香江華采 2.0 於 2006 年首次舉辦的《香江華采》計畫，獲得各界的踴躍支持和讚譽！徇眾要 求，香港中樂團與香港作曲家聯會再次合作，於 2024 年推出《香江華采 2.0》。 橫跨兩年的《香江華采 2.0》包括採風及新作品徵集 。 香港中樂團與香港作曲家聯會再度攜手合作「香江華采2.0」，以音樂訴說香港故事，讓中樂成為這座城市最怡人的聲音。除了公開徵集作品外，音樂會更特別邀請三位本地作曲家—陳永華、黃學揚及許翔威，創作全新樂章。不同世代的作曲家聚首一堂，以音符交流、以旋律對話，透過他們的筆觸描繪時代脈搏，呈現多元而鮮活的城市風貌。 *是次徵稿只接受持有有效香港居民身分證之人士報名 了解更多 Candenzas of Hong Kong 2.0 Concert 2026 The Result of selected works 2026 : 《燈火》凌君亮 曲 《驚蟄》梁俊灝 曲 《司晨》黃子維 曲 Commissioned Works by Invitation 2025 : 《鳳凰湼槃 》陳永華曲（香港中樂團委作/世界首演） 《沁香港灣風 》許翔威曲（香港中樂團委作/世界首演） 《花影春語》黃學揚曲（香港中樂團委作/世界首演） Candenzas of Hong Kong 2.0 Concert 2025 The Result of selected works 2025 : 《昇華水影》沈耀忠 曲 《掛亮子》錢璟 曲 民族管弦序曲《繁花春華》黃子維 曲 Commissioned Works by Invitation 2025 : 《歲月印記–獅子山》陳能濟曲（香港中樂團委作/世界首演） 《天梯風色》麥偉鑄曲（香港中樂團委作/世界首演） 《邊壯守望》陳錦標曲（香港中樂團委作/世界首演） 香港中樂團及香港作曲家聯會合辦的「香江華采2.0」， 作曲家們在采風過程中，觀自然，察人文，將自己的審美體悟、藝術直覺譜作樂曲，實為「妙悟」。 如今香港中樂團將此「妙悟」化作聽覺盛宴與眾同享，邀一眾知音人於樂中悠遊神州。音起音落，從城市空間轉去郊野公園，聽衆聲喧嘩，也聼萬物生長。轉軸撥弦間，看盡都市繁華，縱情山水之姿，品人間烟火，亦賞留白意蘊。 正所謂「觀宇宙之大，察品類之盛，極視聽之娛」 香江華采2.0 2025年3月13日（六）下午5:00 香港理工大學賽馬會綜藝館 $380, $300, $250, $200 指揮：閻惠昌 節目：https://bit.ly/4ijFKoT 合辦：香港作曲家聯會 協辦：香港理工大學 支持機構： 香港中文大學音樂系 香港作曲家及作詞家協會 香港教育大學文化與創意藝術學系 香港浸會大學音樂學院 香港理工大學 香港演藝學院音樂學院作曲及電子音樂系 (按筆劃序) 香江華采2.0_2026 poster 香江華采2.0_2026 poster 1/1 廣西採風之旅 WhatsApp Image 2026-06-24 at 18.04.14 WhatsApp Image 2026-06-23 at 10.21.47 Image_20260623235203 WhatsApp Image 2026-06-24 at 18.04.14 1/20 《香江華彩2.0》由香港作曲家聯會舉辦的一連五日雲南瑞麗採風之旅已圓滿結束。衷心感謝各地協助聯絡與安排的伙伴、各村委及村民在行程中的支持與熱情款待。 是次採風走訪多個村落，村民及民間藝人分享了豐富的音樂與文化傳統，包括景頗族及德昂族歌曲、景頗族吹管樂等。聯會會員亦能透過親身體驗深入學習：試奏傳統樂器、以景頗語合唱歡迎曲、學習民族舞蹈，並與村民作深度交流。同時，村民以音樂舉行歡迎及歡送儀式，會員亦即場獻唱演奏，以表謝意。 行程亦涵蓋三弦琴與象腳舞相關的樂器製作與演奏技巧，以及多種傣族傳統歌曲（如山歌、進酒歌、情歌等），讓會員對當地多元民族音樂有更全面的認識與收穫。 1/19 廣西採風之旅 香港作曲家聯會早於一月六日至一月九日攜同聯會理事及會員，前往中國廣西省南寧市進行音樂一連串活動交流。 是次活動由香港作曲家聯會與香港中樂團合辦，乘坐高鐵前往中國廣西，進行交流活動。 活動包括傳統民俗的采風活動、中國壯族嘹歌及民歌、天琴音樂等。 期待來年為會員爭取更多趣味與意義並重的活動！

香港作曲家聯會－音樂作品傳承和保育計劃 《香港作曲家聯會－音樂作品傳承與保育計劃》旨在保育、傳承及推廣一系列由香港作曲家所創作的優秀音樂作品，並由本會會員及一眾音樂演出團體所推薦。以下為各單位所推薦的作品名單。 參與單位 Hong Kong Composers' Guild 香港作曲家聯會 City Chamber Orchestra of Hong Kong 香港城市室樂團 Hong Kong Chinese Orchestra 香港中樂團 The Hong Kong Children's Choir 香港兒童合唱團 Windpipe Chinese Music Ensemble 竹韻小集 Hong Kong Wind Kamerata 管樂雅集

Photos Media Coverage 音樂新文化 2016－發佈會 Press Conference 發佈會 8.11.2016, 3pm Rehearsal Hall, Sheung Wan Civic Centre 上環文娛中心排練廳 Musicarama 2016 Press Conference Ms. Barbara Fei, SBS, BBS Head of the HKADC Music Division Dr. Joshua Chan HKCG former Chairman Dr. Mui Kwong-chiu HKCG Chairman Group photo Officiating guests, representative of collaborating parties, performers and featured composers A_078 Officiating Guests Dr. Mui Kwong-chiu (Left), Ms. Barbara Fei, SBS, BBS (Middle), Dr. Joshua Chan (Right) Media Coverage Media Coverage 媒體報導 “音樂新文化”演三場音樂會 2016年11月9日 大公報 http://news.takungpao.com.hk/paper/q/2016/1109/3389551.html 港作曲家年度音樂會 將演出多首原創作品 2016年11月9日 大紀元 http://hk.epochtimes.com/news/2016-11-09/港作曲家年度音樂會-將演出多首原創作品-72546832 音樂新文化音樂節下周一開鑼 2016年11月9日 商報 http://www.hkcd.com.hk/content/2016-11/09/content_3603565.htm 跳出框架的樂章 音樂新文化2016 2016年11月11日 經濟日報 秋季音樂盛宴：「音樂新文化2016」及 「聲影集：映照香港」 《Art Plus》 11月號

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 香港當代音樂節於 2018 年起開始舉辦，每兩年舉辦一次，旨在展示我們作曲家的優秀音樂作品。這個音樂節旨在展示香港當代音樂創作，呈現香港當代音樂表演藝術力量。我們鼓勵創新的音樂創作，融合優秀的傳統音樂創作技巧及現代作曲技法，在不斷發展創新的多元文化藝術環境下，以傳承創新的思維去發展推廣香港當代音樂創作。此外，本會亦會委約本地作曲家為香港當代音樂節作曲和首演。 香港當代音樂節的前身為「音樂新文化 Musicarama」音樂節。該音樂節以 1978 年發起的「香港新環境音樂」（New Music Hong Kong Series）活動作為基礎，自 1992 年起由香港作曲家協會開始舉辦。 香港當代音樂節：環宇薈萃 歷屆音樂會 Hong Kong Contemporary Music Festival: Asian Delights 香港當代音樂節：亞洲薈萃 Hong Kong Contemporary Music Festival: Hong Kong Delights 香港當代音樂節：樂在香港

琴緣飛渡 2019 《琴緣飛渡》音樂會是由香港作曲家聯會、香港中文大學崇基學院和香港電台第四台聯合策劃。我們即將欣賞到香港作曲家聯會的作曲家與及崇基學院音樂系的同學，透過香港《凝音樂坊》的中樂演奏家結合一支長笛和色士風的音樂創作。 演出日期和時間： 2019年3月8日（星期五）晚上8點 演出場地： 香港電台一號錄播室 音樂會監製： 陳啟揚博士／李德芬 演奏者： 陳子俊（長笛） 華智誠（色士風） 凝音樂坊 黃翎欣（琵琶） 馬詩恩（揚琴） 林玲玲（柳琴、大阮） 吳棨熙（中阮、大阮） 劉惠欣（古箏） 節目： 梁柏希 - 湖山影未圓* 林俊熹 - 森夜之鬱* 洪銘健 - 時之砂 鄭靖楠 - 淨 黃俊諱 - 秋葉 麥偉鑄 - 花飛花非 *委約作品

別「豎」一格 香港作曲家聯會 x 香港城市室樂團 準備好迎接一個非凡的音樂之夜吧！香港作曲家聯會與香港城市室樂團攜手合作，將於4月30日在香港大會堂劇院呈現一場令人陶醉的演出。這次獨特的合作將展示當代與古典音樂的豐富織錦，由香港作曲家聯會的作曲家們傾情演繹。 活動: 香港作曲家聯會 x 香港城市室樂團 非凡豎琴之夜 日期: 2025年4月30日（星期三） 時間: 晚上8:00 地點: 香港大會堂劇院 票價（港幣）: 150, 100 購票連結: https://www.urbtix.hk/event-detail/13120/ 作曲家: 陳嘉年 鄭汝森 洪銘健 劉力致 彭振町 彭珺 黃俊諱 特邀演奏家: 孫尹婷（豎琴獨奏） 指揮: 簡柏堅 不要錯過這場非凡的音樂體驗！ 1/12 香港城市室樂團 香港城市室樂團以別樹一幟的風格，成為亞洲首屈一指的室樂團之一。樂團自1999年由雙簧管演奏家黎燕欣創立以來，已經和許多享譽國際的名家同台演出，包括占士．高威、依芙蓮．格妮、愛瑪．柯克比、湯馬士．艾倫、馬連拿爵士、米卡拉．帕蒂莉克、克里斯蒂安．林伯格、張永宙、朱利安．萊．韋伯、艾特格．邁耶、布蘭福特．馬薩里斯、弗拉基米爾．阿殊堅納西、理查．蓋利安諾、阿爾瑪．多伊徹等。樂團也曾與多位著名的藝人合作，包括埃德娜．埃弗烈治夫人、海莉．威斯特拉、理查．克萊德曼、羅賓．吉布，以及粵語流行樂壇之星林憶蓮、李克勤、張敬軒、草蜢、張學友等。樂團其他備受注意的節目，包括和維也納兒童合唱團、波蘭華沙男童合唱團、美國兒童合唱團、瑞典之聲室樂合唱團、英皇合唱團及史溫格歌手的合作演出。香港城市室樂團進取的節目編排方向，在國際間備受注目及認可，因此來自各地音樂節的邀約演出甚多，包括倫敦、拉奎拉、台北、北京、成都、上海等。在本地的邀約演出，則有香港芭蕾舞團、法國五月藝術節、香港電台的聖誕園林音樂會、世界豎琴大會、香港國際半音階口琴大賽、香港國際鋼琴比賽等。電影和動畫音樂會演出包括霍華．布列克的《雪人與大熊》、《哈利．波特》系列、《加勒比海盜：魔盜王終極之戰》、《Final Fantasy》系列、《聖鬥士星矢交響音樂會》和《海賊王》。樂團一向支持現代音樂，曾委約茅沅、楊嘉輝、鄧慧中、塔芭高娃及理查德．哈維創作新作。錄音製作包括與米卡拉．帕蒂莉克、依芙蓮．格妮 、賓奈利—費曼阿根廷手風琴與鋼琴二重奏等合作的全球首錄CD專輯，分別由拿索斯、Orchid Classics（英國）及OUR Recordings（丹麥）唱片公司發行。樂團以培育香港下一代的古典音樂觀眾為己任，特地創作了多齣舞台音樂演出，包括《莫扎特的魔法》、《星．