lights 2019 Tallinn & Tartu, Estonia Chan Chin-ting: Double Exposure So Ho-chi: Radio Conversation 2018 Beijing, China Austin Yip: String Quartet No.5: Time Motor Stephen Yip: Realm of the Immortals 2017 Vancouver, Canada Luk Wai-chun: Fire Dragon Dance 2016 Tongyeong, South Korea Chan Chin-ting: tempora mutantur 2015 Ljubljana, Slovenia Chan Kai-young: Fata Morgana Chris Hung: Vibrant City 2014 Wroclaw, Poland Chan Ho-yi David: A Retrospect 2013 Kosice, Bratislava (Slovakia) and Vienna (Austria) Li Cheong: Impromptu II 2012 Antwerpen, Belgium Wong Chun-wai: Nhemamusasa Chan Kai-young: Tinkles in the rain 2011 Zagreb, Croatia Fung Dic-lun: And the Strings Resound Leung Chi-hin: Ulmost Attack 2010 Sydney, Australia Pang Chun-ting: In Different Spaces Austin Yip: Cambodian Files at a Temple in Kyoto Samson Young: Build Socialism with Chinese Characteristics 2009 Gothenburg, Sweden Alfred Wong: Flame Keith Leung Kei-cheuk: Dot and Block Cheung Pui-shan: The Dragon Cheung Pui-shan: Dai Pai Dong 2007 Hong Kong, China Chan Hing-yan: There's Something in the Wind Joshua Chan: In the Days of the Travelling Tram Chan Ming-chi: Jing.Qi.Shen Victor Chan: Two Chinese Songs Cheung Pui-shan: Flow with the Stream Ip Kim-ho: Momento Doming Lam: Thanksgiving to the Kitchen God Lam Kwan-fai: City Instinct Galison Lau: Spelling Vocabularies Law Wing-fai: A Thousand Sweeps Clarence Mak: Touch of the Past Raymond Mok: A Little Suite: Chinoiserie Tang Lok-yin: Vocanicity Tang Man-ngai: Requiem - In Memory of Pope John Paul II Richard Tsang: But for the Heart… Wu Cheuk-nam: Ayala 2006 Stuttgart, Germany Chan Wing-wah: The Flying Apsaras 2005 Zagreb, Croatia Stephen Yip: Pentagon 2004 Switzerland Tang Man-ngai: Landscape

SHAO Litang 邵麗棠 Shao Litang is currently a Doctor of Philosophy candidate at the University of Hong Kong under the supervision of Dr. Joshua Chan. She received her Master of Music degree majoring composition at the Hong Kong Academy for Performing Arts. Shao’s Chinese ensemble work Four Pieces of Chinese Calligraphy for Dizi, Soprano sheng, Pipa, Yangqin and Erhu was shortlisted in the score submission of “Music form the Heart” held by the Hong Kong Chinese Orchestra(HKCO) and was performed by HKCO in the concert. This piece also received the third prize of the 7th Con Tempo Chinese New Chamber Music Composition Competition presented by the Central Conservatory of Music. *Content available in English only. MAJOR WORKS 主要作品 Back

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FRANCE AND HONG KONG EXCHANGE CONCERT 2019 The France-Hong Kong Exchange Concert marks a good musical exchange between Hong Kong Composers' Guild (HKCG) and the Ensemble Télémaque from France. Under this friendly musical exchange arrangement, two Hong Kong composers, namely our Chen Yeung-ping and Lee Kar-tai Phoebus, were invited last year to compose two music pieces for Ensemble Télémaque and premiered in Marseille under the baton of Raoul Lay, their music director. In exchange, Raoul Lay was invited to come to Hong Kong to conduct our local musicians to perform a Hong Kong program, featuring not only the said two commissioned pieces but also other French pieces and HKCG works. Concert Date & Time: September 27, 2019 (Friday) at 8 p.m. Venue: Theatre of Sheung Wan Civic Centre Concert Producers: Galison Lau, Lee Kar-tai Phoebus Conductor: Raoul Lay Performers: Pang Hong-tai (Sheng) Hui Wing-hang (Flute, Alto Flute) Ng Lai-man Stephanie (Clarinet, Bass Clarinet) Cheung Man-yui Kitty (Violin) Yang Fan (Viola) Letty Poon (Cello) Yim Chui-chu Linda (Piano) Vong Wai-man Raymond (Percussion) Programme: Yann Robin - Phigures II (2006)(6') Lee Kar-tai Phoebus - Lueur d'une chandelle sur le paravent au paysage (2018)(12')* Chan Kai-young - Shimmers the Shivery Moon (2013/18)(8') Luk Wai-chun Vincent - Yangzhou massacre (2016)(7') Chen Yeung-ping - The Thoughts of Flowers (2018)(7')* Régis Campo - Pop-art (2002)(11'30") *Commissioned and premiered by Ensemble Télémaque in Marseille, France, in 2018.

SOUND-IMAGination 2016: Hong Kong Landscape SOUND-IMAGination 2016: HONG KONG LANDSCAPE SOUND IMAGination: Hong Kong Lanscape where sound, images and imagination cross 20 specially-commissioned string quartet works by Hong Kong composers will be premiered in a single concert where sound, images and imagination cross. Date/Time: 14th January 2016 (Thursday) 8pm Venue: Multi-media Theatre, HKICC Lee Shau Kee School of Creativity Composers: Boo Chun-kit, Chan Chin-ting, Chan Ho-yi, Chan Kai-young, Chris Hung, Kwok Tsun-huen, Lam Lai, Lau Hiu-kong, Livia Lin, Lun Wai-kit, Shao Litang, Shuen Lai-yin, So Ho-chi, So Ka-wai, Tam Ka-shu, Joyce Tang, Wyman Wat, Wong Chun-wai, Yau May-kay and Austin Yip. Photographers: Ho Ka-ho, Hui Gi-wai, Lam Wing-sze, Lam Yin-kwan, Leung Hoi-nga, Li Yu-fuk, Ng Kai-yan, Wong Mei-yin Performed by the RTHK Quartet Organised by Hong Kong Composers' Guild Concept and Programme by Lam Fung, Lee Wing-ki and Tang Lok-yin In Collaboration with the Academy of Visual Arts, HKBU Supported by the Hong Kong Arts Development Council About the Concert 有關音樂會 Composers' Biography 作曲家簡介 Composers' Sharing 作曲家分享 Facebook Event Page 音樂會Facebook專頁

NEW GENERATION 2025 List of Finalists ( In no particular order) Title 作品名稱 Composer 作曲家 Order *In the Flow of Resonance *《餘韻流轉》 Zheng Enzhe 鄭恩哲 Genesis 《創》 Leung Kai-sun Joshua 梁啓新 Winner Dancing with the Dragon 《龍舞群聲》 Jero Leung 梁俊灝 Hāni 《哈尼》 Hua Wenyao William 華文堯 2nd Runner up The Calls of Vigilance Resonate 《我聽見警號在迴響》 Chung Yan-qiu 鍾昕荍 Splendid Echoes of a waning dream 《絢爛於夢醒前》 Chung Tsz-yin 鍾子彥 1st Runner up The Wind Rises, the Kites Dance 《風起箏舞》 Chung King-yat 鍾敬逸 Stonescape 《石景》 Cheung Ho-ming Felix 張浩銘 Mountain Chain 《山脈》 Cheung Hei-lam 張希琳 *Commissioned work by the First Prize Winner 2024 The Concert Date & Time: Thursday, 12 June 2025 at 8pm Venue: RTHK Studio One Guest Performer: Brassdivo