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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

法國香港交流音樂會 2019 《法國香港交流音樂會》是香港作曲家聯會和法國的Ensemble Télémaque樂團一個寶貴的香港法國兩地音樂交流機會和平台。去年我們香港兩位作曲家聯會的作曲家陳仰平和李家泰獲邀遠赴法國的馬賽和當地的法國演奏家合作，成功首演了他們兩首委約作品。這次我們很榮幸邀請樂團的音樂總監Raoul Lay來到香港親自指揮一套曲目，包括在馬賽首演的兩首香港作品和其他法國和香港作曲家的作品。 演出日期和時間： 2019年9月27日（星期五）晚上8點 演出場地： 上環文娛中心劇院 音樂會監製： 劉詠浲／李家泰 指揮： Raoul Lay 演奏者： 彭康泰（笙） 許榮鏗（長笛、中音長笛） 吳麗文（單簧管、低音單簧管） 張文蕊（小提琴） 楊帆（中提琴） 潘穎芝（大提琴） 嚴翠珠（鋼琴） 王偉文（敲擊） 節目： Yann Robin - Phigures II (2006)(6') 李家泰 - 銀燭秋光冷畫屏 (2018)(12')* 陳啟揚 - 月光寒 (2013/18)(8') 陸尉俊 - 揚州十日 (2016)(7') 陳仰平 - 花意 (2018)(7')* Régis Campo - Pop-art (2002)(11'30'') *作品由Ensemble Télémaque委約，並於2018年在法國馬賽首演。

音樂新一代 2018 入圍及得獎名單 Composers 作曲家 Titles 作品名稱 Results 成績 Lau Cheuk-ho Frederick 劉卓豪 A Game of Banality 《亦如俗戲》 - Leung Chung-yin Ray 梁頌然 1086 King’s Road 《1086 英皇道》 - Leung Pak-hei Alvin 梁柏希 Martial Arts Contest on Mount Hua 《華山論劍》 - Tang Chak-yan 鄧澤恩 Cueva de las Manos 《手洞》 - Wong Tak-kei 黃德基 Scattered Spiral 《Scattered Spiral》 Second Prize 亞軍 Wu Yimin Edward 吳藝敏 Sprout 《Sprout》 First Prize 冠軍 Yu Tsz-long 余梓朗 The Harbor Never Snows 《不會下雪的港》 - Yung Sing-nga Rita 翁聲雅 Red Light/Green Light 《紅綠燈》 Third Prize 季軍 音樂新一代 2018 音樂會 演出日期和時間：2018年6月7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： 管樂雅集 陳子俊（長笛） 薛宇曦（雙簧管） 黃智輝（單簧管） 陳定遠（巴松管） 包文慶（圓號） 音樂新一代 2017 冠軍委約作品：陳志朗《FM 97.6 – 98.9》 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日星期六晚上8時在「第四台音樂會」播放，6月21日星期四下午2時重播。 下載場刊

