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*《迷霧庭園》 *Garden of Mists 林俊熹 Matthew Lam 林俊熹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，尤其現代樂器技巧和現場電子音樂。 林氏贏得了不同獎項，而他的作品曾於June in Buffalo、International Rostrum of Composers (2023:荷蘭)、MUSLAB (2023:厄瓜多爾)、soundSCAPE Festival、Connecticut Summerfest、SCI National Conference 等多個不同場合演出。 他的作品亦被香港管弦樂團、 Toledo Symphony、Mivos Quartet、Del Sol Quartet、[Switch~ Ensemble]、Mise-en Ensemble,、Du.0、Cong Quartet 等不同團體演奏。 林氏於香港中文大學取得學士學位，並於鮑林格林州立大學修畢作曲碩士。他將於伊士曼音樂學院修讀作曲博士。 Born and raised in Hong Kong, Matthew Lam is an active composer and an enthusiast of contemporary music style. His goal is to explore and experiment on a wide array of sounds and timbre, especially with contemporary instrumental techniques and live electronics. Winning multiple awards, his works were featured in various festivals and conferences, including June in Buffalo (USA), International Rostrum of Composers (2023: Netherlands), MUSLAB (2023: Ecuador), Nanhua University International Symposium of Contemporary Music Research (Taiwan), soundSCAPE Festival (Italy), Connecticut Summerfest (USA), SCI National Conference (USA), Toolbox International Creative Academy (HK), and Hong Kong Contemporary Music Festival (HK). His works were played by various groups, including the Hong Kong Philharmonic Orchestra, Toledo Symphony, Hong Kong Chinese Orchestra, Mivos Quartet, Del Sol Quartet, [Switch~ Ensemble], Mise-en Ensemble, Du.0, Cong Quartet, NEXUS Ensemble, and Toolbox Percussion. Lam earned his Bachelor of Arts in Music with first class honours from the Chinese University of Hong Kong, and completed his master’s studies in composition at Bowling Green State University. He will commence his doctoral studies at Eastman School of Music this fall. 我在創作《迷霧庭園》時一直想著被晨霧籠罩的日本庭園的畫面。此曲並沒有描繪一個特定的庭園（每個庭園皆有其歷史及美學），但就捕捉了庭園的氣氛：靜謐而神秘。以此，我選擇的樂器大部分以金屬所造，並在此曲前後半用了兩組不同的聲音：第一組的特點是通過現代技巧發出相對持續的聲音，例如用超級球及弓演奏。 第二組則相對傳統的使用琴棍。 整首曲沒有明顯的旋律，旨在把所有的音色組合成一個聲景，讓聽者感受意景。 Garden of Mists is composed with Japanese gardens covered in morning mists in mind. Though I do not want to specifically depict any of the Japanese gardens (as each has its history and aesthetic), I attempted to capture the atmosphere of the garden with it being meditative, peaceful, and at the same time, somehow mysterious. With that in mind, I chose a combination of mostly metal percussion instruments using two groups of sounds in two different sections: the first group features ‘sustained sounds’ achieved by non-conventional means of playing such as rubbing with super ball and playing with a bow. The second group returns to the conventional way of using mallets. The entire piece does not have a significant melody, with the aim of combining all sounds into a single soundscape and letting listeners ‘feel’ the atmosphere. Back

Hāni 《哈尼》 Hua Wenyao William 華文堯 Hua Wenyao William, born in Shenzhen, China in 2001, specializes in contemporary music composition, film scoring, and music production. He is currently studying at the Hong Kong Academy for Performing Arts under the guidance of Prof. Clarence Mak and Dr. Cheung Pui-shan. Previously, he studied with Dr. Chen Yeung-ping at South China Normal University exploring different ways of musical expression. He has won awards for his scores and music production in competitions, contributed to various multimedia and film soundtracks, with his works published in music journals. His works were performed at the Hong Kong International Film Festival, and his multimedia works have been performed at the Hong Kong Palace Museum and the Hong Kong Jockey Club Amphitheatre. He has also collaborated with the Hong Kong Toolbox Percussion, Academy Symphony Orchestra, Chinese Orchestra and the South China Normal University Chorus. The Hani is an ethnic minority in China Yunnan Province. The Hani believe in polytheism and worship natural deities. Their traditional festivals such as the Torch Festival are important celebrations with rich folklore and rituals. This piece combines the sounds the author heard during his travels in Yunnan Province to create an imagination of the Torch Festival rituals. Previous Next