巴赫》、《揭開韋華第的神秘面紗》、《波恩英雄》、《海頓與親王》、《失蝨室樂團》（2017年獲葡萄牙YAMawards「觀眾票選獎」的音樂劇場）、《野地之聲》（2022年獲比利時YAMawards「觀眾票選獎」的音樂劇）等。樂團首席指揮包括2008-2016年在任的法國指揮尚．托勞，及自2019年至今的阿美尼亞指揮及鋼琴家瓦安．馬狄洛辛。自2024年7月起，香港城市室樂團為藝術發展局「優秀藝團計劃」資助團體。 www.ccohk.com 作曲家、指揮及獨奏家 Francis Kan Conductor 簡栢堅 簡栢堅出生於香港，從小學習音樂，因此，音樂早已成為他生命中不可或缺的一部份。 1993年，簡氏於香港演藝學院畢業，並獲得全額奬學金到倫敦僑凱音樂學院深造。同期亦獲得指揮大師哥美士安拿的推薦，成為亞洲青年交響樂團的見習指揮，於香港、新加坡及美國等地演出。 1995年，簡氏在葡萄牙國際青年指揮大賽中獲得奬項。其後為不同樂團擔任客席指揮，包括里斯本大都會樂團、羅馬尼亞國家電台樂團、布加勒斯特愛樂樂團、英屬哥倫比亞室樂團等等，從中與觀眾的距離逐漸拉近。此外，簡氏很享受舞台演出，曾與香港小交響樂團、香港城巿室樂團和泛亞交響樂團等合作。自香港大學管弦樂團成立至2013年，簡氏一直出任首席指揮一職。 由2006年至今，簡氏於澳門樂團擔任助理指揮，同時致力推動澳門普及藝術教育之工作。2010至2012年擔任貴陽交響樂團駐團指揮，在當地推廣和普及古典音樂。近年經常合作的國內樂團包括國家大劇院管弦樂團、深圳交響樂團、浙江交響樂團及哈爾濱交響樂團。2015年3月，簡氏更率領深圳交響樂團遠赴南非作文化交流演出，並為南非「中國年」開幕式音樂會執棒，獲得中華人民共和國文化部部長雒樹剛的高度讚揚。同年9月，隨澳門樂團到歐洲巡迴演出，帶領年青鋼琴家張昊辰及樂團於瑞士蘇黎世及匈牙利布達佩斯演出。2016年於第30屆澳門國際音樂節首演作曲家劉晨晨創作的本地原創三幕室內歌劇《香山夢梅》。2017年6月，為慶祝香港回歸祖國20周年，簡氏指揮中國國家芭蕾舞團交響樂團假北京國家大劇院演出。2018年9月，帶領浙江交響樂團遠赴巴西巡迴演出，分別在伊瓜蘇、巴西利亞、聖保羅、里約熱內盧四個地方演出，獲得極大成功，引起巴西文化界和音樂界極大迴響。 Francis Kan Born in Hong Kong, Francis Kan learnt music from childhood, and it has become an integral part of his life. In 1993, after graduating from the Hong Kong Academy for Performing Arts, he continued his studies at the Guildhall School of Music in London with a full scholarship. Recommended by Maestro Sergio Commissiona, he was appointed as a conducting intern of the Asian Youth Orchestra, with whom he toured in Hong Kong, Singapore and the United States. In 1995, Kan won the International Competition for Young Conductors in Portugal and since then he has worked, as a guest conductor, with several orchestras abroad, including the Lisbon Metropolitan Orchestra, the Romanian National Radio Orchestra, the Bucharest Philharmonic and the Silvestri Chamber Orchestra, etc. Besides, Kan has worked with the Hong Kong Sinfonietta, the City Chamber Orchestra of Hong Kong, and the Pan Asia Symphony Orchestra, and had been the Principal Conductor of the Union Philharmonic Orchestra, HKUSU, since its inception until 2013. From 2006 to present, Francis Kan has been the Assistant Conductor of Macao Orchestra, with a mission to promote musical education in Macao. From 2010 to 2012, he also took up the role of resident conductor at the Guiyang Symphony Orchestra. In recent years, he has frequently cooperated with the China National Centre for Performing Arts Orchestra, the Shenzhen Symphony Orchestra, the Zhejiang Symphony Orchestra, and the Harbin Symphony Orchestra. In March 2015, he led the Shenzhen Symphony Orchestra on a cultural exchange performance to South Africa and also conducted the opening concert for the “Year of China” in South Africa, which was highly praised by Luo Shugang, the Minister of Culture of the People’s Republic of China. In September of the same year, he toured Europe with the Macao Orchestra, leading it to perform with young pianist Zhang Haochen in Zürich and Budapest. Also, he acted as the Conductor of “A Dream of Fragrancy,” a local original chamber opera in three acts composed by Liu Chenchen, at the 30th Macao International Music Festival in 2016. In June 2017, Kan performs with the National Ballet of China Symphony Orchestra at the National Centre for Performing Arts in Beijing, commemorating the 20th anniversary of Hong Kong’s handover to China. In September 2018, he led the Zhejiang Symphony Orchestra on a tour of Brazil, performing in four places in Iguazu, Brasilia, Sao Paulo and Rio de Janeiro, with great success, which aroused great attention in the Brazilian cultural and music circle. Teresa Suen-Campbell Solo Harpist 孫尹婷最近灌錄了三首豎琴協奏曲，分別由陳嘉年（兩度Juno獎得主）、韓德爾及James W. Campbell創作，由Nurhan Arman指揮Sinfonia Toronto伴奏，錄音將於今年七月發行。這項計劃獲得Canada Council for the Arts, Ontario Arts Council和Volvo資助。孫氏亦曾灌錄何冰頤的《銀色天使的輓歌》，由Centrediscs發行。她首張唱片《嚮往》於2010年在香港發行，獲加拿大古典音樂雜誌Whole Note讚譽道：「曲目的選取平衡，集中於平靜而溫暖的樂曲，演奏出色」。 孫氏熱衷於推動現代音樂，至今已委約創作四首豎琴協奏曲、三首豎琴獨奏曲、兩首豎琴與電子音樂作品。 孫氏曾以獨奏者身份，與Sinfonia Toronto, Toronto Concert Orchestra及香港城市室樂團演出，亦曾於多個音樂節（包括多倫多夏季音樂節、美洲豎琴協會夏季學院、香港藝術節等）演出。她曾擔任香港城市室樂團豎琴首席，現任Toronto Concert Orchestra及North Bay Symphony豎琴首席。 孫氏亦熱心教學，現任多倫多皇家音樂學院豎琴考官，亦任教於Lakehead University（位於Thunder Bay）。曾任教於Carleton University、西北大學及香港中文大學。她將於2026世界豎琴會議（WHC）中擔任「聚焦年青人」環節主持人之一，亦曾於2022年在皇家威爾斯音樂與舞蹈學院舉行的WHC中演講，主題為當代豎琴音樂。 孫氏為第一位獲得豎琴演奏博士的華人，畢業於西北大學，師隨芝加哥抒情歌劇院前豎琴首席Elizabeth Cifani。 