Team Members HO Anna Vienna Read More HWANG Yau Tai* ( Honorary Member) Read More WONG Yu Hin Joffy Read More TONG Cheunk Yan Read More CHEN Shuaike Read More YIP Heung Wing Read More TO Kiu Fung Read More YAN Huichang (Honorary Member) Read More LAM Doming* (Honorary President) Read More WING Ka Ho Read More HU Po Shup Bernstein Read More ZHUANG Jiajun Read More WONG Lok Hang Amos Read More TAM Chun Sum Kelvin Read More LIN Sheing Shih* (Honorary Member) Read More YU Ting Fai Read More WEN Dan Read More CHOI King Him Read More ZHENG Enzhe Read More WONG Ching Yin Read More

LI Cheuk Shing Sampson 李焯誠 Cheuk Shing (Sampson) Li is a Hong Kong-born composer and sound artist whose creative practice centers on timbral exploration, the musical organization of noise, and interdisciplinary collaborations. His work spans solo acoustic instruments, chamber ensembles, full orchestra, mixed music combining live instruments with fixed or live electronic media, and visual art settings. Li approaches the physical capabilities of instruments—particularly extended techniques and sonic textures—as dynamic, fluid architecture. Li holds a Master of Arts in Music Composition with a minor in Computer Music from the University of North Texas, where his research concentrated on practice-based timbral manipulation. His dynamic artistic vision has led to extensive collaborations with elite international performers and ensembles, including the JACK Quartet (JACK Studio), Ensemble Dal Niente, the [Switch~ Ensemble], Nacho Gascón & the Barcelona Modern Ensemble, New Morse Code, Passepartout Duo, the Romer Quartet, and the Hong Kong New Music Ensemble. Extending his practice across disciplines, he has created original mixed media scores and fixed media music for modern choreography with the Texas Woman’s University Division of Dance and multimedia video productions. Recognized through highly competitive juried platforms, Li’s compositions have been selected for performance and reading at prestigious global festivals and institutions, including the SEAMUS National Conference, the June in Buffalo International Festival, the Electric LaTeX Festival, the Barcelona Modern Festival, the Toolbox International Creative Academy Festival (TICA), the JACK Studio in New York, and the Freespace Noise Fest at the West Kowloon Cultural District. Li's creative work has been recognized with competitive honors, including winning the DoubleBell Trumpet Call for Scores, alongside finalist distinctions in the 4th Toolbox Percussion International Composition Competition and the Hong Kong Composers’ Guild New Generation Competition. His artistic endeavors have been supported by the David M. Schimmel Memorial Composition Scholarship, the Dr. Paul Gregory Bonneau Memorial Composition Scholarship, UNT’s competitive merit scholarship, and Hong Kong’s Anti-Epidemic Micro Creative Fund. Li is a full member of the Hong Kong Composers’ Guild (HKCG) and a writer member of the Composers and Authors Society of Hong Kong (CASH). MAJOR WORKS 主要作品 李焯誠一位來自香港的作曲家與聲音藝術家，他的創作核心聚焦於聲音的獨特織體、噪音的音樂 化運用，以及將音樂與其他藝術形式結合的跨界企劃。