支持本會 香港作曲家聯會是本地嚴肅音樂作曲家為培育及推介新音樂創作及欣賞而成立的非牟利組織。除了定期舉辦新作品音樂會、作曲比賽、研習班、講座展覽、委約創作、出版樂譜及唱片錄音之外，香港作曲家聯會更致力提高大眾、特別是青年人對作曲的興趣，並定期指派作曲家到學校培訓下一代創作人材，矢志在本港推動音樂這重要創意藝術在各方面的發展。 您的捐款支持對本會的發展十分重要。詳情請致電2877 3982或電郵至info@hkcg.org 與本會聯絡。

創藝匯新聲 2018﹣創 ‧ 演青年音樂家 下載場刊

音樂新文化 2017：中樂作品展演 演出日期及時間：2018年1月30日（星期二）晚上8點 演出場地：香港中文大學利希慎音樂廳 竹韻小集節目 指揮：何文川 葉樹堅 │ 鏡明塵空 (2017)(7’)* 羅永暉 │ 太白醉酒 (1985)(7’) 梁家棟 │ 漠露 (2014)(7’) 陳明志 │ 風姿花傳 (2015)(9’) 梁騫仁 │ 古韻新音 (2017)(10’) 鄧文藝 │ 燈影城樓 (2017)(7’)* 陳雅雯 │ 晨靄 (2015)(7’10”) 洪銘健 │ 盂蘭盛會 (2014-15初稿，2017年修訂)(10’) *此作品於2017年由香港作曲家聯會委約，費用由香港藝術發展局資助。 下載場刊

國際交流 國際活動 ACL Conference and Festival 亞洲作曲家同盟會議及音樂節 ISCM World Music Days 國際現代音樂協會世界音樂日 International Rostrum of Composers 國際作曲家論壇 本會活動 Hong Kong Contemporary Music Festival: Asian Delights 香港當代音樂節：亞洲薈萃 FRANCE & HONG KONG Exchange Concert 2019 法國香港交流音樂會 Asian Tradition, Asian Contemporary: Japan-Hong Kong Exchange Concert 亞洲傳統與當代音樂： 日本香港交流音樂會

《聲之幻象》跨媒體音樂之旅 由香港作曲家聯會策劃，《聲之幻象》跨媒體音樂之旅將於 2026年2月11日（星期三）晚上8時，香港大會堂劇院隆重舉行。是次演出匯聚三組以作曲家為核心的創作團隊，結合音樂、影像與燈光等媒介，構築出一場虛實交錯、如幻似真的觀演體驗。 這場音樂會不僅僅是對「聲音」的欣賞，更是一場穿梭於感官與想像之間、探索聲像融合可能性的藝術實驗。每一組作品皆呈現出對於音樂敘事、空間感知與跨媒體表達方式的嶄新思考，邀請觀眾進入一個由聲、光、影交織而成的沉浸式世界。 節目作品包括： 《迴光》 作曲及影像設計：蘇傳安、黃詠虹、林鈺浠、鄧灝威、李佳琳 以流動影像與聲音構築記憶空間的演出，引領觀眾在變動與消逝之間，重新觀看、聆聽與感受。 《爍》 創作團隊：李一𥯤、陳一云、余林橞 融合聲與光、模糊感知界線的多媒體作品，靈感源自Jon Fosse小說《Kvitleit》，探討人在極端環境中身心轉化與現實與幻覺交錯的靈性經驗。 《《+;![].我迷失在.＊ 這場﹍×°醫學遊戲：掰擙。阿咩嗯文°°°×．﹏\》》 創作團隊：楊凱晴、胡皓嵐、王晉希 透過模擬外科手術及即時動作感應聲響，將人體轉化為生化樂器，深刻探討科技增強與人類身體之間的關係與矛盾。 購票連結 : https://www.urbtix.hk/event-detail/14466 創作團隊 《爍》 Angus Lee Composer Lee is recognised as one of Hongkong's most exciting composers, with compositions spanning the solo, chamber, orchestral and operatic genres, performed at international music festivals across Asia, continental Europe, the UK, and North America. Recent works include the artificial intelligence opera Chasing Waterfalls (2021-22), commissioned for Semperoper Dresden's 2022/23 season opening; two "studies for orchestra," Des flames... (2023-24) and ...aux cendres (2024) commissioned by the Hong Kong Philharmonic; and the electroacoustic ensemble work hic / nunc (2024-25) commissioned by Croatia's historic Music Biennale Zagreb. In 2025, Lee was conferred the 23rd CASH Golden Sail Music Award for the “Best Serious Composition” by the Composers and Authors Society of Hong Kong. Concurrently, Lee is an active conductor who has worked with leading European ensembles (Ensemble Modern, Ensemble Musikfabrik, Neue Vocalsolisten Stuttgart, to name a few) in performing works by established and emerging composers alike. Lee is equally recognised as one of Hong Kong's leading contemporary music interpreters, having premiered numerous works regionally and internationally by established and emerging composers alike. He has been a musician of the Hong Kong New Music Ensemble since 2016, working at close quarters with leading composers of the day, including Unsuk Chin, Brett Dean, and Toshio Hosokawa. Recent highlights include the Hongkong-premiere of Pierre Boulez's seminal Sonatine (1946-49) for flute and piano, as well as the publication of his performance of flute works by Camilo Mendez on the Austria new music specialist label, KAIROS. He has also been showcased in prominent recital series, including the LCSD's Our Music Talents (2018) and City Hall Virtuosi (2023) series, as well as CityU Arts Festival (2021). He has also performed as soloist at Pierre Boulez's memorial concert at Lucerne Festival in 2016 to critical acclaim. Since 2022, Lee has worked at the University of Hong Kong's Department of Music as a full-time Assistant Lecturer. He is the sole coordinator for the Department's performance curriculum, and teaches conducting, chamber music, and music theory. He is also a part-time lecturer in woodwind chamber music at the Hong Kong Academy for Performing Arts, and has taught as flute faculty at the Lucerne Festival Academy (2022 & 23). He