Teresa Suen-Campbell recently recorded three harp concertos, including two-time Juno award composer Chan Ka-nin’s, Handel’s and James W. Campbell’s, with Sinfonia Toronto conducted by Nurhan Arman, to be released in July this year. She had the support of the Canada Council for the Arts, the Ontario Arts Council, and Volvo. She also recorded Alice Ho’s Beyond the Erupting Skies Silver Angels Sing Among the Gold Stars on the Centrediscs label. Her debut solo album “Longing,” released in Hong Kong in 2010, was praised “a well-balanced program focusing on calmness and warmth, beautifully played” by Canadian Classical Music Magazine Whole Note. An advocate of contemporary music, Teresa has commissioned four harp concertos, three solo works for the harp, and two solo works for harp and electronics to date. As a soloist, Teresa has performed with Sinfonia Toronto, Toronto Concert Orchestra and Hong Kong City Chamber Orchestra. She has also performed at different music festivals such as the Toronto Summer Music, American Harp Society Summer Institute and the Hong Kong Arts Festival. As an orchestral harpist, Teresa is currently principal harpist of the Toronto Concert Orchestra and North Bay Symphony and formerly, City Chamber Orchestra of Hong Kong. A dedicated educator, Teresa is currently a harp examiner at the Royal Conservatory of Music and is on faculty at Lakehead University in Thunder Bay. She also taught harp at Carleton University, Northwestern University, and the Chinese University of Hong Kong. Teresa is Co-Chair of the “Focus on Youth” of the World Harp Congress 2026 and gave a lecture on contemporary harp music at the Royal Welsh College of Music and Drama at WHC 2022. Teresa is the first harpist from China to acquire a Doctor of Music degree in harp performance, studying with Elizabeth Cifani, former principal harpist of Lyric Opera of Chicago, at Northwestern University. Chan Ka-nin Harp Concerto - for Harp and String Orchestra 陳嘉年生於香港，1965年隨家人移居溫哥華。在英屬哥倫比亞大學攻讀電子工程學士學位期間，隨 Jean Coulthard 學習作曲。畢業後到印第安納大學隨Bernhard Heiden學習作曲，其後取得音樂的碩士及博士學位。自1982 年至今於多倫多大學任教音樂理論及作曲。 陳氏獲獎無數，包括以下作曲比賽獎項：巴托克國際作曲家比賽、Barlow國際比賽、國際圓號協會作曲比賽、Jean Chalmers獎、PROCAN 年青作曲家比賽、Amherst色士風四重奏作曲比賽，並曾兩度獲得Juno最佳古典音樂作曲獎。 陳氏的作品織體明亮，經常運用異國樂器音色。樂評界形容他的作品「感性」、「令人難忘」、「細緻」。他時常從親身經歷中擷取靈感創作，例如女兒的出生、父親的逝世、精神上的渴求、和大自然的接近、對環境的關注等。 陳氏近年的創作包括：2022年1月由敲擊樂手Antti Ohenoja和弦樂四重奏在赫爾辛基首演的《漫長的冬天》、2023年由Naomi Woo指揮溫尼伯交響樂團首演的《迎春》、第二齣完整的歌劇《龍的故事》（2023年6月在多倫多光影藝術節首演）、2023年為意大利長笛手Luisa Sello而作的《長笛協奏曲：西西里女巫》（由Sinfonia Toronto首演）。此長笛協奏曲其後於2024年11月由 Luisa Sello 和 Penderecki 弦樂四重奏於意大利八個城市巡迴演出。 Chan Ka-nin was born in Hong Kong and moved with his family to Vancouver in 1965. At the University of British Columbia, he studied composition with Jean Coulthard while pursuing a Bachelor’s degree in Electrical Engineering. After graduation he decided to continue studying composition with Bernhard Heiden at Indiana University where he eventually obtained his Master’s and Doctoral degrees in music. Since 1982, he has been teaching theory and composition at the University of Toronto. His numerous international awards include Béla Bartók International Composers’ Competition, Barlow International Competitions, International Horn Society Composition Contest, Jean Chalmers Award, PROCAN Young Composers’ Competition and Amherst Saxophone Quartet Composition Competition, as well as two Juno Awards for Best Classical Compositions. Characteristically luminous in texture and exotic in instrumental colours, Chan’s music has been described by critics as “sensuous,” “haunting,” and “intricate.” The composer often draws his inspiration directly from his personal experiences: for example, the birth of one of his daughters, the death of his father, his spiritual quests, or his connection to nature and concern for the environment. His recent work, Pikä Talvi (Long Winter), was premiered by percussionist Antti Ohenoja and a string quartet in Helsinki in January 2022. Welcoming Spring was premiered by Winnipeg Symphony Orchestra under Naomi Woo in 2023. His second full length opera Dragon’s Tale was premiered in June 2023 during Luminato at Harbourfront in Toronto. In the same year his Flute Concerto: Doñas de fuera for Italian flutist Luisa Sello was premiered by Sinfonia Toronto. In November 2024, this work was showcased on an 8-city tour by flutist Luisa Sello and the Penderecki String Quartet in Italy. 《豎琴協奏曲》 我深感榮幸獲得出色的豎琴演奏家孫尹婷委約創作一首豎琴協奏曲，而這是我創作的第一首豎琴協奏曲。我同時要感謝指揮大師Nurhan Arman對這項委約的大力支持，他領導下的Sinfonia Toronto於過去數年曾出色地演出我數首作品。 這首豎琴協奏曲於2021-22年新冠病毒大流行期間創作，因此我想到那些受病毒影響以及身體衰弱的人士，當中包括我94歲的母親。母親近年患上了失智症，我感覺她的認知障礙越來越嚴重。這首作品可以說是對她堅強性格及聰穎資質的回憶，同時也將是她繽紛的一生的回憶。 此作品以描繪母親的狀況開始：孤獨而無法與人溝通。之後我以一首豐富的旋律，代表她緬懷年青時充滿活力的日子以及她所愛的丈夫，她並開始唱起這首歌。樂曲結尾表達她與認知障礙共存的韌性。 我非常感謝孫尹婷委約我創作此曲，以及Ontario Arts Council, Toronto Arts Council, Sinfonia Toronto 的大力支持。 Harp Concerto When harpist Teresa Suen-Campbell asked me to write a harp concerto, I was thrilled because she is a wonderful harpist, and this will be my first concerto for this beautiful instrument. I am very grateful to Maestro Nurhan Arman for his support in commissioning this project. Sinfonia Toronto has kindly performed a few of my compositions in the past years under his superb direction. As this piece was written during the pandemic (2021-22), my thoughts have been with vulnerable people, including my 94-year-old mother who has developed dementia in recent years. As I gradually lose my connection with her, this work will be my memory of this strong and wise woman. At the same time, this could also be her memories of her colourful life. The piece begins with a description of her surroundings: lonely and unable to communicate with others. She is resolved to think of her energetic youthful time and her beloved husband in the form of a song, which she begins to sing to herself. The piece ends with her resilience against the state of disillusionment. The composer wishes to thank the Ontario Arts Council and the Toronto Arts Council, Sinfonia Toronto, and Teresa Suen-Campbell for commissioning this work. Lau Lik-chi Daniel Bramble's way, zither wait - for Chamber Orchestra (2025) 劉力致生於香港，是一位集歌者、作曲家及合唱指揮於一身的音樂人，活躍於古典音樂、音樂劇、流行音樂及福音音樂等多個領域。 