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【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

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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 林瀚聰《我們將在星跡中相遇》 I. Q&A 請簡單介紹在「聲影集：映照香港」中你的新作。 「星跡」是指一種通過長時間曝光以抓取到夜空中恆星視運動的照片。在星跡照片中，單個的恆星顯示為一條亮痕，並且曝光時間越長，亮痕越長。《我們將在星跡中相遇》以對位旋律交織出一幅星跡畫面：洞簫在引子獨奏出一條細緻的主題，接著是二胡的加入，把即興的旋律發展成完整的句子；揚琴彈奏出如流星般的十六分音與輪音，配合笙的自由半音和弦，營造出一個浩瀚的宇宙。突然一片靜寂，鏡頭就像瞬間由無盡的天際縮影到地球的某處 － 香港（大尾督*）的上空：洞簫的華綵句引領全體達到結尾的終止式。 夜空，就是一個無邊無際的大銀幕，放映著這一百三十八億年來的紀錄片。故事在地球上完了，卻又在太空某個深處繼續上演。很多年後，我們，將會在星跡中相遇。 II. 作曲家簡介：林瀚聰 創作習慣：開著錄音機在鋼琴即興彈奏，再默寫合適的部分，然後加工。 喜歡香港地方：灣仔（一個穿梭古今，富傳奇色彩的小社區） 喜歡的景象：太陽雨（sunshower）在晴天或有陽光普照時發生的下雨現象，在日本又被稱作「狐狸娶親」。此現象捕捉了晴陰雨並存的瞬間，我亦曾以此景象為題把多首舊作的序收錄成《情音語》。

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

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

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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 王宇軒《月色》 I. Q&A 1) 請簡單介紹在「聲影集:映照香港」中你的新作。 這是一首為洞簫，揚琴創作的短曲，在短短一分鐘裡面作曲家嘗試透過相中的滿月加以幻想把月亮圓缺過程表達出來，觀眾能否透過音樂也能夠想像到呢？ 2) 是次的音樂作品都是根據特定的攝影作品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?請簡單向我們分享。 我認為純音樂創作沒有框框，作曲家會進行聯想，這個聯想是非常個人和獨特，然後把想像到的意境，感受透過音樂表達出來。而加上攝影作品作曲家將攝影作品跟音樂結合，找出共同之處把相中內容以音樂形式表達出來。 3) 請簡單分享創作此樂曲的方法或技巧。 樂曲透過洞簫揚琴不同音色貫穿整首樂曲，透過音色轉變把月亮圓缺描繪出來。 II. 作曲家簡介：王宇軒 創作習慣: 喜歡一個人坐在工作室裡創作 喜歡的香港地方: 香港的海傍 喜歡的景象: 日落

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 陸尉俊《窗》 I. Q&A 1) 請簡單介紹在「聲影集:映照香港」中你的委約作品。 我的作品「窗」是洞簫、笙和揚琴三重奏，創作靈感是來自「窗」這張相片。相中是由屋裡看窗外景物、窗外近處是鄉郊的景色，而遠處是一些正在興建的大廈。我以相中的第一人身去創作，以洞簫比擬嘆息中人，而揚琴和笙主要以不同色彩的和弦來營造沉重和虛幻的感覺和氣氛，以配合相中的畫面，從而表達城市蠶蝕鄉村衰落的那一份無奈慨嘆。 2) 樂曲如何與影像掛勾和配合? 相中是由屋裡看窗外景物、近處是鄉村的景色，而遠處是一些正在興建的大廈。我用揚琴和笙主要演奏不同色彩的和弦來營造沉重的氣氛，以配合影像中室內那份深沉暗淡的畫面。 而樂曲的中間是我對影像以外的想像，我幻想窗外是昔日美麗的田園風光、繁榮純樸的鄉村景象，這對比相中城市蠶蝕、人去留空的畫面，來表達城市蠶蝕鄉村衰落的那一份無奈慨嘆。 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? 我理想中的香港是城鄉共融，多元發展。但眼中現今所見的香港是鄉村沒落、發展捨難取易，在寧靜鄉郊建議發展大型購物城，棕地成為貨櫃場等。這一切都使昔日純樸鄉郊陸續成為商人的囊中物，這是一個多麼令人惋惜的現象。所以，這樂曲中簫的嘆怎和揚琴和笙沉重的氣氛結合相片的畫面正正呈現這一份無奈的惋惜慨嘆。 ii. 作曲家簡介：陸尉俊 日常嗜好：行山、踏單車、跑步 喜歡的香港地方：香港擁有國際化的城市景觀，背後雖留下秀麗的山水－悟桐寨，和莊麗的自然景色－鳳凰山日出。 喜歡的景象：藍天白雲、紅葉秋色、日落餘暉、滿天星斗

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

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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// Leung Ka-tung Tony's Photograph I. Q&A 1) How did the image inspire you to write this piece? The image is like one scene of a film. I tried to imagine a story that could be drawn from it. The colour and the intensity of the image have a direct impact on the musical language. 2) How does your piece correlate with the visual image? The silhouettes against subtle, darker shades suggest an atmosphere of mystery and isolation. Night is falling. Equipped with walking stick and backpack, will these men reach their destination before dark? Even with the uncertainty, the four instruments sing their interwoven lines calmly as if the travelers are discussing which way to go, before a regular pulse develops. 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? A specific visual image establishes an intentional reference between audience and composer. The composer decides how the two art forms intersect. It can be enriching for both the creation process and experiencing the creation. II. About the Composer - Leung Ka-tung Tony Favorite sound: Rain stick and bass gong together Favorite composer/ music: J.S. Bach for counterpoint Favorite visual artist/ artwork: Claude Monet for impressionism

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