was also faculty at the inaugural South China Contemporary Creative Music Institute (2025), where he gave masterclasses in flute, composition and conducting. Amy Chan Light Designer and Artist Amy Chan is a light and theatre artist, “an exciting practitioner from Hong Kong and an emerging critical voice on light as a performance material” (Theatre and Performance Design, UK). She explores the musicality, relationality and materiality of light, and delves into the in-betweens of light-music, theatre-installation, and arts-medicine. Notable works include light installation-performance Inter-Face, Things That Talk, Morbid Anatomy, and Memento Mori: Sonata for Light. She is active in cross-disciplinary light collaboration, working with celebrated artists, composers, musicians and companies including Ellen Pau, Kingsley Ng, Simon Wan, Rachel Cheung, Ken Ueno and the Hong Kong Dance Company, in various productions such as co-presentation by M+ and Art Basel, M+ commission, New Vision Arts Festival and Tai Kwun Prison Yard Festival, among others. She designed lighting for the installation A Tree to be Found, the award-winner of Hong Kong Arts Biennial 2003 and a collection of Hong Kong Museum of Art. Amy graduated from the Hong Kong Academy for Performing Arts with a Master of Fine Arts (with distinction), majoring in lighting design. Her artistic research was published in international peer-reviewed journals, conferences and local theatre publications. She was the invited speaker on performance lighting in Akademie der Künste of Berlin, Germany and Prague Quadrennial in Czech Republic. Karen Yu percussionist A percussionist, sound artist and curator based in Hong Kong, Karen Yu enjoys exploring the intersection of sound-making, audience engagement, and cross-disciplinary collaboration. Deriving from her background as a percussionist, her creative practice revolves around sound object and bodily movement improvisation, and weaving people together through collaborative experiences. She is currently the artistic director of Contemporary Musiking Hong Kong, a co-founder of the chamber percussion group The Up:Strike Project, and an associate musician of the Hong Kong New Music Ensemble. Previously an artist-in-residence at the Banff Centre for Arts and Creativity and Seoul Dance Centre, Yu was most recently commissioned by the Hong Kong Arts Centre & Castlefield Gallery, Axel Vervoordt Gallery Hong Kong, Hong Kong New Music Ensemble, and Hong Kong West Kowloon Cultural District Freespace. As an active performer, Yu has recently performed in manτεία (manteia), a multimedia performance built on AI tools as an act of divination directed by Peter Nelson and Roberto Trillo, Since When, a multimedia theatre performance by Joyce Tang and Chow Yiu Fai, and Somnium, an installation/opera/trance by Steve Hui. As a curator, Yu has curated the latest edition of the annual sound festival in Hong Kong Sound Forms with Tai Kwun Contemporary, and co-curated the annual UNHEARD sound and music festivals with Eaton Hong Kong and _dtby, as well as the Noise Fest at Freespace West Kowloon. Devoted to promoting sound art and sound pedagogy, she has recently curated a sound art initiative through Contemporary Musiking Hong Kong, Push the ENVELOPE, that aims to diversify our listening approaches and cultivate interests in sound-making as art-making. Karen Yu obtained a Bachelor and a Master of Music (Music Performance, Percussion) from McGill University. She is a part-time faculty member at the University of Hong Kong and the Hong Kong Academy for Performing Arts School of Theatre & Entertainment Arts. 《《+;![].我迷失在.＊ 這場﹍×°醫學遊戲：掰擙。阿咩嗯文°°°×．