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聲影集（SOUND-IMAGination）旨在展示本地作曲家的不同風格，並以全新的視角呈現我們的城市； 是一場讓音樂、錄像和想像力交織的音樂會。 聲影集 聲影集（SOUND-IMAGination）旨在展示本地作曲家的不同風格，並以全新的視角呈現我們的城市； 是一場讓音樂、錄像和想像力交織的音樂會。 SOUND-IMAGination 聲影集 2018 SOUND-IMAGination 聲影集 2017 SOUND-IMAGination 聲影集 2016

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

音樂新一代 2020 The awardees of New Generation 2020 音樂新一代 2020 得獎者 Winner 冠軍 - Yu Tsz-long 余梓朗 Awarded by Prof. Richard Tsang 由曾葉發教授負責頒發獎項 The finalists and awardees, NOVA Ensemble and the Best Compositions Selection Panel 入圍及得獎者／NOVA Ensemble／最佳作品評選委員會 The awardees of New Generation 2020 音樂新一代 2020 得獎者 1/5 入圍及得獎名單 Composers Titles Results 作曲家 作品名稱 成績 Chan Nok-him Fog - 陳諾謙 《霧》 - Lam Chun-hei Matthew Undine - 林俊熹 《Undine》 - Leung Hong-yu Echoes of Spring 1st Runner-up 梁康裕 《春迴》 亞軍 Pang Kwan Kevin Wojtek 2nd Runner-up 彭珺 《佛伊泰克》 季軍 Tong Cheuk-yan A Stranded Whale - 湯卓茵 《擱淺的鯨魚》 - Tsang Henry Chi-yeung My Distracting Thoughts - 曾子揚 《雜念成章》 - Yu Tsz-long Cliff Dance Winner 余梓朗 《壁舞》 冠軍 Zheng Yui-ka Comes Full Circle - 鄭裔䕒 《周而復始》 - 音樂會 Guest Performer: NOVA Ensemble 演出嘉賓：NOVA Ensemble Conductor: Angus Lee 指揮：李一葦 Violin: Sean Lai 小提琴：黎逸晞 Percussion: Karen Yu 敲擊：余林橞 Conductor: Vicky shin 指揮：洗宏基 Cello: Pun Chak-yin 大提琴：潘澤然 Clarinet: Stephenie Ng 單簧管：吳麗文 Best Compositions Selection Panel Member: Prof. Richard Tsang 最佳作品評選委員會成員：曾葉發教授 Best Compositions Selection Panel Member: Dr. Leung Chi-hin 最佳作品評選委員會成員：梁智軒博士 Emcee of the night: Mr. Kam Shing-hei, Kahlen & Dr. Austin Yip 大會司儀：甘聖希先生與葉浩堃博士 演出日期和時間：2021年8月10號（星期二）晚上8時 演出場地：柴灣238柴灣道青年廣場Y劇場 演出嘉賓：NOVA Ensemble 音樂新一代2019冠軍委約作品：黃子峻－《靜心》 音樂會由香港電台第四台（www.rthk.hk ）錄音，並於2021年8月20日（星期五）晚上8時在「四台音樂廳」播出，8月25日（星期三）下午2時重播。 下載音樂會場刊 音樂新一代 2021 The awardees of New Generation 2021 音樂新一代 2021 得獎者 Winner 冠軍 - So Cheun-on 蘇傳安 Awarded by Dr. Mui Kwong-chiu 由梅廣釗博士負責頒獎 The finalists and awardees, the Windpipe Chinese Music Ensemble and the judging panel 入圍及得獎者／竹韻小集／最佳作品評選委員會 The awardees of New Generation 2021 音樂新一代 2021 得獎者 1/5 入圍及得獎名單 Composers Titles Results 作曲家 作品名稱 成績 Cheung Ying The Shining Star of Losers Everywhere - Haru Urara - 張鷹 《失落中的希望之星 – 春麗》 - Kam Pak-sze Hope and Harsh Winter - 金栢思 《嚴冬中的期盼》 - Pong Pak-kan Dream within a Dream - 龐百勤 《夢中夢》 - So Chuen-on Le Clé Sanglante Winner 蘇傳安 《血鑰》 冠軍 To Kiu-fung Cats’ Night Fiesta - 杜翹豐 《百貓の夜行》 - Vong Hin-ching Moon Stealer 2nd Runner-up 黃軒靖 《撈月》 季軍 Wong Chi-san Echo of Bamboo Theatre 1st Runner-up 黃志燊 《戲棚迴響》 亞軍 Zheng Yui-ka Symposium - 鄭裔䕒 《觥籌交錯》 - 音樂會 Guest Performer: Windpipe Chinese Music Ensemble 演出嘉賓：竹韻小集 Conductor: Ho Man-cheun 指揮：何文川 Xiao Ruan: Chan Sze-tung 小阮：陳思彤 Yangqin: Kwok Ka-ying 揚琴：郭嘉瑩 Erhu: Chan Kai-him 二胡：陳啟謙 Pipa: Yu Wing-ka 琵琶：余穎嘉 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: Dr. Lee Kai-tai, Phoebus & Ms. Yeung Hoi-ching, Alice 大會司儀：李家泰博士與楊凱晴小姐 演出日期和時間：2021年8月11日（星期三）晚上8時 演出場地：柴灣238柴灣道青年廣場Y劇場 演出嘉賓：竹韻小集 音樂會由香港電台第四台（www.rthk.hk ）錄音，並於2021年8月27日（星期五）晚上8時在「四台音樂廳」播出，9月1日（星期三）下午2時重播。 下載音樂會場刊