劉氏現於香港中文大學攻讀音樂博士（作曲）課程，師承陳啟揚教授。他的研究專注於探索粵語的獨特語言特性，並將其融入跨樂種的聲樂、合唱及器樂創作中。曾合作的音樂團體包括 BBC Singers、Psappha、RNCM Orchestra、Kantos Chamber Choir、Cong Quartet、香港學校音樂節、香港新青年合唱團等。 劉氏畢業於香港中文大學，獲文學士（音樂）學位（主修聲樂）；隨後取得英國皇家北方音樂學院音樂碩士學位（作曲）。他熱衷於透過音樂連結人心，關注社會的多元變化，並在創作中探索文化與藝術的可能性。 Born in Hong Kong, Lau Lik-chi Daniel is a multifaceted singer-composer-conductor with expertise spanning across classical music, musical theatre, pop and gospel music. Lau is pursuing a Doctor of Music (Composition) degree at the Chinese University of Hong Kong, where his research focuses on creating genre-hybrid music that explores the unique linguistic features of Cantonese. He has written music for BBC Singers, Psappha, RNCM Orchestra, Kantos Chamber Choir, Cong Quartet, Hong Kong Schools Music Festival and Hong Kong Youth Choir, among others. He earned his Master of Music in Composition (M.Mus.) with distinction from the Royal Northern College of Music and holds a Bachelor’s degree in Music from the Chinese University of Hong Kong. Passionate about engaging audiences through music, he remains attuned to the evolving artistic and social landscape. 《孤琴候蘿徑》 《孤琴候蘿徑》是一首為室內樂團而作的作品，靈感來自唐代詩人孟浩然的《宿業師山房待丁大不至》。樂曲描繪詩中主人翁等待遲遲未至的友人的內心旅程。作品的核心旋律動機源自詩的末句「孤琴候蘿徑」的粵語聲調。 bramble’s way, zither waits bramble’s way, zither waits is a composition for chamber orchestra inspired by Meng Hao-ran’s (? – 740) poem Waiting for a friend who has not yet come in front of a Buddhist monastery. The piece takes the listener on a journey through the emotional and mental states of the poem’s protagonist, who waits for his friend to arrive. The melodic motifs throughout the piece are derived from the Cantonese tones of the poem’s closing line, “孤琴候蘿徑”, pronounced as: gu1 kam4 hau6 lo4 ging3. Pang Kwan Kevin Dance for Chamber Orchestra 彭珺 Pang Kwan Kevin 彭珺先後於香港中文大學取得內外全科醫學士、音樂文學碩士及作曲音樂碩士，師隨陳啟揚教授學習作曲。其後，彭氏於英國劍橋大學深造，並取得音樂哲學碩士。彭氏為香港作曲家聯會 (HKCG) 及香港作曲家及作詞家協會 (CASH) 會員。 彭氏的作品曾於加拿大、美國、意大利及香港等地演出，當中包括「香港當代音樂節2020」、香港作曲家聯會「現代音樂展演交流平台」及「音樂沙龍」等。他的作品曾於劍橋大學多間學院演出。此外，他的作品曾獲Odin四重奏（多倫多）、Lehner四重奏（美國）、Stellar三重奏（北京）、Cong四重奏（香港）、NOVA Ensemble（香港）及合唱俠（香港）等不同團體演出。 彭氏於2022年劍橋大學哈默頓學院作曲比賽中取得亞軍。他亦曾奪得《音樂新一代2020》季軍。於中文大學音樂系在學期間，他曾獲頒紀大衛作曲獎、觀眾最喜愛作品獎及文學院院長嘉許狀。 Pang Kwan Kevin attained his medical degree, Master of Arts in Music and Master of Music at the Chinese University of Hong Kong (CUHK). At CUHK, he studied music composition under the tutelage of Prof. Chan Kai-young. After completing his studies at CUHK, he went on to obtain an MPhil in Music at the University of Cambridge, focusing on composition. He is a member of the Hong Kong Composers’ Guild (HKCG) and the Composers and Authors Society of Hong Kong (CASH). His compositions had been performed in various events in Canada, USA, Italy and Hong Kong, including Hong Kong Contemporary Music Festival 2020, Interactive Platform for Contemporary Music Appreciation and Music Salon of HKCG. At the University of Cambridge, his pieces had been performed in various Colleges. His music had also been performed by groups including Odin Quartet (Toronto), Lehner Quartet (USA), Stellar Trio (Beijing), Cong Quartet (HK), NOVA Ensemble (HK) and Sregnis Singers (HK), etc. Pang was awarded the runner-up prize at the Homerton College Composing Competition 2022 of University of Cambridge. He was the recipient of 2nd runner-up prize in the New Generation 2020 composition competition in Hong Kong. During his studies at the CUHK Department of Music, he was awarded the David Gwilt Composition Prize, Audience Prize and Dean’s List Award of Faculty of Arts. Pang Chun-ting Sigh, Breath, Mitochondrion and Grace 彭振町是香港作曲家，其音樂獲多位重要音樂家和多個重要樂團演出，包括 Vertixe Sonora、Ensemble Linea、以色列當代演奏家、Quatuor Makrokosmos 、 Ensemble Ascolta等。他的音樂探索脆弱性，以及音樂典故背後的邏輯和張力。他從香港演藝學院畢業後，在新英格蘭音樂學院、紐約州立大學水牛城分校深造，師事David Felder 博士、Malcolm Peyton 教授和羅永暉教授。在 Dian Red Kechil International Young Composers Residency、Royaumont Voix Nouvelles、Sävellyspaja 和韋爾斯利學院的作曲家會議期間，他亦接受Chaya Czernowin、Brian Ferneyhough、Jukka Tiensuu、Augusta Read Thomas 等著名作曲家的指導。 