﹏\》》 Alice Yeung Composer, Lighting and Stage Design, Performer Alice Yeung is a Swiss-based composer-performer from Hong Kong. She works in the field of contemporary music composition, théâtre musical, videography, experimental her-own-vocals, audiovisual installation, and any grey areas in between. Yeung’s music has been internationally featured in professional presentations, such as La Biennale di Venezia, De Doelen Rotterdam (Stichting Rizoom), Hong Kong Sinfonietta, New European Ensemble, Dutch National Opera & Ballet, Gaudeamus Festival, Orkest de Ereprijs, Les Percussions de Strasbourg, Mivos Quartet, ICTUS Ensemble, among others. Her works are prone to show what is fun for her to do, and bring her whimsical mind to life. Besides her music, her film sans-visage was screened in Concours Nicati 2025 as a finalist. Eagle Wu Visual Projection Design, Sensor Programming , Performer Wu Hou-lam (Eagle or AQ) is a musician, composer and interdisciplinary artist. His work encompasses sound installations, interactive web pieces, audiovisual compositions and compositions for acoustic instruments. He is particularly interested in how architecture, as a kind of spatial art, interacts with music/sound as a kind of temporal art. He graduated from the Universität der Künste Berlin, obtaining a Master of Arts (Sound Studies and Sonic Arts); the University of Hong Kong in Architectural Studies; and the School of Music, Hong Kong Academy for Performing Arts, majoring in Composition. Kenny Wong Lighting Design Kenny Wong obtained his BFA degree from the Hong Kong Academy for Performing Arts, majoring in lighting design. His recent works include : The Radiant Theatre’s Toys Fighting!!, Chung Ying Theatre Company’s Ham Meta, Paprika Studio x EKCC’s Ulysses’s Gaze in VR, Make Friends with Puppet Theresa’s The Iron Scarecrow, Pants Theatre Production’s Planning Our City (First Run & Re-run), Lamps Theatre’s The Wishing Stone, Boonfaysau’s Shape of Harmony (2023, 24, 25), Fantasy Puppet Theatre’s The Whale in the Ground. 《迴光》 So Chuen-on Compose So Chuen-on began his musical journey at the Hong Kong Academy for Performing Arts, where he studied composition and electronic music under the guidance of renowned Hong Kong composers Prof. Clarence Mak and Mr. Imen Tang. Currently, he is pursuing a Master's degree in multimedia contemporary scoring for visual media at the European Film College under the tutelage of Prof. Andy Hill, further expanding his expertise in film, television, and interactive media music, thereby solidifying the foundation of his versatile style. So's works span a wide range of genres, including chamber music, orchestral composition, Chinese traditional music, multimedia creation, pop music, and film scoring. He has served as music director, composer, and arranger for several prestigious art projects, such as the "Splendour of Radiance: Ancient Gold Artefacts Exhibition" at the Palace Museum, the "Lotus in Light and Shadow" exhibition for master Jao Tsung-I, and the sound installation "Laila" for the Hong Kong Arts Festival. His collaborators include esteemed institutions and ensembles such as the Hong Kong Philharmonic Orchestra, Windmill Grass Theatre, Hong Kong Gaudeamus Dunhuang Ensemble, Hong Kong New Music Ensemble, the Euphonious, the Hong Kong Yao Yueh Chinese Music Association, the Hong Kong New Youth Choir, and the East Side Dance Troupe. His compositions blend Eastern aesthetics with Western structural techniques, excelling in connecting diverse artistic media through music. He continues to explore the fusion of electronic music, experimental soundscapes, and traditional instruments in his creative practice. Tang Ho-wai Concept Based in Hong Kong, Tang Ho-wai is a theatre director, previously working as Director-in-Residence in the Chung Ying Theatre Company. After graduating from the Hong Kong Academy for Performing Arts (majoring in directing), Tang has directed various productions for different theatre companies. From world classics to contemporary works, his directing credits include Romeo & Juliet, Miss