香港音樂界大灣區文化行 2018

名家趣談作曲 2017 主辦：康樂及文化事務署，香港作曲家聯會 資助：香港藝術發展局 日期：15/3/2016 - 26/4/2017 （逢星期三晚上，共六講 ） 時間：晚上 7：30 場地：香港太空館（演講廳） 網頁：https://goo.gl/ZRYpYN 3月15日－ 我的音樂與不同藝術範疇的對話 講者: 鄧慧中博士 主持: 黎雅婷博士 作曲家鄧慧中近年來一直與不同範疇的藝術家合作，她將分享最近寫給視覺藝術、舞蹈、戲劇和文學的跨領域作品。 3月22日 － 給中國音樂更多空間 講者: 梁志鏘教授 主持: 歐天勇 演出嘉賓: 朱芸編（二胡）及賴應斌（揚琴） 提到中國音樂，大眾一般只認識《梁山伯與祝英台》小提琴協奏曲，但未必知道其作曲家是誰。中國音樂源遠流長，難道欣賞空間果真如此狭隘？作曲家梁志鏘將會從歷史、創作、演奏、指揮、以至推廣等多個角度，通過闡明他過去十年的作品，為大家解開這個謎團，為中國音樂劃出更廣闊的空間。 示範：《連璧》寫給二胡與揚琴（二〇〇九年） 3月29日 － 從我的音樂作品表現同理心 講者: 李允琪副教授 主持: 李家泰博士 演出嘉賓：陳倩婷（鋼琴）及蔣頌恩（女中音） 作曲家李允琪的音樂作品抒情、淒美，着重敘事，然而亦是源自二十及二十一世紀的音樂素材衍生而成。其作品中最主要和關鍵的特色是表現出人與人之間的同理心，不僅在作品標題上，更從作曲技巧以至其他深入層面表達。這場講座，她將帶領觀眾踏上一趟深情的個人音樂旅程。 4月5日 － 尋找魔法：高爾文的音樂（英語主講） 講者: 高爾文博士 主持: 葉浩堃博士 作曲家高爾文將在講座中介紹筆下多首作品。他的創作風格多樣，嚴肅幽默兼而有之。由原音到電子音樂、調性到無調音樂，高爾文的音樂有著始終如一的共通點—尋找讓觀眾感動的奇妙一刻。 4月12日 － 我的經歷與我的幾部作品 講者: 王強教授 主持: 林蘭芝博士 作曲家王強的童年生活於動盪的戰爭年代，及後其音樂生涯亦遇上多個重大的政治運動，令她的作品或多或少敲上烙印。她將在講座分享她的音樂作品，細數背後故事，包括：合唱作品《幸褔河》（一九五八年）、為箜篌、京劇鑼鼓和竹笛而作的《霸王別姬》（二〇一三年）。 4月26日 － 由靈開始 講者: 鄧文藝 主持: 梁智軒博士 演出嘉賓：陳昌隆（小提琴）及 湯偉灝（大提琴） 作曲家鄧文藝將會分享創作《破曉》、《鳥鳴澗》及《呼聲引》的心路歷程，並講述和弦、旋律及織體的應用。

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。

友團主辦音樂會或活動

音樂新一代 2022 Winner 冠軍 - Kong Bethia 江恩詠 Awarded by Dr. Mui Kwong-chiu 由梅廣釗博士負責頒發獎項 1st Runner-up 亞軍 - To Kiu-fung 杜翹豐 Awarded by Dr. Tung Lai-shing 由董麗誠博士負責頒發獎項 Finalist 入圍作曲家 - Tong Cheuk-yan 湯卓茵 Finalist certificate presented by Dr. Lee Kar-tai Phoebus 由李家泰博士負責頒發入圍證書 Winner 冠軍 - Kong Bethia 江恩詠 Awarded by Dr. Mui Kwong-chiu 由梅廣釗博士負責頒發獎項 1/8 入圍及得獎者名單 Composer Title Result 作曲家 作品名稱 成績 Au Chi-hang Exile 歐志恒 流放 Kong Bethia Mayfly Winner 江恩詠 蜉蝣 Lau Yik-long Two Miniatures on Night-time Emotions 劉奕朗 記夜間情緒的兩首小品 Li Cheuk-shing The Voices in my Head II 李焯誠 在我腦海的聲音 II Man Hok-yee 2 Years and 3 months 文學怡 兩年零三個月 Pong Pak-kan MLR - train 2nd Runner-up 龐百勤 冬・鐵 To Kiu-fung Tuen Mun Ferry Pier 1st Runner-up 杜翹豐 屯門碼頭 Tong Cheuk-yan Mercury Retrograde 湯卓茵 水星逆行 音樂會 Guest Performer: Dawning Quartet 表演嘉賓：當聆四重奏 Piano: Karen Sung 鋼琴：宋可樟 Violin: Aimee Sung 小提琴：宋艾樟 Cello: Juanita Wong 大提琴：王翹𦑊 Viola: Cass Ho 中提琴：何珈樺 Best Compositions Selection Panel Member: Dr. Mui Kwong-chiu 最佳作品評選委員會成員：梅廣釗博士 Emcee of the night: Ms. Bonnie Yung & Mr. Wan Chun-yin 大會司儀：翁蒨懃小姐與溫俊賢先生 New Generation 2020 Winner: Yu Tsz-long 音樂新一代 2020 冠軍：余梓朗 New Generation 2021 Winner: So Chuen-on 音樂新一代 2021 冠軍：蘇傳安 演出日期和時間：2022年8月19號（星期五） 演出場地：柴灣238柴灣道青年廣場Y劇場 演出嘉賓：Dawning Quartet 音樂會由香港電台第四台（www.rthk.hk ）錄音，並將於2022年9月9日（星期五）晚上8時在「四台音樂廳」播出，隨後在9月14日（星期三）下午2時重播。 下載音樂會場刊