香港作曲家聯會－音樂作品傳承和保育計劃 由 竹韻小集 所揀選的作品 Composers 作曲家 CHAN Joshua 陳錦標 Title of Work 作品名稱 《揚帆行》 Year of Work 作品年份 2021 Duration 長度 - Composers 作曲家 CHAN Ming-chi 陳明志 Title of Work 作品名稱 《風姿花傳》 Year of Work 作品年份 2015 Duration 長度 - Composers 作曲家 CHAN Nga-man 陳雅雯 Title of Work 作品名稱 《寒來暑往》 Year of Work 作品年份 2020 Duration 長度 - Composers 作曲家 CHAN Wing-wah 陳永華 Title of Work 作品名稱 《南蓮池畔》 Year of Work 作品年份 2009 Duration 長度 - Composers 作曲家 CHEN Ning-chi 陳能濟 Title of Work 作品名稱 《歲月流金》 Year of Work 作品年份 2015 Duration 長度 - Composers 作曲家 CHENG Ching-nam 鄭靖楠 Title of Work 作品名稱 《凌波微步》 Year of Work 作品年份 2017 Duration 長度 - Composers 作曲家 HUI Cheung-wai 許翔威 Title of Work 作品名稱 《逆風翱翔》 Year of Work 作品年份 2020 Duration 長度 - Composers 作曲家 HUNG Ming-kin Christopher 洪銘健 Title of Work 作品名稱 《盂蘭盛會》 Year of Work 作品年份 2015 Duration 長度 - Composers 作曲家 KAM Shing-hei Kahlen 甘聖希 Title of Work 作品名稱 《廣東新語》卷廿六，〈香語〉 Year of Work 作品年份 2021 Duration 長度 - Composers 作曲家 LAM Lan-chee 林蘭芝 Title of Work 作品名稱 《火．龍舞》 Year of Work 作品年份 2012 Duration 長度 - Composers 作曲家 LAW Wing-fai 羅永暉 Title of Work 作品名稱 《太白醉酒》 Year of Work 作品年份 1985 Duration 長度 - Composers 作曲家 LEUNG Hin-yan Austin 梁騫仁 Title of Work 作品名稱 《古韻新音》 Year of Work 作品年份 2017 Duration 長度 - Composers 作曲家 LEUNG Ka-tung Tony 梁家棟 Title of Work 作品名稱 《漠露》 Year of Work 作品年份 2014 Duration 長度 - Composers 作曲家 LUK Wai-chun 陸尉俊 Title of Work 作品名稱 《蘭桂騰芳》 Year of Work 作品年份 2020 Duration 長度 - Composers 作曲家 MAK Clarence 麥偉鑄 Title of Work 作品名稱 《蓮動漁舟》 Year of Work 作品年份 2019 Duration 長度 - Composers 作曲家 SHAO Litang 邵麗棠 Title of Work 作品名稱 《涼茶譜》 Year of Work 作品年份 2018 Duration 長度 - Composers 作曲家 TANG Man-ngai 鄧文藝 Title of Work 作品名稱 《燈影城樓》 Year of Work 作品年份 2017 Duration 長度 - Composers 作曲家 TSANG Yip-fat Richard 曾葉發 Title of Work 作品名稱 《大樂天》 Year of Work 作品年份 1999 Duration 長度 - Composers 作曲家 WONG Hok-yeung Alfred 黃學揚 Title of Work 作品名稱 《醮》 Year of Work 作品年份 2018 Duration 長度 - Composers 作曲家 YIP Ho-kwen Austin 葉浩堃 Title of Work 作品名稱 《迴》 Year of Work 作品年份 2013 Duration 長度 - Composers 作曲家 YIP Shu-kin Stephen 葉樹堅 Title of Work 作品名稱 《鏡明塵空》 Year of Work 作品年份 2017 Duration 長度 - 返回

香港當代音樂節 2020： 亞洲薈萃 III Resonance, Sregnis Singers 留聲樂團 、合唱俠 A cappella concert with Resonance 無伴奏合唱音樂會 - 留聲 樂團 12.12. 2020 8PM 音樂會場刊 House Programme Qiang Jin Jiu Tam Chin-fai, Samuel (H ong Kong) * Sigh of not being with you Sakinu Tjakisuvun (arranger) (Taiwan) Anyone Here? Cheng Zen-in, Michelle (H ong Kong) Alone Hsieh Yu-wai ( Taiwan ) Rain Fragments Leung Pak-hei, Alvin (H ong Kong) Song of Puyuma Sakinu Tjakisuvun (arranger) (Taiwan) * Commissioned composer 將進酒 譚展輝（香港）* 奈何 邱恩 【編曲】 (台灣) 人在嗎? 