Julie, Mourning Becomes Electra, Peter Handke’s Self-accusation, Lyudmila Razumovskaya’s Dear Yelena Sergeevna. Other original works include A Song Adrift by Ima Collab,Two Dimensions of Minoru Betsuyaki, A Journey to Nowhere by the Fiesta Space, Ox In Kong City by the Nobodies Theatre, The Story of Me and I and Her by the Poor Guy Diary, Ten Bulls-In Search of Hidden Treasures (The Hong Kong Theatre Libre nomination, Best Director and Best Performance), a devised site-specific performance by the Theatre Horizon and the Bobius Strip Theatre of Taiwan. While not directing, Tang is passionate in music by participating as a musician in plays, including The Black and the Blue of a Man (North-east village edition), Antigone (North-east village edition) by the Theatre Horizon. Nickole Li Visual Design Nickole Li graduated from the Hong Kong Academy for Performing Arts in Arts and Event Management (MFA). She is now a theatre freelancer and video designer. She participated in various theatre productions in different stage positions, including production manager, deputy stage manager, stage manager and production assistant. Her recent involvement includes: Hong Kong Dance Exchange H.D.X. 2024, Left Unsaid by Zuni Icosahedron, WestK x Théâtre de la Feuille: Book of Mountains and Seas – The Fates of Mountains and Rivers, “Dance On” Series: You? Choreograph?, Matches - What! A Wonderful World!?, multimedia creation Lullaby, A Journey to Nowhere by Fiesta Space. Among the productions she participated in, the show A Ripple in Sound won the Best Individual Performance Award in the Youth Theater Artists Competition of the 8th Wu Zhen Theatre Festival, where she served as the production manager. Nickole was also actively involved in various concert production and video design works, including “Bye.” BYEJACK CONCERT 2024, The Damn Technology by Chung Ying Theatre Company, and A New Way of Seeing, etc. 李佳琳畢業於香港演藝學院，主修藝術及項目管理（一級榮譽碩士），現為自由身舞台工作者及影像設計師。 李氏曾參與製作多項作品，當中她以製作經理身份參與的《一切從海浪開始》獲第八屆烏鎮戲劇節青年競演小鎮獎「最佳個人表現獎」。 近期參與的劇場作品包括：《香港比舞2024》（製作統籌）；進念 ‧ 二十面體《唔講得》（舞台監督）；西九文化區 x 綠葉劇團：《山海經》第一部曲 ── 山川命（執行舞台監督及舞台監督）；《你係編舞喎》（執行舞台監督）；多空間《球賽 – 奔分世界》（製作經理及舞台監督）；多媒體劇場《一個人的Lullaby》（製作經理）；艾菲斯劇團《離留之境》（助理監製）；新加坡南洋劇社《小塵世》、《牛 · 車 · 水》（製作助理) 等。 近期演唱會製作包括：《FWD 富衛保險呈獻：Jeremy Lee Rise In Love Live 2025》、《My Music．My Life 盧冠廷一生所愛演唱會2025》 、《陳柏宇 LIFE IS LIVE 演唱會 2025》、《周國賢Endy Chow TailorMate Live 2024》、《側田第一秒巡迴演唱會》、麥浚龍2024年《金榜題名 project_mayhem》演唱會等。 近期影像設計作品包括：《'Bye.' BYEJACK CONCERT 2024》、中英劇團《他媽的科技》（影像及平面設計）、《A New Way of Seeing…》等。 Claire Wong Viola Claire Wong is a violist born in Hong Kong, currently pursuing her master’s degree at the Hong Kong Academy for Performing Arts (HKAPA) under the tutelage of Mr. Jeremy Williams. She completed her Bachelor degree of Music in 2023 at HKAPA under the tutelage of Mr. Ray Tsoi and was awarded the Dean’s List in her graduation. Claire has received training from well-known musicians in masterclasses during her studies, including Steven Tenenbom, Stanley Konopka, Wesley Collins and Amihai Grosz. She is also passionate about performing chamber music and orchestral music. She is one of the founding members of the Ionica String Quartet. In 2025, Claire received sponsorships for participating in the 2025 Kent Blossom Music Festival and served as the principal violist of the KBMF chamber orchestra. In 2024, she performed with Steven Tenebom in the opening gala concert of APA String Chamber Festival. She has also served as the principal violist of the Academy Symphony Orchestra since 2022. Claire has received several awards in her study, including the Mr. & Mrs. YS Liu Scholarship, the HKAPA Scholarship, the Wong Wai Ming Memorial Scholarship, etc. She is currently a freelance musician, actively working with different orchestras, such as the Hong Kong Sinfonietta, Macao Orchestra, In-heritage Philharmonic. 黃詠虹是生於香港的中提琴演奏家，目前於香港演藝學院攻讀碩士學位，師從Jeremy Williams先生。她於2023年在香港演藝學院完成音樂學士學位，師從蔡睿先生，畢業時更榮獲院長嘉許名單的殊榮。 在學期間，曾於大師班中接受多位知名音樂家的指導，包括Steven Tenenbom、Stanley Konopka、Wesley Collins、Amihai Grosz等。她對演奏室內樂及管弦樂充滿熱忱，亦是Ionica弦樂四重奏的創團成員。 2025年，黃氏獲資助參加肯特布羅瑟姆音樂節（Kent Blossom Music Festival），並擔任KBMF室內樂團的中提琴首席。2024年，她與Steven Tenenbom於香港演藝學院弦樂室內音樂節的開幕音樂會中同台演出。自2022年起，她亦持續擔任香港演藝學院交響樂團的中提琴首席。 在學期間，黃氏獲得多項獎學金，包括劉元生先生與夫人獎學金、香港演藝學院獎學金及黃維明紀念獎學金等。目前她以自由身音樂家身份活躍於樂壇，積極與多個樂團合作，包括香港小交響樂團、澳門樂團及繼心交響樂團等。