LEUNG Hong-yu 梁康裕 Leung Hong-yu is a second-year undergraduate student at the Chinese University of Hong Kong (CUHK). His compositions are mainly in the contemporary style. His work Echoes of Spring was selected for the ‘New Generation 2020 Call for Scores’ organized by the Hong Kong Composers’ Guild. Anechoic Scream and Deadline Jitters were selected for the CUHK Ensemble-in-Residence 2020 - 2021 and 2019 - 2020 respectively. Apart from Western music, Leung has forayed into composing Chinese music. In 2020, his Night Thoughts premiered on the 5G live broadcasting concert ‘Music from the Heart’. It was followed by Pureness and Finding the Light , which were selected for the ‘HKCO Net Festival – With New Tunes, We Connect’. Leung is now majoring in violin under the tutelage of Goh Ching. Previously, he was a pupil of Alan Kwong and Janson Lung. 香港中文大學音樂系學士二年級生。他的作品《春迴》被香港作曲家聯會舉辦的「音樂新一代 2020」選中，而藉著《消聲吶喊》和《Deadline Jitters》更讓梁氏有機會與 Cong 四重奏合作。 除西樂之外，他亦勇於創作中樂。2020 年，《夜醒憶飛》於 5G 網上直播音樂會「心樂集」中 亮相，隨後他的《純粹》和《盼》更入選了為疫情所設的「同聲抗疫－香港網上中樂節」之「新韻傳音」。 作曲以外，梁氏主修小提琴，現師從吳晉，曾為鄺焯崙及龍向輝之學生。 MAJOR WORKS 主要作品 Back

LEUNG Ka-tung Tony# 梁家棟 Tony K.T. Leung’s compositions have been performed and broadcast in Australia, Belgium, Denmark, France, Hong Kong, Korea, Luxembourg, Ukraine, the USA and Canada by leading contemporary music ensembles. Recordings of works by the composer include CD releases from Luxembourg Sinfonietta, ERMMedia, and Canadian Electroacoustic Community. Born in Hong Kong, Tony discovered music through his first instrument, the erhu, and later the cello. As a youth, he arranged music for a Chinese orchestra, which sparked an early interest in western music and composition. From 1989 to 1992, he studied composition privately with University of Toronto Professor Chan Ka Nin. He received further training through workshops with Arraymusic, Conductors Guild, Esprit Orchestra, National Arts Centre, Thunder Bay Symphony Orchestra, and New Adventures in Sound Art. Other performers of his music include Vancouver Chinese Music Ensemble, Vienna Saxophone Quartet, Motion Ensemble, York Symphony Orchestra, and Regina Symphony Orchestra. As a conductor, he has directed Hong Kong Juvenile & Youth Chinese Classical Orchestra, Toronto Chinese Orchestra, Vancouver Chinese Music Ensemble, and York University Chinese Music Ensemble. He is currently Composer-in-Residence with the Toronto Chinese Orchestra and Artistic Director of Dim Sum Ensemble. 梁家棟的音樂作品曾被現代著名的樂團演奏，並在澳洲、比利時、丹麥、法國、香港、韓國、盧森堡、烏克蘭、 美國及加拿大播放錄音，其中包括有盧森堡小交響樂團、ERMMedia及加拿大電子原音音樂協會錄制的雷射唱片。 梁家棟出生於香港，其音樂興趣始於二胡，及後的大提琴，年青時代，他為中樂團配樂，因而引起他對西方音樂及作曲的興趣。一九八九年至一九九二年其間，他跟隨多倫多大學陳嘉年教授學習作曲。之後他有機會在著名樂團如Arraymusic、指揮聯會、Esprit樂團、國際藝術中心、雷灣交響樂團及新聲音藝術探險會等繼續學習深造。其他演奏過他的作品的樂團包括溫哥華中華樂團、維也納薩克管四重奏、紐賓士域省的Motion樂團、多倫多約克交響樂團及里賈納交響樂團等。他亦曾在香港青少年國樂團、多倫多中樂團 、溫哥華中華樂團及約克大學中樂團的演出中作指揮。他是多倫多中樂團駐團作曲家及點心絲竹樂團藝術總監。 MAJOR WORKS 主要作品 Back