鄭心言（香港） 一儕 謝宇威 (台灣) 是，你還是害怕忘記想起來了 梁柏希（香港） 南王系之歌 邱恩 【編曲】 (台灣) * 委約作曲家 音樂會場刊 House Programme A cappella concert with Sregnis Singers 無伴奏合唱音樂會 - 合唱俠 19.12.2020 8PM Ave Maria Pang Kwan Kevin (H ong Kong) A Way Out... Viola Yuen (H ong Kong) Winter Ng Wah-hei (H ong Kong) * Stroll Tang Chak-yan (H ong Kong) One Step Lee Pui-shan, Sandy (H ong Kong) * Commissioned composer 聖母頌 彭珺（香港） 出路 ... 阮慧玲（香港） 冬 伍華晞（香港）* 散步 鄧澤恩（香港） 一步 李佩珊（香港） * 委約作曲家 Sregnis Singers 合唱俠 音樂總監：阮慧玲博士 Appraised as “very well-polished in tone and style” by the world's best loved a cappella ensemble The King's Singers, and as “The Hong Kong equivalent of the Swingle Singers!” by Japanese media, The Sregnis Singers is the first and one of the very few classical-style a cappella ensembles in Hong Kong. Established in 1994 by 10 enthusiastic musicians, The Sregnis Singers has been singing in 'King's Singers' style'. With lots of classical choral works in its repertoire, it also does orchestral transcriptions and pop songs. Unlike the 6-part King's Singers, Sregnis Singers normally has 9 singers, with two altos and one mezzo-soprano, but it also does SSAATTBB in some occasions. The Sregnis Singers is also known for frequently performing works from local contemporary composers. It has premiered works by Doming Lam, Joyce Tang, Samuel Tam, Julian Chan, Issac Hui, Li Cheong, Eric Tse and Viola Yuen, to name a few. The Sregnis Singers was one of the Hong Kong representative teams in the Xi’an International Horticultural Exposition. It participated in Professor Victor Chan’s project in recording the “Chung Chi College 60th Anniversary Celebration Theme Song”. It also took part in pop singer Sammi Cheng’s album as a group of backup vocalists. 「合唱俠」成立於1994年，是本港第一隊無伴奏小組合唱組合 (a cappella ensemble) ，也是本港極少數的古典派無伴奏合唱組合，獲享譽全球的 King’s Singers讚譽為「音色、風格皆十分精煉」，又獲日本傳媒讚譽為「香港的Swingle Singers」。 「合唱俠」由十位熱愛小組合唱的音樂家創立，走 King's Singers 的路線，曲風和唱腔都是古典風格，classical choral 的味道強烈。一般編制是五女四男SSAAATTBB，加強了女中低音的比例，有時也會是四女四男SSAATTBB，跟六人的 King's Singers不同。選曲方面除了 King's Singers 的編曲作品、本地當代嚴肅作品外，也有一些影視改編作品和流行歌曲，跟以唱流行歌為主的本地無伴奏界別有所不同。 「合唱俠」是本地當代無伴奏合唱作品主力演出者及推廣者，曾首演多首本地無伴奏作品，包括「香港新音樂之父」林樂培、鄧慧中、譚展輝、陳玉彬、許德彰、李昌、謝建銓及阮慧玲的世界首演作品。 「合唱俠」曾應特區政府邀請，代表香港參與「西安國際園藝博覽會」表演；曾獲陳偉光教授邀請，灌錄中文大學崇基學院六十週年「崇基頌歌」；曾參與無線電視劇 “4 in Love”的配樂錄音；也曾替流行歌手鄭秀文和音。 Resonance 留聲樂團 Resonance is made up of a group of music lovers who wish to “leave” （留） the audiences a good impression of “sound” （聲）after its performance of voice-only music. The styles of its repertoire range from classical to pop, and it incorporates the music elements of the indigenous of Taiwan and Hakka as well. It aims at creating a unique voice of Taiwan. 因對音樂的「共鳴」（resonance）而緊密連結的一群人，希望藉由純粹的人聲，「留」下美好的「聲」音給觀眾。曲風橫跨古典至流行，亦善於融合原住民、客家音樂元素，詮釋屬於臺灣的聲音。 