Top of Page Concert II. Chinese Ensemble Music Showcase Windpipe Chinese Music Ensemble The Hong Kong Children's Choir Concert I. Choral and Vocal Music Concert 音樂新文化 2017：不協和的融和 P_20180130_214945_p P_20180130_101606_p P_20180130_203926_p P_20180130_214945_p 1/9 Concert II. Chinese Ensemble Music Showcase Windpipe Chinese Music Ensemble II. Chinese Ensemble Music Showcase 中樂作品展演 30.1.2018 8 p.m. Tuesday 星 期 二 Lee Hysan Concert Hall, CUHK 香港中文大學利希慎音樂廳 Musicarama 2017 Programme by Windpipe Chinese Music Ensemble Conductor: Ho Man-chuen Stephen Yip │ Motto for Beauty (2017)(7’)* Law Wing-fai │ The Drunken Tai Bai (1985)(7’) Leung Ka-tung │ Desert Dew (2014)(7’) Chan Ming-chi │ The Legend of Windscape (2015)(9’) Leung Hin-yan│ Renovated Tradition (2017)(10’) Tang Man-ngai │ City of Lights (2017)(7’)* Chan Nga-man │ The Morning Mist (2015)(7’10”) Chris Hung │ The Yu Lan Festival (2014-15, rev. 2017)(10’) 竹韻小集節目 指揮：何文川 葉樹堅 │ 鏡明塵空 (2017)(7’)* 羅永暉 │ 太白醉酒 (1985)(7’) 梁家棟 │ 漠露 (2014)(7’) 陳明志 │ 風姿花傳 (2015)(9’) 梁騫仁 │ 古韻新音 (2017)(10’) 鄧文藝 │ 燈影城樓 (2017)(7’)* 陳雅雯 │ 晨靄 (2015)(7’10”) 洪銘健 │ 盂蘭盛會 (2014-15初稿，2017年修訂)(10’) *Commissioned by Hong Kong Composers’ Guild in 2017 with support from Hong Kong Arts Development Council. 此作品於2017年由香港作曲家聯會委約，費用由香港藝術發展局資助。 House Programme Concert I. Choral and Vocal Music Concert Performer 演奏者 30.1.2018 - Chinese Ensemble Music Showcase 中樂作品展演 Windpipe Chinese Music Ensemble 竹韻小集 Conductor: Ho Man-chuen 指揮：何文川 Founded in 2003, Windpipe Chinese Music Ensemble is a professional Chinese music ensemble actively promoting local talents and producing quality chamber concerts with a mission to promote Chinese music culture in Hong Kong and to show the unique charm of Chinese instrumental ensemble music. The Ensemble bears the artistic motto ‘Small but Elegant, Simple yet Refined’ of characteristic Chinese music, passing on Cantonese, Hakka and Chiuchow music culture. Since its establishment, it has presented over 50 series concerts and 400 outreach concerts, commissioned and premièred over 20 new works by Hong Kong composers, and cooperated with many international and local maestros. In 2011, conductor Ho Man-chuen was appointed as its Artistic Adviser, and the Ensemble’s founder Chan Chiu-yin was appointed as its Executive Director. Currently it is a grant recipient of the Hong Kong Arts Development Council and a registered non-profit-making organization in Hong Kong. Representing Hong Kong, the Ensemble has been engaging in various cultural exchange performances in over 20 countries and regions. Invited performances include Zhangjiajie International Country Music Week (2011), the Chinese Traditional Wind Instrument Music Week at the Shanghai Conservatory of Music (2012), China-ASEAN (Nanning) Music Week (2013), Musicarama (2014), Macau International Music Festival (2015), Silk Road International Arts Festival (2016), Chengdu International Sister Cities Youth Music Festival (2017) and other international music festivals. 竹韻小集成立於2003年，為重視本土、製作精緻、充滿活力的專業小型中樂團體，以發揚「香港中樂文化」為目標，致力展現中國音樂「小而美、簡而精」的獨特魅力。現任常任樂師皆為香港各大專院校音樂科系畢業的優秀青年音樂家，具有豐富演出經驗。樂器種類齊全，編制上繼承了傳統絲竹樂演奏形式，表現手法靈活，勝任傳統與現代的作品，配備各種香港本土傳統和特色樂器，薪傳具有香港特色的廣府、客家及潮汕音樂文化，並委約及首演香港作曲家新作品逾二十首。自成立至今已策劃系列音樂會逾五十場及社區外展音樂會逾四百場，曾合作演出的國際與香港本地名家多不勝數。2011年成立「竹韻小集有限公司」，由知名指揮家何文川擔任藝術指導，樂團創辦人陳照延擔任行政總監，帶領樂團開創新里程。現為香港藝術發展局資助藝團及香港註冊慈善機構。 竹韻小集曾多次代表香港作交流演出，介紹「香港中樂文化」，足跡遍及亞洲、北美洲及歐洲二十多個國家和地區。