NG Wah-hei 伍華晞 MAJOR WORKS 主要作品 Back

HOFMANN Denise Mei-yan 何美恩 Denise Mei Yan Hofmann was born in Hong Kong. Half-Swiss, Half-Chinese, she was raised in Seoul, Bangkok, Istanbul and Hong Kong. These experiences have deeply shaped Denise's broad, highly-sensitive view of the world. Easily-adaptable and conscious of cultural and linguistic nuances, Denise values harmonic subtlety and is fascinated by accents. Writing music is Denise's way of confronting constant change - she sees music as an innate devotional practice to tell stories of brokenness and redemption. Denise’s music has been performed at the National Opera Center, DiMenna Center for Classical Music, Spectrum and Mannes College in New York City; Asia Society Hong Kong Center and City Hall Theatre in Hong Kong; Yong Siew Toh Conservatory in Singapore; The International Dance Festival 2013 in Bangkok, Thailand. Denise arranged the jazz standard Georgia on my Mind for the Johnny Rodgers Band, which was performed by the Moscow Symphony in June 2013. Denise has written incidental music for three theatre productions, including NYC production Harriman-Baines at Theatre for the New City. Denise was selected out of 150 applicants to be a composer fellow for Bright Sheng's Intimacy of Creativity Contemporary Song Festival, held in Hong Kong in March 2017. Other awards include fellowships from Yaddo Colony, Brush Creek Foundation for the Arts and the Mannes College Dean's Award; Denise has been commissioned by the New York Festival of Song, Musicus Society and the Hong Kong Composer’s Guild. Denise started playing guitar at age 10; captivated by jazz and instrumental rock, she started improvising a year later. However, Denise only decided to pursue music and composition seriously upon graduation from Middlebury College in 2011, where she wrote her senior thesis on Protestant missionaries in the context of opium smuggling and British imperialism in nineteenth-century China . In 2016, Denise received her M.M. from Mannes College of Music under the guidance of Lowell Liebermann. MAJOR WORKS 主要作品 Chamber “Aurora Lights” For guzheng and erhu, commissioned by the Hong Kong Composer’s Guild, 2020 “The Deer Enclosure” For SATB chorus, commissioned by the Hong Kong Composer’s Guild, 2019 “Wings” Suite for mezzo soprano, guitar and clarinet in Bb, 2018 “165 Gilpin St.” For solo piano, 2018 “Songs I sing in Waiting” For mezzo soprano, clarinet in Bb and piano, commissioned by Lana Norris, 2017 “Lotus Rain” For string quartet, commissioned by Musicus Society - October 2016 “Songs from Wyoming” For mezzo soprano, tenor and piano - August 2016 “Morning Thoughts” For SATB and large ensemble - April 2016 “Sleep-running” For SATB a cappella – New York, February 2015 “A call from Les Dents du Midi” For trombone quartet – New York, November 2014 “dear son of memory” For solo piano – New York, September 2014 “Deep calls unto deep” For violin, viola and cello – New York, March 2014 “The Ink Dark Moon” Song cycle for mezzo soprano and piano – New York, June 2013 “Fireflies” For two flutes and piano – New York, April 2013 “3 nocturnes for piano and cello” – New York, September 2012 “King Herod, king no more” For brass quintet – New York, May 2012 “Musings for Solo Horn” For solo French horn – New York, December 2011 “Walkabout I; Walkabout II” For piano and flute – Middlebury, VT April 2011; version for piano and electric guitar, September 2014 “English Man from Canton, 1834” For 6 voices inspired by primary sources of the Opium Wars; written without absolute pitch – Middlebury, VT November 2010 “Jesse James’ Cautious Heart” For piano and flute – Middlebury, VT – October 2010 Incidental “Bare and splintered” For piccolo, viola and cello – New York, October 2014 “Harriman-Baines” For piano and cello. Written for an original production presented at Theatre for the New City – New York, August 2013 “Clear sky, water - 清天清水” For piano and cello. In conjunction with altered image of Victoria Harbor - HellHOT! Festival Hong Kong, July 2012 “The Titan Project” For soprano and piano with electronics. To accompany an adaptation of the Greek tragedy “Prometheus Bound” - Middlebury, VT, May 2012 “Vanya” Six character-inspired pieces for piano, violin and two celli inspired by Chekhov’s play “Uncle Vanya” - Middlebury, VT April 2011 “Freedom without walls” For keyboard and electronics produced for a video dance installation commemorating fall of the Berlin Wall as part of nation-wide 20th anniversary series – Middlebury, VT November 2009 Arrangements “Georgia on My Mind” – Jazz arrangement for the Johnny Rodgers Band; premiered by the Moscow Symphony string section – Moscow, June 2013 “Gate” – Arrangement of brass quintet version of art rock band Changing Modes’ song played by Magnitude 6 in Montreal Canada, summer 2013 Back