作品涵蓋獨奏、室內樂、管弦樂、結合現 場樂器與固定媒體電子音樂的混合音樂（，以及多媒體展演。他將樂器的物理極限與延伸技巧 （Extended Techniques）視為形塑當代動態聲響建築的核心元素。 他畢業於北德克薩斯大學（University of North Texas），取得音樂作曲藝術碩士學位並輔修電腦 音樂，在學期間的研究主要探討作曲家如何運用音色與聲音色彩進行創作。他曾與許多國際頂尖 的音樂家和樂團合作及進行作品讀譜研讀，包括 JACK Quartet（JACK Studio）、Ensemble Dal Niente、[Switch~ Ensemble]、Nacho Gascón 與巴塞隆納現代樂團（Barcelona Modern Ensemble）、New Morse Codes、Passepartout Duo、羅曼四重奏（Romer Quartet）以及 香港創樂團。他的跨界合作企劃還包括為德州女子大學舞蹈系（Texas Woman’s University Division of Dance）的現代舞作品創作音樂，以及為多媒體錄像配樂。 他的音樂作品屢次入選世界各地的重大藝術節和重要場地演出與讀譜發表。其中包括 SEAMUS 全美電子音樂年會、Electric LaTeX 音樂節、美國水牛城六月音樂節（June in Buffalo）、巴塞 隆納現代音樂節、共襄國際創意學院藝術節（TICAFEST）、紐約 JACK Studio、西九文化區的 自由空間耳震盪（Freespace Noise Fest）、香港作曲家聯會音樂新一代音樂會、由香港浸會大 學（HKBU）與蘇黎世藝術大學（ZHdK）聯合主辦的 Improvise! 學術研討會，以及 Shared Campus 夏令營。 作為一位在賽事中屢獲殊榮的作曲家，他曾贏得雙口小號徵曲比賽，入圍第四屆敲擊襄國際作曲 比賽（TPICC）決賽，並多次入選香港作曲家聯會音樂新一代作曲比賽決賽。他的創作生涯獲得 了多項競爭激烈的獎學金和藝術基金支持。在北德克薩斯大學攻讀研究所期間，他贏得了極受青 睞、基於優異表現評選的競爭性獎學金席位，並榮獲 David M. Schimmel 紀念作曲獎學金與 Dr. Paul Gregory Bonneau 紀念作曲獎學金。在香港，他的創意項目也曾獲得抗疫微型創作計劃 2.0 的資助。 他是香港作曲家聯會的會員，同時也是香港作曲家及作詞家協會（CASH）的作家會員。 Back

FONG Lok Chi 方樂知 Since he first encountered a piano, Roger does not just play on it but branches out himself into different music activities. He got an ATCL, an LMusTCL and an MA degree of Music from the Chinese University of Hong Kong. He has been singing, performing, arranging and conducting in various music groups as well as taking part in different types of administrative works in different groups, organizing various art activities. Organizations include the Chinese University of Hong Kong Chorus, Hong Kong Youth Choir, Methodist Church Hong Kong, SingFest etc. For composition, beside his dedication on pop music which was prized before, he, since his postgraduate days, became a member of the Hong Kong Composers’ Guild. His Glimpses on Ourselves was premiered by the Hong Kong Wind Kamerata, and other works were chosen by the Guild for Match Making Concert 2018 and Hong Kong Contemporary Music Festival 2018, also broadcasted by RTHK 4. His works were performed by renowned ensembles such as the Hong Kong Children Choir and Brno Philharmonic Orchestra. In 2020, his String Quartet Variations of Emotions was published in the Disc “Playing Edge 2” by Navona Records, played by the Sirius Quartet, and his orchestral piece Rhapsody on a Night by the Maple Bridge was published by the Ablaze Records on its “Orchestral Masters Volume 7”. 自接觸鋼琴起，方氏不止演奏，更曾涉獵各音樂活動。 他擁有聖三一鋼琴演奏文憑、聖三一高級樂理文憑，並為香港中文大學音樂文學碩士。他曾於不同音樂團體演唱、演奏、編曲及指揮，亦於不同團體參與各類型行政工作，籌辦不同藝術活動。團體包括香港中文大學合唱團、香港新青年合唱團、循道衞理聯合教會、聲蜚合唱節不等。 作曲方面，除了過往一直熱愛並曾獲獎的流行曲作品外，他自研究生起成為香港作曲家協會會員，其作《人間數瞥》曾由管樂雅集首演，亦曾被協會獲選參與「創藝匯新聲2018」以及「香港現代音樂節 2018」，並由香港電台第四台播出。 