曾應邀出席之藝術節活動包括「張家界國際鄉村音樂週」(2011)、「上海音樂學院民族管樂週」(2012)、「中國-東盟（南寧）音樂週」(2013)、「音樂新文化」(2014)、「澳門國際音樂節」(2015)、「中國國際青年藝術週」(2016)、「絲綢之路國際藝術節」(2016)、「成都國際友城青年音樂週」(2017)等。 Performers 演奏者 13.10.2017 - Choral and Vocal Music Concert 合唱及聲樂作品音樂會 HKCC Concert Choir HKCC Boys Chamber Choir The Hong Kong Children’s Choir 香港兒童合唱團 Music Director/Principal Conductor: Kathy Fok 音樂總監兼首席指揮: 霍嘉敏 The Hong Kong Children’s Choir (HKCC) was founded in 1969 as a registered non-profit-making charitable organization and has made tremendous contributions for children’s arts training in Hong Kong. HKCC is now the biggest choir in the world and has grown into a diversified arts organization for children. HKCC is invited to perform overseas each year, spreading the message of love and peace in different parts of the world. The Choir has been well received and appreciated in many countries, gaining an international reputation as the “Little Goodwill Singing Ambassadors” and “one of the best children’s choirs in the world”. HKCC was named “China’s Top Ten Children Chorus” in 2003 and won the prestigious “Award of the Audience” at the “Vivace 2006 International Choir Festival” in Hungary. In 2008, the choir was awarded the “Gold Cup” from “Shanghai International Children’s Chorus Festival”. In 2014, HKCC is selected by the International Federation for Choral Music (IFCM) as one of the IFCM Ambassadors for 2013 to 2015. The Choir was invited to perform in the 2014 “10th World Symposium on Choral Music” in South Korea and 2015 “The 1st IFCM World Choral Expo” in Macau. Apart from touring abroad, HKCC also actively participates in local charitable events, including the 1999 “Chorathon” to raise fund for children with hearing disabilities, 2001 “Bridges of Friendship, Bridges of Songs” concert for the Hong Kong Association of the Deaf, 2003 “All for Love” fundraising concert for We Care Education Fund established for children who lost their parents in SARS, 2006 fundraising concert for the Chinese University of Hong Kong, 2008 fundraising music marathon for UNICEF to help children after the Sichuan earthquake, 2010 “Qinghai Earthquake Relief Fundraising Concert” for World Vision Hong Kong to help earthquake victims in Qinghai, “Carol Singing Festival 2011 Sing for Our Next Generation Charity Concert” for the Child Development Matching Fund and 2012 “Bridge of Love Fundraising Concert” for Suen Mei Speech & Hearing Centre which serves children with hearing impairment. As the children’s choir that best represents Hong Kong, HKCC took part in many historical moments, including the Hong Kong Handover Ceremony in 1997, the opening ceremony of the Hong Kong International Airport in 1998, the Hong Kong Disneyland Grand Opening in 2005, various performances to commemorate the 10th Anniversary of Hong Kong’s reunification with China in 2007, and series of performances celebrating the 2008 Beijing Olympic Games, celebrations for the 60th Anniversary of the Founding of the People’s Republic of China, the East Asian Games in 2009, and performances celebrating the 15th Anniversary as well as the 20th Anniversary of the establishment of HKSAR in 2012 and 2017. 香港兒童合唱團（簡稱「香兒」）成立於1969年，為政府註冊非牟利慈善團體，多年來積極推動藝術培訓，為香港音樂及文化界培育不少人才。現時「香兒」已成為世界上人數最多、組織最龐大的兒童合唱團，更發展為一個多元兒童藝術團體。 「香兒」每年均到外地演出，把愛與和平的訊息傳遍世界，獲譽為「小小音樂親善大使」和「世界最傑出兒童合唱團之一」。「香兒」於2003年獲選為「中國十大少年合唱團」，2006年於匈牙利「Vivace國際合唱節」中奪得最高殊榮的「最受觀眾歡迎大獎」，2008年在「上海國際童聲合唱展演」獲頒贈「金杯獎」，2014年更獲選為2013至2015年度「國際合唱聯盟大使」，並獲邀出席2014年韓國「第十屆世界合唱會議」，以及2015年澳門「首屆國際合唱聯盟世界合唱博覽會」，同時作示範演出。 除外地演出，「香兒」亦積極參與各項慈善表演，包括1999年為聽障兒童籌款的「香港合唱馬拉松」、2001年為香港聾人協進會籌款的「2001慈善音樂會——橋」、2003年聯同護幼教育基金為沙士孤雛籌募教育經費而舉辦的「全賴愛：護幼音樂會」、2006年為香港中文大學籌款的「萬眾童心籌款音樂會」、2008年為聯合國兒童基金會募捐以幫助四川大地震受災兒童的「『童聲傳千里．愛心暖蜀童』馬拉松音樂會」、2010年為香港世界宣明會募捐以協助青海地震災民的「青海地震籌款音樂會」、2011年為兒童發展配對基金籌款的「『聖誕頌歌節2011』啟動慈善音樂會」及2012年為服務聽障兒童的宣美語言及聽覺訓練中心籌款的「心．橋籌款音樂會」。 「香兒」為本港最具代表性的兒童合唱團，經常於香港的歷史性時刻演出，包括1997年香港政權交接儀式、1998年香港國際機場開幕典禮、2005年香港迪士尼樂園開幕典禮、2007年多場慶祝香港回歸10週年的活動、2008年一系列迎接北京奧運活動、2009年多場慶祝建國60週年系列活動、東亞運動會開幕禮、2012年多場慶祝香港回歸15週年的活動及2017年回歸20週年文藝晚會及活動。 