Pang Chun-ting is a Hong Kong composer whose music has been performed by a number of foremost musicians and ensembles, including Vertixe Sonora, Ensemble Linea, Israel Contemporary Players, Quatuor Makrokosmos and Ensemble Ascolta. His music explores fragility, and the logic and tension behind musical allusions. After graduating from the Hong Kong Academy for Performing Arts, he furthered studied at New England Conservatory and University at Buffalo. His primary composition teachers include Dr. David Felder, Prof. Malcolm Peyton and Prof. Law Wing-fai. Pang has also received additional training from renowned composers including Chaya Czernowin, Brian Ferneyhough, Jukka Tiensuu and Augusta Read Thomas during his residencies at Dian Red Kechil International Young Composers’ Residency, Royaumont Voix Nouvelles, Sävellyspaja and Composers’ Conference at Wellesley College. 《嘆息、呼吸、線粒體與恩典》 這首作品悼念作曲家2023年離世的母親。疾病帶來憂傷與掙扎，生命終結後會轉化。作品的標題就是這個過程的四個元素。嘆息——憂傷的象徵——以下行的滑奏代表；呼吸——生命的象徵——以氣聲代表；它們發展成各種的高潮與織體，但都被那無可避免的東西所終結。她的生命以基因的形式延續，在作曲家體內的線粒體中默默地產生著能量，由於她臨終信主，所以此作借用詩歌《奇異恩典》的素材作結。 Sigh, Breath, Mitochondrion and Grace This piece is a musical tribute to the composer’s mother who passed away in 2023. While illnesses bring sadness and struggles, life ends and transforms. The title means the four main elements along the process. Sigh, a symbol of sadness, is represented by descending glissandi. Breath, a symbol of life, is represented by air noise. They develop and progress into a variety of outbursts and textures. All of these are ended by the inevitable. But her life continues in form of DNA, generating energy quietly in the mitochondrion of every cell in the composer’s body. As she converted to Christianity at the end of her life, the hymn Amazing Grace is used as a source material to conclude the piece. Anthony Cheng Sketches from Stranger Things 鄭汝森為香港作曲家，畢業於倫敦大學國王學院及香港大學，分別取得音樂碩士及哲學博士學位。於香港開設音樂製作公司，至今為百多個本地及海外國際知名品牌創作音樂。曾作曲、編曲、監製及後期製作的流行曲100多首，當中多首獲得香港樂壇音樂大獎，包括香港電台十大中文金曲作曲獎、商業電台叱吒樂壇流行榜專業推介及四台聯頒歌曲大獎。曾公開演奏及出版70多部當代音樂作品，當中兩度奪得CASH音樂金帆獎最佳正統音樂作品（2015年的《遺．留》和2018年的《困》）。 鄭氏近年積極參與電影工業，憑原創電影音樂“The Cube Phantom”入選荷蘭鹿特丹國際影展，在影展中放映多場。而管弦樂組曲《大英博物館》在歐洲管弦樂團及電影音樂學院比賽入選前150名。 鄭氏的當代音樂作品曾於世界各地多次演出及播放，包括中國、香港、澳門、台灣、英國、愛爾蘭、波蘭、荷蘭、意大利、塞爾維亞、捷克、南美洲、日本、韓國及馬來西亞。足跡更遍及不同的國際音樂節及論壇，包括：國際現代音樂節、國際作曲家論壇、布拉格作曲家高峰會、國際雙簧管學會論壇、北京國際電子音樂節、Classical:NEXT、香港藝術節、法國五月藝術節、香港當代音樂節、鹿特丹國際影展、國際天主教電影節及香港國際影視展等。 Anthony Cheng is a multi-award-winning composer of chamber, symphonic, and songwriting. Cheng also writes scores for movies, TV and theatre. As a composer in multidisciplinary fields of music composition, Cheng’s music consists of an eclectic inspiration of a variety of Western and Eastern influenced musical styles. Cheng read music at King’s College London and the University of Hong Kong where he obtained Master of Music and Ph.D. respectively. He has divided his time between living in the United Kingdom and Hong Kong since 2022. Whether writing for an orchestra or electronic textures, Cheng’s music embraces abstract worlds and emotions with the goal of igniting listeners’ imaginations. His orchestral works have been performed by prestigious orchestras including Czech National Symphony Orchestra, Surrey Philharmonic Orchestra, City Chamber Orchestra of Hong Kong and Hong Kong Chinese Orchestra. Cheng has published over 70 pieces of contemporary works, more than 200 pop songs and commercial music production for TVC, feature films and theatrical works, much of his music is released on CDs and digital medias such as Apple Music, Spotify, Netflix, Disney+, etc. His classical works have been performed and broadcast across Asia Pacific, Europe and South America. Cheng is the recipient of the 28th RTHK Top Ten Chinese Gold Songs Awards, Joint Song Award for Performance Excellence from four Hong Kong local radio stations, the Best Serious Composition of CASH Golden Sail Music Awards with his compositions Lost and Regain (2015) and Dark Side of the City: II - Trapped (2018), and the Top 150 awarded by European Recording Orchestra (ERO) with his orchestral suite The British Museum (2024). Cheng has been frequently invited to attend international conferences and music festivals such as ISCM, International Rostrum of Composers in Argentina (2019) and Serbia (2021), Composers Summit Prague, International Double Reed Society Conference, International Film Festival Rotterdam, International Catholic Film Festival, Classical:NEXT in Netherlands, The 14th Beijing International Electronic Music Composition Competition, Hong Kong Arts Festival, Le French May Arts Festival, and Hong Kong Contemporary Music Festival. 電影音樂致敬系列： 作品1 -《怪奇物語》 作曲家喬治．S．克林頓曾說：「作曲家對電影進行戲劇性的詮釋，並用音樂的方式表達出來。作曲家應是一位將故事情節轉化為音樂的翻譯者，但電影需要的不僅僅是音符，更是音符中流淌出的情感。」電影作曲家必須受到影像的限制，這與寫給音樂廳演奏的音樂不同。在電影配樂中，作曲家必須要與它所支持的畫面同步，並遵循其中的曲折情節來創作音樂。 這個名為「電影音樂致敬」的一系列當代音樂作品就是為了一方面保持著寫給該齣電影的故事描述性、情感表達、以及結構凝聚力；而另一方面，更要保留寫給音樂廳演奏的作品完整性，令音樂有新衝擊、可聽性及藝術價值。 《怪奇物語》是一部主打科幻驚慄風格的劇集，是近年NETFLIX的大作。透過重新對這劇集的認識，我不斷譜寫帶有科幻及驚慄的音樂動機、和聲及織體，並透過揉合當代音樂的天馬行空創作方式以及拿捏電影配樂中常用的管絃樂配器技巧，令觀眾有耳目一新的感覺。 