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聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 屈雅汶《沉默的哀號》 I. Q&A 1) 請簡單介紹在「聲影集:映照香港」中你的新作。 作品「沉默的哀號」以蕭及笙兩件樂器作比喻，在樂句結構及聲音上互相牽引，帶出香港繁華鬧市車來車往之下，一位老人垂著頭推著木頭車，落泊街頭的強烈對照氣氛。 2) 樂曲的創作靈感? 創作靈感完全來自攝影師的照片，望着照片中的主角，感覺到「他」的沉重、疲累、乏力、靜止。在同一空間下，車輛在周遭熙來攘往，而他的步伐卻完全跟不上。 「繁榮與貧窮」之間，作曲家希望藉着作品，用聲音呈現出這種張力。 3) 樂曲如何與影像掛勾和配合? 作品在速度、節奏及選音方面均嘗試表達出沉鬱的氣息。笙主要演繹周遭環境的聲音，而蕭則表達照片中的主角，我們彷彿聽到「他」的每一下呼吸及嘆息。 II. 作曲家簡介
：屈雅汶 創作習慣: 閉關，想像，把感受寫下來 喜歡的作曲家/樂曲: Sergei Prokofiev 喜歡的視覺藝術家/視藝作品: Piet Mondrian

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

【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// 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

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

【聲影集：映照香港 SOUND-IMAGination: Hong Kong Reflections】 //特寫 Feature// 陳明志《殘響》 I. Q&A 1) 請簡單介紹在「聲影集：映照香港」中你的委約作品。 此曲乃香港作曲家聯會「聲影集」項目，作曲家根據指派的照片創作不超過2分鐘的二重奏。獲派照片攝於新界大美督，是一幅光影殘留的映像，故在音樂上，嘗試讓演奏家以極速的音姿互相交錯來營造一種聲音流響作為回應。 2) 樂曲的創作靈感？ 來自分配的照片。 3) 在這首作品中聽眾可特別留意之處？ 殘留的響趣。 II. 作曲家簡介：陳明志 喜歡的景像： 風再起時 喜歡的聲音： 舌尖上的聲音 喜歡的作曲家／樂曲： 黃家駒《海闊天空》

Congratulations to our chairman Dr. Mui Kwong-chiu on receiving the Award of the Year (Music) at the 14th Hong Kong Arts Development Awards in 2020. This honour acknowledges Dr. Mui’s significant accomplishments and contributions to arts development of Hong Kong.