I. Choral and Vocal Music Concert 合唱及聲樂作品音樂會 13.10.2017 8 p.m. Friday 星 期 五 Theatre, Hong Kong City Hall 香港大會堂劇院 Programme by the Hong Kong Children's Choir Conductors: Albert Lim, Vivian Suen Hui Cheung-wai │ The Bamboo Grove (2014)(3’40”) Leung Chi-hin │ Thoughts of Separation (2016)(4’) Thomas Wong│ Here’s to Life (2016)(4’30”) Wong Kong-yu │ Two Poems of Chen Zi-ang (2017)(5’30”) Viola Yuen │ On a Sleepless Night (2016)(7’10”) Li Kar-yee │Waiting for…x3 (2017)(5’40”)* Chan Sze-rok │ The Superstitious Ghost (2017)(5’)* Vocal works: Lin Sheng-shih│ Four Cancrizans Poems by Su Shi (1963-65)(12’) Chan Kai-young │ Poem Without a Title: Hard it is to Meet and Part (2014)(4’30”) Galison Lau │ When I have Thought of You (2017)(6’)* Austin Yip │ The Poetess (2011)(7’) Anthony Cheng │ Chanson Triste (2002, rev. 2017)(8’) Lee Kar-tai│ Nostalgia in Four Rhymes (2013)(5’) Tam Chin-fai │ Liao Zhai: Wailing Ghosts (2017)(6’)* 香港兒童合唱團節目 指揮：林俊、孫明慧 許翔威│ 竹里館 (2014)(3’40”) 梁智軒│ 離思 (2016)(4’) 黃子衡│ 將進酒 (2016)(4’30”) 王廣宇│ 陳子昂詩兩首 (2017)(5’30”) 阮慧玲│ 不寐倦長更 (2016)(7’10”) 李嘉怡│ 等‧等‧等 (2017)(5’40”)* 陳詩諾│ 迷信的幽靈 (2017)(5’)* 聲樂作品： 林聲翕│ 蘇軾迴文詞四首 (1963-65)(12’) 陳啟揚│ 無題：相見時難別亦難 (2014)(4’30”) 劉詠浲│ 當我想到你的時候 (2017)(6’)* 葉浩堃│ 易安居士 (2011)(7’) 鄭汝森│ 悲‧歌 (2002初稿，2017年修訂)(8’) 李家泰│ 鄉愁四韻 (2013)(5’) 譚展輝│ 聊齋之鬼哭 (2017)(6’)* The Hong Kong Children's Choir

香港當代音樂節 2018：樂在香港 Concert Highlights 音樂會精華 The Hong Kong Children's Choir and Veloz Harmonica Quartet 19.10.2018 City Chamber Orchestra of Hong Kong with Erhu & Pipa Soloists 20.10.2018 HK Delights THIS IS A GREAT SHOW FOR INNOVATIVE MUSICAL CREATIONS The Hong Kong Contemporary Music Festival (HKCMF) will be a biannual event. This year HKCMF: Hong Kong Delights presents a rich and diverse program including the incorporation of music and dance from City Contemporary Dance Company. Ticketing > 場刊 Programme Note 26.9.2018 場刊 Programme Note 3.10.2018 場刊 Programme Note 10.10.2018 場刊 Programme Note 17.10.2018 The Hong Kong Children's Choir and Veloz Harmonica Quartet 19.10.2018 (Fri) at 8p.m. Theatre, Hong Kong City Hall Performers and Choir Conductors Programme Victor Chan Chan Ka- hei Chan Wing-wah Fong Lok-chi Lee Wan-ki Wendy Chen Ning-chi Galison Lau Mui Kwong- chiu Joshua Chan Leung Chung-yin Paul Desmond Cradle Song (2018) Xi Sai Shan (2018) The Lord’s Prayer (2018) Prayer of St. Francis (2018) Ashes of Life (2014) Stars from afar (1997) In and Out (2018) Medley of Rocky Eyes & Happy Carnival (2014) Summer Snowfield (2018) Nathan Road Tango (2018) Take Five (1959/2017) Composers 陳家曦 Chan Ka-hei 陳偉光 Victor Chan 陳永華 Chan Wing-wah 陳能濟 Chen Ning-chi 方樂知 Fong Lok-chi 李允琪 Lee Wan-ki Wendy 陳錦標 Joshua Chan 劉詠浲 Galison Lau 梁頌然 Leung Chung-yin 梅廣釗 Mui Kwong-chiu City Chamber Orchestra of Hong Kong with Erhu & Pipa Soloists 20.10.2018 (Sat) at 8p.m. Theatre, Hong Kong City Hall Programme Anthony Cheng Clarence Mak Chan Chin-ting Hui Cheung-wai Chris Hung Ng Chun-hoi Lee Kar- tai Phoebus Richard Tsang Symphonic Poem No. 2: Spirit (2018) Echoes with Dance (2011/2018) Dust Devil (2018) Autumn Script (2018) Unto the Twilight Zone II (2016/2018) Home Again (1993/2018) Withered Lotuses and Drooping Willows Speak of Our Times (2018) Of Random and Design (2012/2018) Performers and Conductors Composers 陳展霆 Chan Chin-ting 鄭汝森 Anthony Cheng 許翔威 Hui Cheung-wai 洪銘健 Chris Hung 李家泰 Lee Kar-tai Phoebus 麥偉鑄 Clarence Mak 吳俊凱 Ng Chun-hoi 曾葉發 Richard Tsang

聲影集 2016：香港景觀（作曲家分享） 聲影集 2016：香港景觀 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