Genesis 《創》 Leung Kai-sun Joshua 梁啓新 Leung Kai-sun Joshua is a third-year Music student at the Chinese University of Hong Kong. He currently studies composition under the tutelage of Dr. Lo Hau-man and Prof. Chan Kai-young. During his secondary education, he had studied composition with Dr. Lee Kar-tai Phoebus, Dr. Wong Yat-wai and Mr. Ting Yim-ting. In GalaMusica • School Chamber Compositions 2021, Leung was awarded the Outstanding Composition Award and Best Creative Ideas Award. He was consequently selected to participate in the Hong Kong Composers' Guild Mentorship Scheme. The Versatile Euphonium Ensemble and the Education Bureau have also commissioned Leung, and his compositions are also thrice selected to be featured in Bauhinia Concerts. In August, Leung’s commissioned work “三番” will be premiered by Hong Kong Cohesique Symphonic Band. Besides composition, Leung majors in Trombone, and is currently under the tutelage of Mr. Ben Pelletier. Leung previously studied trombone performance under Mr. Lam Howang and Mr. Cheung Ying-hung. Alluding to the first book of the Old Testament , the brass quintet work Genesis refers to the beginning and becoming of sonorities and intervals. Several extended techniques are employed to highlight the timbral qualities of the brass instruments in both the energetic and enigmatic episodes. Following some gradual unfolding, Genesis ruptures into a “brassy” cliched fanfare, which subsequently simmers down into a slow-moving segment of music. It is then further developed before transitioning back to the pompous fanfare with all the presented patterns incorporated, and descents into utter chaos. Audience members may observe the intervallic changes across the entire piece; as well as the contrasts between, and the integration of order and disorder in various metrics. Previous Next

《西狗牙》 Kau Nga Ling (West Ridge) 鄭裔䕒 Zheng Yui-ka 鄭裔䕒為香港演藝學院音樂學士，師隨張珮珊博士和李嘉怡女士學習作曲及電子音樂。她現在愛沙尼亞音樂和劇院學院攻讀碩士，主修電子音樂，師隨Malle Maltis和Margo Kõlar。 鄭氏的主要作品分別為《舛》（弦樂四重奏）、《勸世之言》（混合樂隊）、《盧亭》（管子和現場電子）、《電馭迷客》（多媒體作品）及《如水》（Ambisonic作品）。 Zheng Yui-ka was born in Hong Kong. She received degree from the Hong Kong Academy for Performing Arts (B.M. (hons), under the teaching of Dr. Cheung Pui-shan and Ms Li Kar-yee. She is studying in Estonian Academy of Music and Theatre, majoring in electroacoustic composition (Master of Arts), under the teaching of Malle Maltis and Margo Kõlar. Her major works include, Contrary for String Quartet, Tract for mixed ensemble and Lo Ting for Guanzi and live electronic, ERRORPunk for multimedia and Be Water, My Friend for ambisonic. 西狗牙（狗牙嶺）位於南大嶼山郊野公園，極為陡峭險要，對攀登者體力要求極高。這啟發了作曲家安排木琴開首的織體模仿山脈。此曲亦包含了作曲家畏高、疲倦及因景色感動的幾種情緒。 Kau Nga Ling (West Ridge) is the southern hill range from Lantau Peak, Hong Kong. Most of the slopes are very steep, requiring one to clamber up strenuously. Inspired by the shape of the mountain, I have appointed the ‘up and down’ phrase to the Xylophone. The piece is about my mixed feelings as the composer: scared of heights, tired because of climbing, deeply affected by the view. Back