錄像 播放影片 播放影片 【HKCG x Mivos 網上音樂會】音樂沙龍 II：米費斯弦樂四重奏網上音樂會 Music Salon II: Online Concert with Mivos Quartet 香港作曲家聯會聯乘來自美國著名的Mivos Quartet，演出6首聯會作曲家的作品。 . 是次音樂會打破地域界限，將以線上形式進行： 首播日期👉🏻2024年5月4日 時間👉🏻晚上8時 . Mivos Quartet是「美國最大膽、最兇猛的新音樂合奏團之一」（《芝加哥讀者》），致力於演奏當代作曲家的作品，並向國際觀眾展示多樣化的新音樂。自2008年四重奏成立以來，他們與不斷擴大的國際作曲家團體進行了演出和密切合作，代表了當代作曲的廣泛美學範圍。 . 節目： 邵麗棠｜Capriccio of Cantonese Shadows 黎渺揚｜吐露之水 陳展霆｜行馬 楊凱晴｜耳色流 陳明志｜風雨中抱緊自由 林俊熹｜Invocation . The Hong Kong Composers Guild teamed up with the famous Mivos Quartet from the United States to perform 6 works by composers from the Hong Kong Composers Guild. . Concert Details : Date 👉🏻4th May, 2024 (Sat) Time 👉🏻HKT 8pm . The Mivos Quartet, “one of America’s most daring and ferocious new-music ensembles” (The Chicago Reader), is devoted to performing works of contemporary composers and presenting diverse new music to international audiences. Since the quartet's beginning in 2008 they have performed and closely collaborated with an ever-expanding group of international composers representing a wide aesthetic range of contemporary composition. . Programme : Kiko Shao｜Capriccio of Cantonese Shadows Israel Lai｜out to tolo Chan Chin-ting｜Haengma Yeung Hoi-ching Alice｜FLOW Chan Ming-chi｜Embrace Freedom in the Storm Matthew Lam｜Invocation 播放影片 播放影片 「傳承 . 美樂之河」- 香港兒童合唱團 音樂會 Transcending Music Legacy: Concert with Hong Kong Children's Choir 「傳承 . 美樂之河 」香港兒童合唱團 音樂會 : Transcending Music Legacty: Concert with Hong Kong Children's Choir: 日期 Date : 12.04.2024 (五 Fri) 時間 Time: 晚上8時正 8 p.m. 地點 Venue: 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre 演出者 Performer: 香港兒童合唱團 節目 Programme : 陳永華｜A Bright New Sunny Day（2014） 陳能濟｜遠方的星星（1997） 成俊曦｜音樂使我們連結在一起（2012 / 2023） 梁智軒｜離思（2016） 林樂培｜鳳陽花鼓（1957 改編） 羅永暉｜希望（1988） 葉浩堃｜微風吹拂（2021） 阮慧玲｜不寐倦長更（2016） 許翔威｜想飛（1994 / 2003） 曾葉發｜I Am Not There（2014） 林樂培｜靈山路遠（1985） 陳啟揚｜一個字（2023）* 譚天樂｜新的一天（2023） 播放影片 播放影片 「傳承 . 美樂之河」- 香港天籟敦煌樂團 音樂會 Transcending Music Legacy: Concert with HKGDE 音樂會詳情 : 日期/ 12.01.2024 (五) 時間/ 晚上8時正 地點/ 香港大會堂劇院 節目 : 陳錦標｜春暉園（1998 / 2023） 陳明志｜觀自在敦煌（2023）* 洪銘健｜八陣圖（2013 / 2023） 甘聖希｜謝謝你的時間（2022） 陸尉俊｜彈撥搖滾（2020 / 2023） 梅廣釗｜東風來（2023） 蘇傳安｜苦行（2023） * 此作品於 2023 年由香港作曲家聯會委約，費用由香港藝術發展局資助。 播放影片 播放影片 「傳承 . 美樂之河」- NOVA Ensemble 音樂會 Transcending Music Legacy: Concert with NOVA Ensemble 「傳承 . 美樂之河 」NOVA Ensemble音樂會 : Transcending Music Legacty: Concert with NOVA Ensemble: 日期 Date : 27.10.2023 (五 Fri) 時間 Time: 晚上8時正 8 p.m. 地點 Venue: 上環文娛中心劇院 Theatre, Sheung Wan Civic Centre 演出者 Performer: NOVA Ensemble 特邀嘉賓 Guest Performers: 盧思泓 Loo Sze-wang (笙 sheng), 彭偉倫 Pang Wai-lun (琵琶 pipa) 節目 Programme : 紀大衛 David Gwilt｜變體 Varinats（1991） 林樂培 Doming Lam｜古舞曲三首 Three Chinese Dances（1963 改編） 林俊熹 Matthew Lam｜道盡塗窮 In Extremins（2022） 梁康裕 Leung Hong-yu｜旅 二 Excursion II（2022 / 2023） 盧厚敏 Lo Hau-man｜薩 Shakhi-Zinda（1994） 彭振町 Pang Chun-ting｜如雪 As Snow（2012） 葉樹堅Stephen Yip｜Sempre Invictus（2023） 播放影片 播放影片 Peco CHUI - Fragrance HKCMF: Global Delights - Concert with NEXUS Ensemble 播放影片 播放影片 MUI Kwong chiu - Mountain Landscape in the Dancing Cloud HKCMF: Global Delights - Concert with NEXUS Ensemble 播放影片 播放影片 Chris HUNG - Visual Reverberating HKCMF: Global Delights - Concert with NEXUS Ensemble 播放影片 播放影片 Anthony CHENG - The Convergence of the Twain HKCMF: Global Delights - Concert with NEXUS Ensemble 播放影片 播放影片 Adrian LAM - Recreational Mathematics HKCMF: Global Delights - Concert with NEXUS Ensemble 載入更多