香港當代音樂節 2020： 亞洲薈萃 I Chai Found Music Workshop 采風樂坊 Chinese ensemble concert with Chai Found Music Workshop 中樂合奏音樂會 - 采風樂坊 21.11.2020 8PM 音樂會場刊 House Programme ling4-ling4-ling4 Hippocrates Cheng (H ong Kong) Bald Mountain . Echoed Sound Chris Hung (H ong Kong) Bird Singing by the Brook Tang Man-ngai (H ong Kong) Breakthrough Leung Chi-cheung (H ong Kong) Together as One We Breathe Larry Shuen (H ong Kong) * Here is Wind, There is Tree, But They Never Meet Austin Yip (H ong Kong) * Wandering in a Labyrinth Pan Hwang-long (Taiwan) * Commissioned composers 零・凌・靈 鄭靖楠（香港） 空山・聲鳴 洪銘健（香港） 鳥鳴澗 鄧文藝（香港） 望困破 梁志鏘（香港） 一息 孫禮賢（香港）* 這邊有風，那邊有樹，它們卻不相遇 葉浩堃（香港）* 迷宮・逍遙遊 潘皇龍（台灣） * 委約作曲家 采風樂坊 Chai Found Music Workshop 采風樂坊成立於1991年。成立以來，活躍於國內外樂壇，除了表演傳統音樂及臺灣音樂外，亦致力於現代音樂的演奏。其足跡遍及世界各地，在國際上獲得極高的評價。 在采風樂坊的表演中，無論是純粹的音樂演奏，或是結合跨界的劇場表演，皆以傳統音樂為根基，再進而將觸角延伸至當代，融合各式文化，並擴展其作品範圍。樂坊連續多年獲得文化部傑出演藝團隊殊榮，以及文化部演藝團隊分級獎助計劃的支持。另一方面，樂坊也出版樂譜和音樂專輯，以推廣其音樂理念。 采風樂坊未來仍會秉持立足傳統、迎向當代的理念，繼續提供一個優質的文化融合平台，呈現更廣闊的專業表演。對采風樂坊而言，傳承不只是樸素的承續，更要使傳統再次發展。 Since 1991, the Chai Found Music Workshop (CFMW) has been active on the national and international music scenes. Over the years, the group has performed contemporary classical music as well as traditional Chinese and Taiwanese music in countless concerts in Taiwan, Asia, Europe, and the Americas. CFMW has gained the reputation of being one of the foremost sizhu (Chinese chamber music) ensembles in the world. The idea behind all of CFMW’s musical and cultural activities is the advancement of traditional Taiwanese music, both in and out of the confines of Taiwan. CFMW adheres to the foundation of traditional Taiwanese music and perfects its artistic achievement with contemporary extensions. The Council of Cultural Affairs of Taiwan has supported and endorsed the group’s activities for years, and has granted it numerous awards for its excellence. Chai Found Music Workshop will keep the vision of maintaining the tradition, but at the same time providing a high-quality cultural integration by injecting contemporary elements in its professional performances. It does not only inherit the tradition, but let traditional music to develop again. Other Concerts of the Festival 其他音樂節音樂會

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簡介 France and Hong Kong Exchange Concert 法國香港交流音樂會 Hong Kong Contemporary Music Festival 2020: Asian Delights 香港當代音樂節 2020：亞洲薈萃 Contemporary Wind Band Compositions by Hong Kong Composers 香港作曲家管樂團作品匯萃 France and Hong Kong Exchange Concert 法國香港交流音樂會 1/5 香港作曲家聯會成立於1983年，是本地嚴肅音樂作曲家為培育及推介音樂創作而成立的一個專業組織。除定期舉辦新作品音樂會、作曲比賽、研習班、講座展覽、委約創作、出版樂譜及唱片錄音外，香港作曲家聯會更致力提高大眾、特別是青年人對作曲的興趣，並定期指派作曲家到學校培訓下一代創作人材，及在香港將音樂作為一種極為重要的創意藝術來推動其各方面的發展。 作為香港的文化大使之一，香港作曲家聯會已經與許多國際組織建立緊密的聯繫，並在國際現代音樂交流方面擔當一個非常重要的角色。香港作曲家聯會的前身是成立於1973年的亞洲作曲家同盟香港分會。除此之外，它也是國際現代音樂協會的會員國（地區），也與香港電台合作，每年派出一名作曲家代表香港出席「國際作曲家論壇」。 從2010年7月起，香港作曲家聯會正式成為香港藝術發展局年度資助藝團。

國際現代音樂協會（ISCM）是擁有50多個會員國的國際網絡，旨在推廣及傳播當代音樂。它是首個設立的國際平台以新音樂的發展、傳播及交流為任。每年度的國際現代音樂協會世界音樂日演出來自各個會員國的新音樂作品，展示這個時代音樂創作的多樣性。 國際現代音樂協會世界音樂日 國際現代音樂協會（ISCM）是擁有50多個會員國的國際網絡，旨在推廣及傳播當代音樂。它是首個設立的國際平台以新音樂的發展、傳播及交流為任。每年度的國際現代音樂協會世界音樂日演出來自各個會員國的新音樂作品，展示這個時代音樂創作的多樣性。 香港作曲家聯會代表香港作為國際現代音樂協會的會員。 請瀏覽國際現代音樂協會網站 以獲取更多資訊。 被揀選參與音樂日的香港作曲家代表作品： 2026 羅馬尼亞・布加勒斯特 鄭恩哲：《Beyond the Sky》（天外） 2025 葡萄牙・里斯本 梁康裕：《Variations》 2024 法羅群島.挪威 李健強：《Singing Our Swan Song of Serenity》 2023 南非・開普敦 葉浩堃：《This is All About That Monster》 2022 奧克蘭及基督城．新西蘭 曾葉發－《遠光》 2019 塔林及塔爾圖．愛沙尼亞 陳展霆－"Double Exposure" So Ho-chi－"Radio Conversation" 2018 北京．中國 葉浩堃－《時間馬達》 葉樹堅－《仙景圖》 2017 溫哥華．加拿大 陸尉俊－《舞火龍》 2016 統營市．南韓 陳展霆－"tempora mutantur" 2015 盧布爾雅那．斯洛文尼亞 陳啟揚－《蜃景》 洪銘健－"Vibrant City" 2014 弗羅茨瓦夫．波蘭 陳浩貽－《題都城南莊》 2013 科希策，布拉迪斯拉發（斯洛伐克）．維也納（奧地利 李昌－《即興曲II》 2012 安特衛普．比利時 黃俊諱 － 《戰‧不斷》 陳啟揚 － 《雨霖鈴曲》 2011 薩格勒布．克羅地亞 馮迪倫 － 《清絃三弄》 梁智軒 － 《極‧擊》 2010 悉尼．澳洲 彭振町 － 《在不一樣的空間》 葉浩堃 － 《柬蟲京鳴》 楊嘉輝 － 《建設有中國特式的社會主義》 2009 哥德堡．瑞典 黃學揚 － 《焰》 梁基爵 － "Dot and Block" 張珮珊 － 《龍》 張珮珊 － 《大排檔》 2007 香港，中國 陳慶恩 － " There's Something in the Wind" 陳錦標 － 《電車走過的日子》 陳明志 － 《精．氣．神》 陳偉光 － 《中國歌曲兩首》 張珮珊 － 《水姿幻象》 葉劍豪－ "Momento" 林樂培 － 《謝灶君》 林鈞暉 － 《城市本能》 劉詠浲 － 《學生字》 羅永暉 － 《千章掃》 麥偉鑄 － 《緣在半途間》 莫健兒 － 《彩幻千層》 鄧樂姸 － 《 溶》 鄧文藝 － 《安魂曲—紀念教宗若望保祿二世》 曾葉發 － 《心。動》 Wu Cheuk-nam － "Ayala" 2006 斯圖加特，德國 陳永華 － 《敦煌飛天》 2005 薩格勒布，克羅地亞 葉樹堅 － 《五靈角》 2004 瑞士 鄧文藝 － 《山疊疊，水重重》