他的作品曾被香港兒童合唱團及布爾諾愛樂樂團演奏及錄音。2020年，其弦樂四重奏《情緒變奏曲》獲收錄於Navona Records的Playing Edge 2唱片，由Sirius四重奏演出，而其管弦樂作品《楓橋夜泊雜思》則獲收錄於Ablaze Records的Orchestral Masters Volume 7唱片，由布爾諾愛樂樂團演出。 MAJOR WORKS 主要作品 Glimpses on Ourselves (2017) Woodwind Quintet Overture to Hong Kong (2017) Orchestral Piece Pater Noster (2018) - Vocal Piece for 2 soprano, 1 tenor and piano accompaniment Prayer of St. Francis (2018) - Choral Piece (SSA) with piano accompaniment Rhapsody of a Night (2019) - by the Maple Bridge Orchestral Piece Variations on Emotions (2019) String Quartet Back

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

《春之息》 Breath of Spring 鄭恩哲（冠軍） Zheng Enzhe（Winner） 鄭恩哲現為香港中文大學音樂博士候選人，師隨李允琪教授學習作曲。 鄭氏的作品汲取了他的中國文化身份，積極將傳統主題和民間素材與當代創新表達手法相結合，創造出個人獨特的音樂語言，反映了近現代中國的人文特色與精神內涵。鄭氏的作品《朱雀》在金編鐘國際作曲比賽中榮獲大獎，並由美國亞洲文化交響樂團於2022年在美國紐約卡內基音樂廳首演;作品《天外》在2023年中國杭州國際電子作品比賽中榮獲三等獎。 Enzhe Zheng, from China, is currently a doctoral candidate at The Chinese University of Hong Kong, studying composition with Prof. Lee Wan-ki Wendy. Drawing from his Chinese heritage, Zheng's compositions are infused with distinctive cultural elements, merging traditional themes and folk materials with contemporary and innovative expressions to create a unique musical language reflective of modern China. His compositions, Rosefinch, was awarded the Grand Prize winner in the Golden Bells International Composition Contest and was premiered by the Asian Cultural Symphony Orchestra of the U.S.A. at Carnegie Hall in 2022; Beyond the Sky, was awarded the 3rd Prize, Musicacoustica - Hangzhou 2023, Electroacoustic Music Composition Competition. 《春之息》這個作品探索了春天的多面性——從悄悄萌芽的種子到繁花似錦的景象，再到動物們蘇醒的活力。此作品為打擊樂四重奏所作，四位樂手的互動不僅反映了自然界中種種生物的相互作用，也象徵著春天生命循環的不斷輪迴。通過這個作品在表達春日氣息之餘，也提醒著人們對這份脆弱之美的珍惜，對步入新季節報以感動和憧憬。 Breath of Spring explores the multifaceted nature of spring — from the quietly sprouting seeds to the splendid vistas of blooming flowers, and the revived vitality of animals. This piece is composed for a percussion quartet, where the interaction among the four musicians not only reflects the interplay of various life forms in nature but also symbolizes the perpetual cycle of life that spring brings. This composition, while expressing the essence of spring, also serves as a reminder for people to cherish this delicate beauty and to embrace the new season with emotion and anticipation. Back

TO Kiu Fung 杜翹豐 MAJOR WORKS 主要作品 Back

LAW Wing Fai 羅永暉 Law Wing-fai (Solo Theatre) is a leading composer in Hong Kong, and one of the few to have crossed over the boundary between commercial music and the arts. He is currently a Composer-in-Residence at the Hong Kong Academy for Performing Arts, and Artistic Director of Wuji Ensemble. Law graduated from the University of California with a Master’s degree in Music (Composition and Electronic Music). He worked closely with Hong Kong’s New Wave directors in films during the 