Film Music Fiesta Series: Op. 1 - Sketches from "Stranger Things" Composer George S. Clinton once said, “a composer interprets a film dramatically and expresses it musically. It’s true that the composer is a translator who takes a storyline and turns it into music, but it’s not so much the musical notes the film needs as much as it is the emotion that flows from those notes.” Unlike concert music, film composers must work within the constraints of the motion pictures and support the picture while maintaining structural cohesion of the music. They must fashion their music around the picture, following all the twists and turns. However, concert music is free of these constraints. This series of works, named "Film Music Fiesta," is designed to maintain the storytelling, emotional arousal, and structural cohesion of the movie on the one hand; and on the other hand, to retain the integrity of the works written for concert performance, giving the music a new impact, attractiveness and artistic merits. "Stranger Things" is a sci-fi and horror drama, claimed as a blockbuster of NETFLIX in recent years. Through a new understanding of this drama, I keep writing musical motives, harmonies and textures with eccentric touches, by blending the imaginative writing style of contemporary music as well as grasping the orchestration techniques commonly used in film soundtracks, to give the audience a refreshing feeling. Chris Hung Symphonic Apologue "Of Lion Rock Memento" for Chamber Orchestra (2024) 洪銘健 香港作曲家洪銘健博士的音樂首次獲得國際稱譽，是在2010年德國達姆施塔特夏季現代音樂節中，其作品《無盡聲景》由美國國際當代樂團首演。評論界稱這首作品「美妙地喚起……在一種有序的混亂中」、「對現代音樂聲音平衡的細緻嘗試」。 洪氏作品一個顯著特徵，是經常加上近似萬花筒般的許多細節，並且融合東西文化的風格。其作品多樣化，包括器樂獨奏、管弦樂、影像配樂、合唱音樂等共約80部。他的樂譜由奧地利Universal Edition (UE)、法國BabelScores 和英國Trübcher Music Editions出版。 在過去的二十年中，洪博士的作品曾在超過二十個國家發表，包括歐洲、美國和亞洲國家的多個重要音樂節，如2015中國北京現代音樂節、 2015斯洛文尼亞ISCM世界音樂日、芬蘭西貝流士150週年慶典、2017克羅地亞薩格勒布音樂雙年展、第五屆首爾玩具鋼琴音樂節2024等。他曾擔任2010英國CoMA新音樂作曲大師班、2013新加坡華樂團工作坊和2021 Nexus Ensemble的駐團作曲家。 此外，洪氏獲得多項國際作曲比賽獎項，如美國波士頓ALEA III國際作曲比賽（一等獎）、保加利亞Sofia 2013國際作曲比賽（一等獎）；波蘭I. J. Paderewski音樂學院國際作曲家比賽（二等獎）、2024星海音樂學院第一屆器樂創新創意大賽（二等獎）；美國中美作曲家作曲比賽、新加坡華樂團作曲比賽及芬蘭西貝流士國際作曲比賽（入圍獎）等。 他目前擔任香港作曲家聯會秘書（行政），並曾於2018年代表香港出席在匈牙利布達佩斯舉行的第65屆國際作曲家交流會議。 洪博士持有香港中文大學音樂博士學位，師從陳永華教授和陳偉光教授。洪氏現於香港中文大學專業進修學院、香港浸會大學持續教育學院、伯樂音樂學院及其他音樂院校任教。 Chris Hung Described as “beautifully evoked…in a type of ordered chaos,” “meticulous attempt on the balance of the sound of modern music,” the music of Hong Kong composer Chris Hung first gained international recognition in 2010, with his work Infinite Soundscape premiered by International Contemporary Ensemble (USA) at the Darmstadt Summer Course in Germany. One of the salient features of Hung’s compositions is his use of kaleidoscopic details, merging different cultural styles from the East and the West. His diverse oeuvre includes an array of about 80 works from instrumental solo to orchestral music, as well as audio-visual works and choral music. His scores are published by Universal Edition (Austria), BabelScores (France) and Trübcher Music Editions (UK). Over the past twenty years, Hung’s works have been performed and broadcast over twenty countries in Europe, USA and Asia in various leading festivals, such as Beijing Modern Music Festival (China), ISCM World Music Days (Slovenia), Sibelius 150th Anniversary Celebration (Finland), Music Biennale Zagreb (Croatia) and recently in the 5th Seoul Toy Piano Music Festival 2024, etc. He was composer-fellow in 2010 CoMA New Music Residency (UK), Singapore Chinese Orchestra Workshop 2013 and composer-in-residence 2021 of Nexus Ensemble. In addition, Hung was a recipient of numerous international composition awards, such as ALEA III International Composition Competition (USA) (First Prize), “Sofia 2013” International Composition Competition (Bulgaria) (First Prize); International Composers’ Competition of the I. J. Paderewski Academy of Music (Poland) (Second Prize) and 2024 Xinghai Conservatory of Music First Instrumental Music Innovation and Creativity Composition Competition (Second Prize); EarShot: China – U.S. Composers Competition (USA), Singapore Chinese Orchestra Composition Competition, International Jean Sibelius Composition Competition (Finland) (Finalists) among others. He currently serves as Secretary (Administration) of the Hong Kong Composers’ Guild. He was the Hong Kong Representative attending the 65th International Rostrum of Composers held in Budapest, Hungary in 2018. Dr. Hung holds a Doctor of Music degree from the Chinese University of Hong Kong. He received guidance under the tutelage of Prof. Chan Wing Wah and Prof. Victor Chan. He currently teaches music in the School of Continuing and Professional Studies, Chinese University of Hong Kong (CUSCS), School of Continuing Education, Hong Kong Baptist University (HKBU, SCE), Baron School of Music and other music institutions in Hong Kong. Website: http://chris-hung.com Apologue 這首作品是紀念我們的地標獅子山，其中運用的粵語流行曲《獅子山下》，觸動了無數香港人的心靈。 過去二十多年中，香港經歷了兩次重大疫情 （SARS 和 Covid-19），在作品的中間部份我運用了一些摘錄自《獅子山下》的旋律，但呈現一個變奏版本，代表模糊的追憶。對於不同的聽眾來說，這可能會有不同的解釋。 這首樂曲的另一個突出特點是很多地方也使用了弦樂分部，這個概念賦予了微觀織體，擴展了聽眾的聲音體驗。從字面上看，“Apologue”一詞是指用虛構的故事來闡明一定的道理，達到警示、教育或諷刺的目的。我不解釋為何我用上了這個字，就當作一個謎吧！ Apologue The composition is a musical memento (remembrance) about our landmark Lion Rock, a mountain in Hong Kong, in which the popular Canto-pop song Below the Lion Rock has touched numerous souls of Hong Kong people. In the past years, Hong Kong has experienced two major pandemics, namely SARS and Covid-19, and I would like to use a few melodic excerpts in Below the Lion Rock to present a variant version, representing a blurred recollection and remembrance that could possibly be interpreted differently by different audiences. Another prominent feature in this piece is the use of string divisi, a concept to give a microscopic texture that expands the audiences’ sonic experience. Literally, the word “Apologue” means a literary work that uses fictitious stories to illustrate a certain truth and achieve the purpose of admonition, education or satire. I would not explain why I use this vocabulary and sometimes leaving it as an enigma would serve well as well. Wong Chun-wai Reverie - A Flight with Birds for Chamber Orchestra 黃俊諱的作品橫跨室內樂、管弦樂、音樂劇及影片配樂。他常把不同類型的音樂風格融合，並以聲音營造氣氛、情景，讓聽眾沉浸於仿如多媒體藝術的創作。最近他以浪漫派的意念建構作品，同時加入各種現代音樂元素，發展「廿一世紀（後期）浪漫主義」。 他的作品獲獎無數，多次於歐美、亞洲演出（包括ISCM國際現代音樂節、國際作曲家論壇、亞洲作曲家聯盟論壇及音樂節、亞洲青年管弦樂團世界巡迴演出）並出版。他曾與香港管弦樂團（盛宗亮、廖國敏等指揮）、德國國際現代合奏音樂學院（IEMA）、紐約愛樂交響樂團的成員、演奏家姜東錫、Jan-Erik Gustafsson等合作。他曾獲梵志登大師委約創作小提琴與大提琴雙協奏曲，作為他的 60 歲生辰禮物。 他的配樂作品於國際影展Sound and Image Challenge Festival 及Pink City International Short Film Festival等上映。黃氏亦致力於編曲，由包括Nick Vujicic、潘迪華及Harry哥哥等藝人、歌手及團體演出。 詳見http://www.wongchunwaimusic.com。 Wong Chun-wai has a versatile composition profile comprising concert music, musicals and film scores. He often infuses different musical languages to evoke atmospheres and sceneries, engaging audiences with quasi-multimedia-art experiences. He is also interested in incorporating contemporary musical ideas into the (Late) Romantic musical language. Winning multiple awards across the globe, his compositions are featured in international events such as the International Rostrum of Composers, ISCM World Music Days, ACL (Asian Composers League) Festival and the Asian Youth Orchestra World Tour; and are published by the PARMA Recordings, Ablaze Records (United States), Europa Musica Publishing (France) among others. His music is performed and recorded by prominent groups and musicians including the Hong Kong Philharmonic Orchestra (with Jaap van Zweden, Bright Sheng, Sebastian Perłowski and others), Internationale Ensemble Modern Akademie, performers from the New York Philharmonic and soloists including Dong-Suk Kang and Jan-Erik Gustafsson. He was commissioned a Double Concerto by maestro Jaap van Zweden for his 60th birthday. Films he scored are featured in international festivals including the Sound and Image Challenge Festival and Pink City International Short Film Festival. His arrangements have been performed by renowned groups and artists such as Nick Vujicic and Rebecca Pan Di-hua. For more please visit http://www.wongchunwaimusic.com. 《夢與鳥飛翔》以音樂交織出與鳥翱翔那種自由、歡暢的感覺。我希望這首作品能為活在沉重、沮喪的生活的人提供一個暫時的心靈避難所。 作品將夢的無始無終與飛行的動態時而並列、時而疊疊起來。抒情的旋律和緩慢的和聲節奏描繪夢境的靜態，而快速的伴奏和對位則表現飛翔的動感。對位包括反覆出現的鳥鳴——尤其是我常聽到的黑領椋鳥、麻雀和旅鶇的叫聲。 音樂分別以一個螺旋式無半音五聲音階和一個螺旋式有半音五聲音階作為主要素材。此外，具循環特性的全音階也佔了一定位置。這些無方向感的素材與帶有方向性的自然音階之互動進一步表現夢中飛行難以捉摸的本質。 本作為鋼琴四重奏《鳥兒告訴我—冥想和頓悟》(2021) 的姊妹作，四重奏當中的旋律會以倒影的形態在本作出現。 《夢與鳥飛翔》由香港作曲家聯會委約創作，並由香港城市室樂團首演。 後記：夢，可以不完結嗎？ Programme notes There are things that cannot change, Sorrows few can share, Griefs we must conceal. A silent wish to fly high Finds its voice in a dream, And birds upon the road remind How lovely it would seem. Reverie – A Flight with Birds evokes the sensation of soaring alongside birds, celebrating freedom and grace through a rich tapestry of sound. It is my hope that this piece offers a temporary escape, relieving the stresses and depressions of life. The composition juxtaposes the timeless nature of dreams with the dynamic essence of flight, continuously layering these contrasting elements. Lyrical melodies and slow harmonic rhythms capture the stillness of dream, while rapid accompaniments and counterpoints convey the energy of flight. Throughout the piece, bird calls – particularly those of the Black-collared Starling, Sparrow, and American Robin – serve as recurring musical motives, inspired by my personal experiences of nature. The music draws on a spiraling anhemitonic pentatonic scale and a spiraling hemitonic pentatonic scale as the primary pitch materials. Additionally, the cyclical whole-tone scale contributes a subtle role. The interplay between these directionless materials and their contrasting diatonic counterparts reflects the elusive nature of flight within the context of a dream. This piece serves as a companion to my piano quartet What Birds Tell Me - Meditation and Epiphany (2021), incorporating inversions of melodies from this older piece. Reverie – A Flight with Birds is commissioned by the Hong Kong Composers’ Guild and premiered by the City Chamber Orchestra of Hong Kong. P.S. Could the dream never end?