LEUNG Hin-yan Austin 梁騫仁 Leung is a graduate of the University of Hong Kong and the Hong Kong Academy for Performing Arts. He is currently studying aboard. Leung has composed a number of pieces for Chinese instruments. Most of them features the guzheng as a solo instrument. Leung’s recent guzheng pieces includes Sailing, Along the Heart of Remembrance for guzheng and string quartet, Renovated Tradition for guzheng and 15 Chinese instruments and A City Lost/Tranquil times for guzheng and Chinese orchestra. The above mentioned pieces are performed by the Hong Kong New Music Ensemble, Mr. Chung Chiu Yee and the Hong Kong Chinese Orchestra respectively. 梁氏畢業於香港大學及香港演藝學院，現於海外進修。梁氏曾創作多首中樂作品，以古箏為獨奏的樂曲為主。 近期的古箏作品包括《撐篙，在回憶的深處》為古箏及弦樂四重奏而作，《古韻新音》為古箏及 15 件中樂樂器而作及《失城・靜好》為古箏及樂隊而作。上述樂曲分別由香港創樂團，鍾朝而先生及香港中樂團演奏。 MAJOR WORKS 主要作品 Back

YUNG Sing-nga Rita 翁聲雅 Rita Yung received her Master's degree in composition at the University of Texas at Austin and her Bachelor’s degree at Hong Kong Baptist University. She studied with Galison Lau, Christopher Coleman, Christopher J Keyes, Nina C. Young, Annie Gosfield, and Yevgeniy Sharlat. As a composer, Yung writes for both acoustic and electronic mediums. Recent compositions include Polaris for orchestra (2020); Silence for soprano, flute, clarinet, violin and percussion (2020); Innerlouge for bassoon and live electronics (2019); Life is but a dream for zheng and electronics (2016). Her works have been featured in concerts and conferences, such as International Computer Music Conference (2017 Shanghai, 2020 Chile), Electric La Tex (2020 Denton), Etching Festive (2019 France), International Alliance for Women in Music conference (2019 Boston), Feminist Theory and Music conference (Boston 2019), Seoul International Computer Music Festival (2017 Korea), and New Generation (2017, 2018 Hong Kong). 翁氏畢業於德克薩斯州大學奧斯汀分校音學(作曲)碩士學位及香港浸會大學音樂學士學位。師隨劉詠浲、Annie Gosfield、Christopher Coleman、Christopher J Keyes、Nina C. Young 和 Yevgeniy Sharlat。 翁氏的創作領域廣泛，作品類型從器樂作品以至電子音樂。她的作品曾被選入多個音樂節及研討會，包括國際計算機音樂大會、Electric La Tex(美國)、Etching Festive(法國)、International Alliance for Women in Music conference (美國) 、 Feminist Theory and Music conference (美國) 及Seoul International Computer Music Festival。 MAJOR WORKS 主要作品 Large Ensemble Polaris (2020) for Orchestra 2.2.2.2.-4.2.2(II=bass trbn).0-perc(3)-harp-pft/cel-strings Nothing gold can change (2019) for SATB Chamber Silence (2020) for soprano, flute, clarinet, violin and percussion La Siesta (2019) for violin, clarinet, and piano 3 Poems of Emily Dickinson (2018)for soprano, flute, clarinet, percussions, and piano Red Light/ Green Light (2018) for woodwind quintet Kodo (2018) for xiao, 2 erhu, pipa, yangqin, zheng A Forgotten Nightmare (2018) for flute, clarinet, violin, cello, piano, and percussions Ripple (2017) for clarinet, viola, cello, and piano Dream I : Ride with the Wind (2017) for flute, clarinet, bassoon, piano, percussion, 2 violins, cello, double bass, and zheng Electronics The Inextinguishable Flame (2021) for horn and live electronics Distorted Silence (2020)n for bass drum, tam-tam, metal pipes and live electronics Jau4 (2019) for sheng and live electronics Innerlouge (2019) for bassoon and live electronics Life is but a dream 浮生若夢 (2016) for zheng and fix media Back