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。

理事會 洪銘健博士 秘書 （行政） 梁智軒博士 副主席 梅廣釗博士 主席 李家泰博士 財政 陸尉俊 博士 秘書 （會員事務） 理事會成員 伍巧怡小姐 理事 陳啟揚博士 理事 陳仰平博士 理事 劉詠浲先生 理事 李嘉怡小姐 理事 阮慧玲 博士 理事 2024至2026年度理事會 （經會員大會選舉產生） 主席: 梅廣釗博士 副主席: 梁智軒博士 秘書（行政）: 洪銘健博士 秘書（會員事務）: 陸尉俊博士 財政: 李家泰博士 理事: 陳啟揚博士、陳仰平博士、劉詠浲先生、 李嘉怡小姐、伍巧怡小姐、阮慧玲博士 香港作曲家聯會顧問團： 紀大衛教授、曾葉發教授、陳永華教授、 陳偉光教授、陳錦標博士、盧厚敏博士 名譽會長: 紀大衛教授、林樂培博士 創會主席: 曾葉發教授 歷任主席: 陳永華教授、陳錦標博士、盧厚敏博士 智庫: 鄭汝森博士、吳俊凱博士、葉浩堃博士 名譽會計師: 萬信會計師事務所 名譽法律顧問: 何劍雄律師 名譽會員: 林聲翕教授、黃友棣教授、閻惠昌教授 SBS 行政 葉芷晴小姐 高級行政主任

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