Awards: 2019 - First Runner-up, International Hakka Popular Music Festival 2018 - Silver Prize, Community Group, World Cup of Contemporary A Cappella Competition - Silver Medal, Community Group, Taiwan Cup of Contemporary A Cappella Competition - First Runner-up, Hakka Choral Competition - First Runner-up, International Hakka Popular Music Festival 2016 - Finalist, Asian Cup of International A Cappella Music Festival - Silver Prize, Community Group, World Cup of Contemporary A Cappella Competition - Silver Prize, Community Group, Taiwan Cup of Contemporary A Cappella Competition 獲獎紀錄： 2019 國際客家流行音樂節 第二名 2018 世界盃現代阿卡貝拉大賽 社會組 銀牌獎 臺灣盃現代阿卡貝拉大賽 社會組 金牌第二名 客家合唱比賽 第二名 國際客家流行音樂節 第二名 2016 國際阿卡貝拉藝術節 亞洲盃 決選 世界盃現代阿卡貝拉大賽 社會組 銀牌獎 臺灣盃現代阿卡貝拉大賽 社會組 銀牌獎 Other Concerts of the Festival其他音樂節音樂會

Top of Page Concert I. RTHK Quartet Ticketing Concert II. The HK Children's Choir and Die Konzertisten Performers Concert III. Nancy Loo and Mary Wu 音樂新文化 2016 Concert I. RTHK Quartet Concert II. The HK Children's Choir and Die Konzertisten Concert III. Nancy Loo and Mary Wu I. RTHK Quartet 香港電台弦樂四重奏 STRING QUARTET CONCERT 弦樂四重奏音樂會 14.11.2016 8 p.m. Monday 星 期 一 Hong Kong City Hall Theatre 香港大會堂劇院 Programme Igor Stravinsky │ Three pieces for String Quartet (1914, rev. 1918) Ng Chun-hoi │ November Winds (1991) Tang Man-ngai│ Voices II (2016)* Lau Hiu-lam │ Disturbance (2014) Stephen Yip │ Distant Voices (2012) Wong Chun-wai │ The White Wall II (2015) Chris Hung │ String Quartet No. 2 (2008, rev. 2016) Denise Mei-yan Hofmann │ Deep calls unto deep (2014) David Gwilt │ Variations (2009) 節目 斯特拉文斯基│ 弦樂四重奏三首 (1914, rev. 1918) 吳俊凱│ 秋意涼 (1991) 鄧文藝│ 呼聲引 II (2016) * 劉曉霖│ 紊亂 (2014) 葉樹堅│ 淨‧呼 (2012) 黃俊諱│ 白壁II (2015) 洪銘健│ 第二弦樂四重奏 (2008, rev. 2016) 何美恩│ 漫過 (2014) 紀大衛│ 變奏曲 (2009) Press Conference 發佈會 II. The Hong Kong Children’s Choir and Die Konzertisten 香港兒童合唱團 及 Die Konzertisten HONG KONG COMPOSERS’ CHORAL MUSIC SHOWCASE 香港作曲家合唱作品展演 15.11.2016 8 p.m. Tuesday 星 期 二 Hong Kong City Hall Theatre 香港大會堂劇院 Hong Kong Children’s Choir Programme Conductor: Kathy Fok and Dominic Lam Chan Kai-young │ Psalm 23 (2015) Austin Yip │ That It Will Never Come Again (2013) Warren Lee │ What If the World Lost Its Voice (2013) Joshua Chan │ Autumn Night (2015) Lam Fung │ Yellow Crane Tower (2015) Richard Tsang │ My Lunch (2016)* Steve Ho │ Let Music Flow (2014) Die Konzertisten Programme Conductor: Felix Yeung Yim Fuk-wing │ Trekking Forward (2016)# Victor Chan │ On and On: An Ancient Song (2009) Wong Kong-yu │ Three Lyrics of Lu Fang Wen (2010) Viola Yuen │ Lullaby (2014) Elena Chiu │ Revelation XXI (2016) Ian Ng │ TrancePort (2015) 香港兒童合唱團節目 指揮：霍嘉敏及林浩恩 陳啟揚 │ 詩篇二十三篇 (2015) 葉浩堃 │ 不會來了 (2013) 李偉安 │ 假如世界沒有聲音 (2013) 陳錦標 │ 秋夕 (2015) 林丰 │ 黃鶴樓 (2015) 曾葉發 │ 我的午餐 (2016)* 何崇志 │ 韻樂共流 (2014) Die Konzertisten節目 指揮：楊欣諾 嚴福榮 │ 行行重行行 (2016)# 陳偉光 │ 古悠悠行 (2009) 王廣宇 │ 陸放翁詞三首 (2010) 阮慧玲 │ 安睡吧，小寶貝! (2014) 趙學文 │ 啟示錄XXI (2016) 伍家駿 │ 出神 (2015) III. Nancy Loo and Mary Wu 羅乃新及吳美樂 PIANO DUO CONCERT 雙鋼琴音樂會 20.11.2016 8 p.m. Sunday 星期日 Hong Kong City Hall Theatre 香港大會堂劇院 Programme Cheung Pui-shan (Hong Kong) │ The Taste of Old Hong Kong (2016)* Adrian Lam (Hong Kong) │ Loving You, Even, Without You (2016)# Hui Cheung-wai (Hong Kong) │ Contented Seasons of Cultivation (1999) Meilina Tsui (Hong Kong) │ Two Miniature Pieces of Yin and Yang (2016) Yung Yuen-wai (Hong Kong) │ Bi-metamorphosis (2015) Zechariah Goh (Singapore) │ Interfusion and Toccata (2010) Joseph Reiser (U.S.A.) │ The Beast Suite (1996) Sierra Tse (Hong Kong) │ Voices of the Heart (2012) Chen Ning-chi (Hong Kong) │ The Great River (2013) 節目 張珮珊（香港）│ 回味老香港 (2016)* 林瀚聰（香港）│ 沒有您，依然，還是愛您 (2016)# 許翔威（香港）│ 田舍天倫 (1999) 徐美玲（香港）│ Two Miniature Pieces of Yin and Yang (2016) 容婉惠（香港）│ 易變 (2015) 吳多才（新加坡）│交融與托卡塔 (2010) 萊瑟（美國）│ The Beast Suite (1996) 謝倩雯（香港）│ 心語 (2012) 陳能濟（香港）│ 一條大河 (2013) * Commissioned by Hong Kong Composers’ Guild in 2016 with support from Hong Kong Arts Development Council and sponsorship from CASH Music Fund. 此作品於2016年由香港作曲家聯會委約，費用由香港藝術發展局資助及香港作曲家及作詞家協會轄下的「CASH音樂基金」贊助。 # Commissioned by Hong Kong Composers’ Guild in 2016 with support from Hong Kong Arts Development Council. 此作品於2016年由香港作曲家聯會委約，費用由香港藝術發展局資助。 Programme and artists are subject to change. 主辦機構保留更改節目及表演者權利。 Ticketing Performers 演奏者 14.11.2016 - RTHK Quartet 香港電台弦樂四重奏 RTHK Quartet RTHK Quartet was founded in 2009 with a view to promoting the genre of chamber music and encouraging the art of chamber music playing in Hong Kong. Founding members violinist Le Hoai-nam, violist Elvis Chan and cellist Laurent Perrin are committed to introducing the rich world of chamber music, including some of the most profound and powerful music ever written, to music lovers in Hong Kong and beyond. John Ma is the guest second violinist for this concert. 香港電台弦樂四重奏 香港電台於2009年成立香港電台弦樂四重奏。這隊四重奏肩負起推廣室樂欣賞及推動本地室樂演奏的使命。創團成員包括小提琴家李海南、中提琴家陳子信，以及大提琴家貝樂安。他們來自世界各地，包括越南、香港和盧森堡，現均以香港為家。各成員對室樂演奏充滿熱誠，致力與樂迷分享美妙樂章。這個「國際化」的組合不但反映香港是個國際大都會，也說明了音樂本身是世界語言。馬步萌為這場音樂的客席第二小提琴家。 RTHK Quartet Violin I - Le Hoai-nam RTHK Quartet RTHK Quartet Violin II (Guest) - John Ma (credit to Kurt Chan) RTHK Quartet RTHK Quartet Viola - Elvis Chan RTHK Quartet RTHK Quartet Cello - Laurent Perrin Describe your image. 