*In the Flow of Resonance *《餘韻流轉》 Zheng Enzhe 鄭恩哲 Zheng Enzhe, the winner of "New Generation 2024", is currently a doctoral candidate at The Chinese University of Hong Kong. Drawing from his Chinese heritage, Zheng’s compositions merge traditional themes and folk materials with contemporary, innovative expressions, creating a unique musical language that reflects the cultural and spiritual essence of modern China. His orchestral piece Rosefinch won the Grand Prize at the Golden Bells International Composition Contest and was premiered at Carnegie Hall. The Time Capsule in the Azure Depths , written for a large Chinese ensemble, was selected for the 2025 "Music from the Heart" series and awarded the "Audience's Favorite Original Work" prize. His composition also won the 3rd Prize at the Musicacoustica Hangzhou 2023 Electroacoustic Music Composition Competition. In the Flow of Resonance is a composition that reinterprets and reconstructs Cantonese music within a contemporary context. While this musical tradition has gradually faded from the mainstream aesthetic landscape, it remains deeply rooted in local culture, subtly influencing and flowing through our lives. This composition draws on some well-known melodies of Stepping High and Autumn Moon Over the Calm Lake , paying tribute to the classics while attempting to fuse them with new musical language. It expresses a nostalgic connection to the sounds of an era and inspires imagination and anticipation for the future development of Cantonese music. While its future remains uncertain, its resonance continues to flow through our collective cultural memory. Previous Next

NG King-fung Kelvin 伍擎峯 Kelvin King Fung NG was born in Hong Kong and has studied in Hong Kong, USA and Austria. His works germinate from the core concern of ourselves as spatially and temporally co-existing beings, structuring available materials to examine conditions and issues arising from such facts at the existential level, such as presence, consciousness and intersubjectivity, and their possible meanings. In this sense they possess a high degree of affinity with philosophical outputs from a.o. Nancy’s being-with and Rancière’s distribution of the sensible, while their immanent problems and solutions are able to be illuminated and formulated with the help of knowledge from a.o. anthropology, embodied cognition, semiotics as well as cultural and spiritual practices. Most of his works recruit the entire audio-visual and cognitive faculty and call for heightened attention and empathetic engagement from the audience. 伍擎峯生於香港，並曾就學於香港、美國及奧地利。其音樂作品萌芽自我們作為時空共存體此一核心議題，建構可用素材在根本層面上考察研究由此基礎形成的各種如「在場性」、「意識」及「互為主觀」等狀態條件與問題及其意義。從這個角度看，這些作品與南希的「共在」及洪席耶的「感性分配」等哲學產出關係密切，而其內在的音樂問題與解決方案則能透過人類學、具身認知學、符號學等領域及各文化與精神實踐活動中的知識得以協助𨤳清與規劃。大部分作品均牽涉觀眾整體視聽與認知能力，並要求高度專注力和同理投入度。 MAJOR WORKS 主要作品 Western Orchestra Nidra (2011-2) [12’] for 2, 2, 2, 2 – 2, 2, 1, 1 - 4perc – hp, pf – str Chamber Sammul Seoljanggu 삼물설장구 (2018) [14’] for janggu-dance, crash cymbals and lighting operator Sonajo (2017) [10’] for vn & haegeum Fragments, on the bridge (2013) [5’-∞] for vn, va & vc Tombe de Sommeil (2011) [10’] for fl & pf meso- (2009) [5’10”] for sheng, cl, perc, guzheng & vc The Pale Bone from Dragon Spring 粉骨龍泉 (2008) [12’] for fl, cl, vn, vc, perc & pf Asterisk (2006) [10’] for 2vn, va & vc Conveyor II – hedonism (2006) [11’] for fl & vc Conveyor I – determinism (2006) [9’30”] for va & pf Instrumental Solo Brief Version of Seoljanggu 짧은설장구 (2021) [15’] for janggu-dance Seoljanggu 설장구 (2014-8) [24’] for janggu-dance 24 capricci per violino solo da Nicolò Paganini (2014) [10’] for vn Toccata (2013) [5’] for ten-sax Timing and Remembering – I (2010) [12’30”] for va Scherzo (2005) [9’] for pf Electronic / Electroacoustic Music Qin (2010) [5’30”] for electronics une étude sur la vocalitié (2010) [8’] for vn & Max/MSP Multimedia Seas of Ink (2018) [4’] for vn, va, vc, pn & tape video by Tutaj Tram-ism (2017) [2’30”] for va, vc, pipa, tape video by Anthony Cheng moments musicaux (2013) [1’30”] for cl, va & kb & picture Weekend Ritual (2012) [1’] for cl, vn & vc & picture Back