*《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.