1980’s, having scored for more than 20 films including the award-winning Boat People, Dream Lovers and A Simple Life. He was the founding Head of Composition of the Hong Kong Academy for Performing Arts, a position which he subsequently held for many years. During the 1990’s, he was a Visiting Scholar at Stanford University where he gave lectures and wrote music. On returning to Hong Kong, he found a new angle in music composition, which resulted in many important works using Chinese-Western mixed instrumentation, the most representative of which are When Mountains Roar and Linli. He also founded Wuji Ensemble, a group that is known for its unique character. In May 2008, the Hong Kong Chinese Orchestra presented a critically acclaimed concert featuring Law’s works. With a diverse oeuvre spanning serious and commercial music, Law has written for pop music, commercials, drama, opera and in particular, for over a dozen dance dramas such as Song of the Good Earth and Rouge. His long list of accolades include the Irino Memorial Award presented at the Asian Composers’ League, the Hong Kong Film Award for Best Original Score, “Composer of the Year” by the Hong Kong Artists’ Guild, and being selected as one of the “Twentieth Century Masterpieces by Chinese Composers” by the Chinese Culture Promotion Society in Beijing. Law’s score for the drama production The Peach Blossom Fan was awarded “Best Original Music” by the Hong Kong Federation of Drama Societies. Law was also a five-time winner of the CASH Golden Sail Music Award between 2001 and 2008, with his opera Dreaming Plum Blossoms Away, Flowing Fancies for pipa and Western orchestra, Feng Liu for Chinese plucked strings, A Thousand Sweeps for pipa and Chinese orchestra, and Flowing Phantasm for Chinese Orchestra. 羅永暉是本港少數跨越藝術與商業領域的資深作曲家。現任香港演藝學院駐校作曲家及「無極樂團」藝術總監。他早年畢業於美國加州大學，主修作曲，獲碩士學位。 回港後與新浪潮導演合作創寫超過二十部電影音樂，如《投奔怒海》、《夢中人》及最近的《桃姐》等。其間創立香港演藝學院作曲系，並擔任該系系主任多年。 1995年再次赴美以訪問學人身份在美國史丹福大學從事講學及音樂創作，回港後以嶄新的寫作風格，發表多首大型中西樂器混合的作品如《山鳴》、《淋漓》 等，並創立風格獨特的「無極樂團」。2008年5月，香港中樂團舉辦「星河潑墨」— 羅永暉的中樂新境界專場音樂會，他的作品獲得音樂界的高度評價。 羅氏寫作多元化，除藝術音樂外還有流行音樂、廣告、電視劇、話劇、歌劇及十多齣舞劇音樂，如城市當代舞蹈團的《狂想大地》、香港舞蹈團的《胭脂扣》等。嬴得 的重要獎項中，包括亞洲作曲家同盟會議頒贈的入野義朗紀念大獎、香港電影金像獎最佳配樂獎、香港藝術家聯盟頒贈的藝術家年獎以及作品被北京中華民族文化促 進會選為「二十世紀華人音樂經典」之一。2001年至2008年期間，他以《桃花扇》獲得香港戲劇協會頒贈的最佳戲劇音樂獎，並以歌劇《夢拾紅梅》、琵琶 與西洋樂隊作品《逸筆草草》、中國彈撥樂作品《風流》、琵琶與中樂隊作品《千章掃》及中樂隊作品《星河潑墨》連獲五次香港作曲家及作詞家協會頒贈的金帆音樂獎。 MAJOR WORKS 主要作品 Orchestral (Western) Linli (1998) 15' for guan, sanxian & orchestra When Mountains Roar (1997) 12' for 4 Chinese soloists, orchestra & chorus A Thousand Sweeps (1997) 10' for pipa & orchestra Visions Beyond (1996) 12' Prealudium (1994) 2' for 2 ob, 2 hn & string orchestra Phantasm (1994) 16'30" for vc & orchestra Chou Si (1993) 20' for 3 high voices, Chinese & Western orchestras Intrada (1993) 15' Sphere Supreme (1992) 10' Overture (1989) 8' Musica Concertata (1987) 16' Pipa Concerto (1986) 30' Rice