音樂新一代 2017 入圍及得獎名單 Composers 作曲家 Titles 作品名稱 Results 成績 Chan Chi-long Tony 陳志朗 Fearing the Shadow 《杯弓蛇影》 Winner 冠軍 Lai Miu-yeung 黎渺揚 Introduction and Intermezzo 《序奏與間奏曲》 - Lee Ye-won 李睿源 Lifecycle 《Lifecycle》 - Tse Nok-kiu 謝諾翹 The Last Bite of a Plastic Paradise 《最後一噬塑桃源》 - Tsui Mei-ling Meilina 徐美玲 Surrounded by Cosmic Dust 《遨遊宇宙塵中》 1st Runner-up 亞軍 Wong Anson Ying-shun 王應淳 D’URBAN 《D’URBAN》 - Wu Chi-ching Esther 胡旨澄 Sea Scraped 《刮海》 2nd Runner-up 季軍 Yung Sing-nga 翁聲雅 Ripple 《漪》 - 音樂新一代 2017 音樂會 演出日期和時間：2017年6月1日（星期四）晚上8時 演出場地：九龍廣播道30號香港電台一號錄播室 演出嘉賓： 梁志承（單簧管） 何珈樺（中提琴） 王翹𦑊 （大提琴） 宋可樟（鋼琴） 委約作品：鄭重《無中生有》 音樂會由香港電台第四台（FM97.6-98.9 兆赫及 www.rthk.hk ）錄音，並於2018年6月16日星期五晚上8時在「第四台音樂會」播出，並在6月21日星期三下午2時重播。

《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。

樂動香江 情繫神州 國家藝術基金2023資助項目《香港當代民族管弦樂經典音樂作品粵港澳大灣區巡演》——「樂動香江 情繫神州」音樂會 【跨越半世紀，經典傳灣區】 香港城市中樂團成立於1994年，近30年為中華文化竭盡全力、鍥而不捨！今年，樂團榮獲【國家藝術基金2023年度傳播交流推廣項目】資助，是香港十項獲選名單中唯一的大型中樂團。未來一年藉著國家藝術基金立項資助，在大灣區展開巡演系列活動，講好香港故事。 自上世紀七十年代以來，香港中樂的發展令人矚目，同時湧現出一批具有前瞻性的出色作曲家和優秀的中樂作品。近半世紀來，這些作品講述著中國故事，也承載著港人血濃於水的家國情懷，更蘊含著中華傳統文化及其所代表的價值觀。 本次音樂會是國家藝術基金資助項目整個計劃的首場演出，音樂會陣容強大：將由音樂表演藝術家程秀榮、衞承發擔任指揮；由中國著名笛子大師詹永明、香港青年古箏演奏家姚欣及二胡藝術大師程秀榮擔綱獨奏！70餘位樂團成員將傾情演出香港當代經典中樂名曲：陳培勳氣勢恢弘的《民族交響音畫-流水》、陳能濟富有莊周哲學思辨的《夢蝶》、梅廣釗源於傳統且極具創意的《彩雲追月狂想曲》、陳永華熱情洋溢的《八駿》、麥偉鑄飄逸靈動描寫湖光山色的《古箏與樂隊-自在山雲間》、陳錦標充滿童年回憶的《小小山貝河》、羅偉倫、鄭濟民用笛子為主奏樂器訴說了家喻戶曉的民間愛情故事《笛子協奏曲-白蛇傳》、關乃忠以特殊的作曲手法和獨特的藝術風格展現民俗文化習俗風情畫的《豐年祭》等；更有鮮為人知的遺珠之作，如中國著名音樂美學家、香港作曲家葉純之1991年創作的《二胡協奏曲-辛棄疾》，在塵封32年後將在2023年9月15日晚上八點於香港大會堂音樂廳的《樂動香江 情繫神州》音樂會上重見天日！ 這些曾經令世人高山仰止的香港中樂經典作品近二十年被束之高閣，漸被遺忘……本次音樂會及本項目旨在以這些曾膾炙人口的香港經典中樂作品喚起香港及大灣區音樂界及廣大民眾對當代香港傑出文化藝術的瞭解與關注！

申請成為會員 香港作曲家聯會（有限公司）會籍類別如下： 1. 基本會員（年費港幣300元） 申請人必須： －為香港居民或己居港滿五年； －為香港作曲家及作詞家協會會員；或其他作曲家協會會員 －已出版、發行或公開發表五首或以上作品。申請人必須遞交該作品樂譜供理事會審核。 2. 預備會員（年費港幣150元） 此項會籍供正在學習作曲而尚未達到基本會員申請資格的學生申請。任何在大專院校全職進修或以私人形式學習作曲的人士均符合申請資格。申請人必須遞交最少一首作品的樂譜供理事會審核。理事會將定期覆核預備會員的資歷，當該會員應理事會的邀請而成為基本會員時，其預備會籍將會終止。 3. 附屬會員（年費港幣300元） 申請人應支持香港作曲家聯會的目標。除自行申請外，個別人士亦可憑理事會的邀請成為附屬會員。 會員權益： 所有會員均可参與聯會舉辦之活動，包括週年會員大會，並向會員大會提出建議。但只有基本會員擁有投票、提名候選人及當選成為理事的權利。 如何遞交申請： 會員申請表格（PDF格式）可在以下連結下載。所有已填妥的申請表格必須連同作品樂譜及/或錄音(如沒有樂譜) 及存入會員年費至聯會的匯豐銀行戶口 636-474546-838，所有檔案請透過電郵 grace@hkcg.org 繳交至本會。 下載會員申請表格

CALL FOR SCORES 樂譜徵收 Title: SOUND-IMAGination 2018: Hong Kong Culture Deadline: 2017-10-15 Entry Fee: Nil Info link: Nil Supporting Document: download SOUND-IMAGination: Hong Kong Culture Call-for-proposals The concert will showcase 12 newly written works for 12 videos matching our theme, of each be 3–4 minutes. We welcome both video makers and composers to submit proposal for (1) video, (2) music, or (3) video and music. We encourage proposals that include collaborative production of video and music as one participating item. Composers are welcomed to work with their own professional videographers. Selected videos will be offered a rental fee, whilst commission for the newly written musical works will only be allocated to members of the Hong Kong Composers’ Guild only. Details are as follows: Each applicant can submit one proposal only. Each proposal may indicate the priority of interest in categories (1) video production only, (2) writing music only, and/or (3) collaborative production of video and music (possible to have more than 1 person in one proposal). The duration of each work should be between 3-4 minutes. Videos should be muted, with format preferably in mp4, 1920 x 1080 resolution, H.264 codec, and 25fps. Musical works can be written for solo, duet, trio, or quartet, within the instrumentation of one violin, one viola, one cello, and one piano, with or without tape. To be confirmed with individual successful applicant. The duration of work should be intimately fit with the video, which is about 3-4 minutes. There will be no conductor at the concert. Please make sure that the score is notated clearly, and all the instrumental techniques are practical enough for the performers. Composers, from category (2) and (3), must be member of the Hong Kong Composers’ Guild. Each selected video-only proposal will lead to an offer of HKD2,000 to the video-maker as video rental fee. Each selected composer, under the music-only category, will be offered a commission fee of HKD2,500 for the newly written musical work. Each collaborative video-and-music production will be offered a total of HKD4,500 as project commission. The videos and the musical works should not contain indecent or offensive messages. The videos should pass the criteria under the Film Censorship Guideline by the OFNAA. Participating members must be either the copyright holders of the videos or they must have been granted permission to use the videos. The Guild is not responsible for any legal or financial matters arising from the use of the videos. Proposal shall be submitted with the attached application form and be sent via email to grace@hkcg.org by 15 October 2017. The email should contain the name of applicant(s) of the video-maker and/or the composer while the application form must be anonymous and the files should be marked with the title only. Registration and proposal Applicants who wish to be considered for this project should: For category (1) and (3): Prepare a sample of video of at least 20 seconds to show the concept of proposing production. For category (2) and (3): Send a recent chamber work (in PDF format) that involves at least two of the above instruments, and any optional recording (in mp3 format). Submission deadline: 15 October 2017 Announcement of results Selected applicants will be notified by the end of October 2017. Event schedule 15 October - Deadline of proposal submission Before November - Announcement of selected video-makers and composers 7 January - Submission of video works Early-January (2018) - Composers receive videos, endorsed after Film Censorship by OFNAA 23 March - Submission of musical works 25 April - SOUND-IMAGination Concert Back