Field Dance (1979) 6' When Clouds Rise (1978) 12' Qian (1977) 10' Orchestral (Chinese) Flying Brush (1999) 16' Tang Capriccio (1996) 15' Ink Spirit (1996) 12' for pipa & Chinese string orchestra Puck (1990) 15' Ballade for 2 Pipas & Chinese Orchestra Concerto for Percussion and Orchestra (1986) 15' for Chinese perc & Chinese orchestra Soundscapes (1983) 20' Chamber (Western) Moon Spirit (2000) 15' for pipa & string quartet Link (1999) 10' for woodwind quintet Mood Sketches (1998) 12' for string quartet Vortex (1996) 10' for 2 pf Season Without a Name (1996) 15' for fl, ob, cl, string quartet & pf Ink Spirit (1995) 10' for pipa & string quartet Qian Si (1994) 8' for pipa & string quartet Kunk (1989) 14' for 4 pf & 2 perc Fantasia (1988) 10' for hpch & gtr Caprice in G (1988) 6' for vn & pf Plus One (1987) 8' for string quartet Sleeve Dance (1984) 12' for 2 pf & perc Sun Soundic (1983) 10' for fl, cl, pf, vn, vc & tape Dionysus Fantasia (1979) 7' for 3 fl, pf (celesta) & 2 perc Si Ahu Kou (1978) 8' for fl, va & pf Mulberry Grove Dance (1975) 7' for fl & gtr Chamber (Chinese) Autumn Vista on the River (1999) 5' for Cantonese ensemble A Spring Walk in the Mountains (1999) 5' for Cantonese ensemble Desolate Petals on the Guileless Water (1999) 5' for Cantonese ensemble Air Eleganza (1999) 12' for xiao, sheng, yangqin & zheng Incense Offerings (1986) 10' for xiao, erhu, pipa & zheng The Drunken Tai Bai (1985) 7' for dizi, sheng, yangqin & zheng Instrumental Solo In One Stroke (1996) 10' for pipa Shake'n Roll (1995) 10' for pipa Of Butterflies and Frogs (1992) 3' for pf Toccata (1991) 10' for marimba Intermezzo (1988) 8' for gtr Cantilena for One Finger (1985) 9' for pipa Misty (1974) 7' for pipa Three Little Pieces with Spiritual Touch (1972) 7' for pf Silkworm (1972) 7' for pipa Opera Dreaming Plum Blossoms Away (2000) 2 hrs Vocal / Choral Chou Nu Er (1996) 10' for mixed choir & pf What is the Taste of Sorrow (1994) 10' for alto, vn & pf My Ambition (1993) 5' for children' choir & pf/orchestra Yu Lin Ling (1993) 8' for mixed choir & pf Hope (1991) 6' for children's choir & pf Garden Song (1982) 7' for mixed choir & pf Neither Out Far Nor in Deep (1978) 6' for alto & cl in Bb Music for Dance / Drama Parting at River Yi (1993) 1 hr 30" Suppressed Romance (1991) 1 hr 30" Rouge (1991) 1 hr 30" Three Romantic Chinese-Song of the Earth II (1990) 1 hr 30" Homeland (1990) 1 hr Femme Fatale (1987) 1 hr 30" Chinese Historical Myth-Sun and Moon (Fame and Love) (1985) 30' Hung Liu Zui Yu (1983) 30' Song of the Good Earth (1983) 1 hr 30" Theatre Music Synopsis (1990) 1 hr The Emperor and the Nightingale (1985) 1 hr 30" Dragon Dance (1980) 30' Film Music Romance of Book and Sword (1988) Princess Fragrance (1988) Dream Lover (1986) Woman of Wrath (1985) Just Like Weather (1985) Women (1984) Boat People (1981) TV Music Vanguard (1985) Discography Tang Capriccio Hugo 7208-2 A Thousand Sweeps Hugo 7205-2 Pipa Concerto Hugo 71042 Phantasm Hugo 71042 Musica Concertata Hugo 71042 Sphere Supreme Hugo 799-2 Musica Concertata H.K. Record 8.242119 Sun Soundic H.K. Record 8.242120 Silkworm CMS 601 What is the Taste of Sorrow BMG 74321-326172-2 Misty Kolin 5035 Hope H.K Record 4.242118 Plus One CGCD 9402 Mulberry Grove Dance Philips 7399285 管弦樂(西樂) 淋漓(1998) 15' for guan, sanxian & orchestra 山鳴 (1997) 12' for 4 Chinese soloists, orchestra & chorus 千章掃 (1997) 10' for pipa & orchestra 無極意象 (1996) 12' 小序曲 (1994) 2' for 2 ob, 2 hn & string orchestra 飛絮 (1994) 16'30" for vc & orchestra 抽思 (1993) 20' for 3 high voices, Chinese & Western orchestras 管弦樂前奏曲 (1993) 15' 天驕 (1992) 10' 管弦樂序曲 (1989) 8' 管弦樂小協奏曲 (1987) 16' 琵琶協奏曲 (1986) 30' 耘耘舞 (1979) 6' 坐看雲起時 (1978) 12' 籤 (1977) 10' 管弦樂(中樂) 亳飛集 (1999) 16' 風采 (1996) 15' 潑墨仙人 (1996) 12' for pipa & Chinese string orchestra 雙琵琶與樂隊敘事曲《天靈靈》 (1990) 15' Ballade for 2 Pipas & Chinese Orchestra 打擊樂協奏曲 (1986) 15' for Chinese perc & Chinese orchestra 山水響 (1983) 20' 室樂 (西樂) 月鬼 (2000) 15' for pipa & string quartet 靈犀 (1999) 10' for woodwind quintet 意筆白描 (1998) 12' for string quartet 漩渦 (1996) 10' for 2 pf 無名季節 (1996) 15' for fl, ob, cl, string quartet & pf 潑墨仙人 (1995) 10' for pipa & string quartet 牽絲 (1994) 8' for pipa & string quartet 狂弦四聲 (1989) 14' for 4 pf & 2 perc 幻想曲 (1988) 10' for hpch & gtr G調隨想曲 (1988) 6' for vn & pf 第五聲 (1987) 8' for string quartet 水袖 (1984) 12' for 2 pf & perc 響晴 (1983) 10' for fl, cl, pf, vn, vc & tape 醉鄉 (1979) 7' for 3 fl, pf (celesta) & 2 perc 絲竹扣 (1978) 8' for fl, va & pf 桑林調 (1975) 7' for fl & gtr 室樂 (中樂) 秋水連天 (1999) 5' for Cantonese ensemble 山徑春行 (1999) 5' for Cantonese ensemble 花自飄零水自流 (1999) 5' for Cantonese ensemble 清音寫意 (1999) 12' for xiao, sheng, yangqin & zheng 香火 (1986) 10' for xiao, erhu, pipa & zheng 太白醉酒 (1985) 7' for dizi, sheng, yangqin & zheng 獨奏曲 一筆 (1996) 10' for pipa 滾沙沙 (1995) 10' for pipa 青蛙草蝶 (1992) 3' for pf 馬林巴琴展技曲 (1991) 10' for marimba 間奏曲 (1988) 8' for gtr 一指禪 (1985) 9' for pipa 寒雲路 (1974) 7' for pipa 靈河三章 (1972) 7' for pf 蠶 (1972) 7' for pipa 歌劇 夢拾紅梅 (2000) 2 hrs 聲音 / 合唱 醜奴兒 (1996) 10' for mixed choir & pf 少年不識愁滋味 (1994) 10' for alto, vn & pf 我的志願 (1993) 5' for children' choir & pf/orchestra 雨霖鈴 (1993) 8' for mixed choir & pf 希望 (1991) 6' for children's choir & pf 花園之歌 (1982) 7' for mixed choir & pf 近在咫尺 (1978) 6' for alto & cl in Bb 舞蹈劇音樂 易水寒 (1993) 1 hr 30" 自梳女 (1991) 1 hr 30" 胭脂扣 (1991) 1 hr 30" 狂想大地之二：三個浪漫的中國人 (1990) 1 hr 30" 香港情懷之時光動畫編號四 (1990) 1 hr 女色 (1987) 1 hr 30" 搜神之日月「名利、愛情」(1985) 30' 紅樓碎玉 (1983) 30' 狂想大地 (1983) 1 hr 30" 劇場音樂 美人如玉劍如虹 (1990) 1 hr 國王與夜鶯 (1985) 1 hr 30" 龍舞 (1980) 30' 電影音樂 書劍恩仇錄 (1988) 香香公主 (1988) 夢中人 (1986) 殺夫 (1985) 美國心 (1985) 女人心 (1984) 投奔怒海 (1981) 電視音樂 廉政先鋒 (1985) 唱片目錄 Tang Capriccio, Hugo 7208-2 A Thousand Sweeps, Hugo 7205-2 Pipa Concerto, Hugo 71042 Phantasm, Hugo 71042 Musica Concertata, Hugo 71042 Sphere Supreme, Hugo 799-2 Musica Concertata, H.K. Record 8.242119 Sun Soundic, H.K. Record 8.242120 Silkworm, CMS 601 What is the Taste of Sorrow, BMG 74321-326172-2 Misty, Kolin 5035 Hope, H.K Record 4.242118 Plus One, CGCD 9402 Mulberry Grove Dance, Philips 7399285 Back

VONG Hin Ching 黃軒靖 MAJOR WORKS 主要作品 Back

YIP Ting 葉婷 葉婷畢業於香港浸會大學音樂文學碩士，主修作曲，師隨高爾文博士。葉氏的作品《夜》曾被評為「音樂新一代2003作品發表音樂會」之最佳作品，並於香港電台第四台播出。葉氏現於香港浸會大學音樂系任兼職講師，並同時於多間院校任音樂導師。 MAJOR WORKS 主要作品 Back

LAM Shun 林迅 LAM Shun, a member of Hong Kong Composers’ Guild and Vice-President of the Chinese Woman Composers’ Association is a member of the International Alliance for Women in Music , graduated from the Hong Kong Academy for Performing Arts and the Chinese University of Hong Kong. She studied composition, western orchestration and piano with Mr. Law Wing-fai, Dr. Chan Wing-wah and Miss Eleanor Wong respectively. Her works including both Chinese and western Chamber instrumentations’ work, Orchestral, dance music, Opera, hymns, songs and musical for children, piano works including Solo, duo & Piano concerto and also works for Konghou etc. Her compositions had been performed by the Hong Kong Philharmonic Orchestra, the Hong Kong Sinfonietta, the Hong Kong Chinese Orchestra, the Japan’s Ensemble Kochi, the Scottish Chamber Orchestra, the Chinese Virtuosi(HK), Shenzhen Symphony Orchestra, China National Symphony Orchestra, Guangdong National Orchestra, Evergreen Symphony Orchestra of Taiwan, Dun Huang Chinese Ensemble(Shanghai), Shanghai Philharmonic Orchestra and City Chamber Orchestra of Hong Kong. Her compositions had been presented in Hong Kong, Beijing, Shanghai, Taiwan, Italy and Paris respectively. LAM is now working as a composer, piano teacher and accompanist respectively. 林迅 ，香港作曲家聯會會員、華人女作曲家協會副主席及 國際女音樂家聯會會員，先後畢業於香港演藝學院及香港中文大學。師承羅永暉老師習作曲、陳永華教授習西方管弦樂配器、以及隨黃懿倫教授習鋼琴。 林氏的作品包括獨奏、室樂、管弦樂、舞蹈音樂、聖詩、兒歌、歌劇及兒童音樂劇等等。其作品曾由香港管弦樂團、香港小交響樂團、香港中樂團、曰本東風合奏團、蘇格蘭室樂團、龢鳴樂坊、深圳交響樂團、中國交響樂團、廣東民樂團、長榮交響樂團、敦煌民樂小組、上海 愛樂樂團及香港城市室樂團等演奏；並於香港、北京、上海、臺灣、意大利、及巴黎等地發表。 林氏現正從事作曲、編曲、鋼琴教學及伴奏等工作。 MAJOR WORKS 主要作品 Orchestral Reflections by the Lake II (1995) 15' for string orchestra Twilight of Swayanbonath (1994) 3' Saytankarxi (also called Ghost Town) (1993) 12'43" Beyond the Border (1988) 6' Chamber (Western) Reflections by the Lake (1994) 12' for string quartet Chi Di (1992) 13' for fl, cl, vn, vc & pf Life (1992) 10' for cl, marimba & vibraphone Duet for Clarinet, Bass Clarient & Percussion (1991) 8' Mi (1989) 6' for double zheng's, vn, vc & perc Trio (1989) 7' for fl, cl, bass cl Reminiscence (1988) 5' for string quartet Chamber (Chinese) - also for Chinese modern dance Clerical Script (1996) 2' for dizi, pipa, zheng, erhu & perc Regular Script (1996) 7' for dizi, pipa, zheng, erhu & perc Instrumental Solo Irresistible Impulse (2001) 2' for pf Life II (1992) 10' for marimba Spingende Golden Bohne (1991) 7' for marimba Celestial Fire (1990) 5' for pf Chamber Opera The Divorce (2000) 50' Vocal / Choral 套曲 (2001) 1. 私家車 for children voices & pf 2. 火車 for children voices & perc 3. 交通工具–車輛 for children voices, pf & body movement Electronic Music Accidents (1992) 8' for tape Discography Saytankarxi Hugo HRP 7209-2 Publications 「套曲 (私家車，火車，交通工具–車輛)」《教樂樂、學樂樂：歌集附鐳射唱片》Hong Kong: The Hong Kong Institute of Education, 2001. 「小小實驗室」及「遊戲廣場」《小學聲響設計作品指引》Guidelines for School Creative Music Project, 22-27. Hong Kong: Advisory Inspectorate (Music), Eduaction Department, 1998. 管弦樂 湖想（二）(1995) 15' for string orchestra 職斯瓦楊布勒的晨曦 (1994) 3' 沙依坦克爾西（又名：鬼城）(1993) 12'43" Beyond the Border (1988) 6' 室樂 (西樂) 湖想 (1994) 12' for string quartet 赤地 (1992) 13' for fl, cl, vn, vc & pf 生命 (1992) 10' for cl, marimba & vibraphone Duet for Clarinet, Bass Clarient & Percussion (1991) 8' 迷 (1989) 6' for double zheng's, vn, vc & perc 三重奏 (1989) 7' for fl, cl, bass cl 憶 (1988) 5' for string quartet 室樂 (中樂)與中國現代舞 隸書 (1996) 2' for dizi, pipa, zheng, erhu & perc 楷書 (1996) 7' for dizi, pipa, zheng, erhu & perc 獨奏曲 Irresistible Impulse (2001) 2' for pf 生命(二) (1992) 10' for marimba Spingende Golden Bohne (1991) 7' for marimba Celestial Fire (1990) 5' for pf 室內樂歌劇 離婚 (2000) 50' 聲樂 / 合唱 套曲 (2001) 1. 私家車：for children voices & pf 2. 火車：for children voices & perc 3. 交通工具 - 車輛：for children voices, pf & body movement 電子音樂 Accidents (1992) 8' for tape 唱片目錄 Saytankarxi, Hugo HRP 7209-2 出版刊物 「套曲一 (私家車，火車，交通工具–車輛)」《教樂樂、學樂樂：歌集附鐳射唱片》Hong Kong: The Hong Kong Institute of Education, 2001. 「小小實驗室」及「遊戲廣場」《小學聲響設計作品指引》Guidelines for School Creative Music Project, 22-27. Hong Kong: Advisory Inspectorate (Music), Eduaction Department, 1998. Back

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

MUSICAL CONVERGENCE 2019 "Musical Convergence" is a concert jointly presented by Hong Kong Composers’ Guild, Chung Chi College of the Chinese University of Hong Kong and RTHK Radio 4. It is a musical collaboration of Music Joint Association (a Chinese music ensemble) mixing with a saxophone and a flute. In this concert we shall enjoy the music works of Hong Kong Composers’ Guild members as well as compositions from the Music Department of Chung Chi College. Concert Date & Time: March 8, 2019 (Friday) at 8 p.m. Venue: RTHK Studio One Concert Producers: Dr. Chan Kai-young, Daphne Lee Conductor: Raoul Lay Performers: Chan Tsz-chun Brian (Sheng) Wah Chi-shing Anthony (Saxophone) Music-Joint Association Wong Ling-yan Chass (Pipa) Ma Sze-yan Yanki (Yangqin) Lem Ling-ling (Liuqin, Da-ruan) Ng Kai-hei Jason (Zhong-ruan, Da-ruan) Lau Wai-yan (Zheng) Programme: Leung Pak-hei Alvin - Lake Ad Excellentiam Sketch* A Night Between Woods...and Melancholy* Chris Hung - Sands of Time Cheng Ching-nam Hippocrates - Purification Wong Chun-wai - Autumn Leaves Clarence Mak - Flowers Flying Fantastic *Commissioned work