15.11.2016 - The Hong Kong Children's Choir and Die Konzertisten 香港兒童合唱團 及Die Konzertisten HKCC Concert Choir Hong Kong Children's Choir HKCC Senior Hong Kong Children's Choir The Hong Kong Children’s Choir The Hong Kong Children’s Choir (HKCC) was founded in 1969 as a registered non-profit-making charitable organization. HKCC is now the biggest choir in the world and has grown into a diversified arts organization for children. HKCC is invited to perform overseas each year, spreading the message of love and peace in different parts of the world. The Choir has been well received and appreciated in many countries, gaining an international reputation as the “Little Goodwill Singing Ambassadors” and “one of the best children’s choirs in the world”. HKCC was named “China’s Top Ten Children Chorus” in 2003 and won the prestigious “Award of the Audience” at the “Vivace 2006 International Choir Festival” in Hungary. In 2008, the choir was awarded the “Gold Cup” from “Shanghai International Children’s Chorus Festival”. In 2014, HKCC is selected by the International Federation for Choral Music (IFCM) as one of the IFCM Ambassadors for 2013 to 2015. The Choir was invited to perform in the 2014 “10th World Symposium on Choral Music” in South Korea and 2015 “The 1st IFCM World Choral Expo” in Macau. Apart from touring abroad, HKCC also actively participates in charitable events, and is frequently invited by local government and other organizations to perform at special and historic moments, including the Hong Kong Handover Ceremony in 1997, the opening ceremony of the Hong Kong International Airport in 1998, the Hong Kong Disneyland Grand Opening in 2005, series of performances celebrating the 2008 Beijing Olympic Games, and performances celebrating the 15th Anniversary of the establishment of HKSAR in 2012. 香港兒童合唱團 香港兒童合唱團（簡稱「香兒」）成立於1969年，為政府註冊非牟利慈善團體。現時「香兒」已成為世界上人數最多、組織最龐大的兒童合唱團，更發展為一個多元兒童藝術團體。「香兒」每年均到外地演出，把愛與和平的訊息傳遍世界，被譽為「小小音樂親善大使」和「世界最傑出兒童合唱團之一」。「香兒」於2003年獲選為「中國十大少年合唱團」，2006年於匈牙利「Vivace國際合唱節」中奪得最高殊榮的「最受觀眾歡迎大獎」，2008年在「上海國際童聲合唱展演」獲頒贈「金杯獎」，2014年更獲選為2013至2015年度「國際合唱聯盟大使」，並獲邀出席2014年韓國「第十屆世界合唱會議」及2015年澳門「首屆國際合唱聯盟世界合唱博覽會」作示範演出。 除海外演出外，「香兒」亦積極參與各項慈善表演，並經常於香港歷史性時刻演出，包括1997年香港政權移交儀式、1998年香港國際機場開幕典禮、2005年香港迪士尼樂園開幕典禮、2008年一系列迎接北京奧運活動、2012年多場慶祝香港回歸15周年的活動等。 Die Konzertisten Die Konzertisten Die Konzertisten Music Director: Felix Yeung Resident Conductor: Sanders Lau Rehearsal Pianist: Alexander Wong “The high-standard, refined musicking by the Hong Kong choir Die Konzertisten is surprising and gratifying…[they] deliver the music with a perfectly blended voice, natural phrasings and utmost devotions.” – Dennis Wu Now in its 8th year, Die Konzertisten (DK) is recognised as one of Hong Kong’s foremost chamber choirs. Led by Music Director Felix Yeung and Resident Conductor Sanders Lau, DK performs with the greatest commitment repertoire ranging from Renaissance polyphony and Baroque masterpieces, to Romantic delicacies and newly commissioned works by composers in the region. DK aims to bring the finest of artistic experiences to local audiences. The choir regularly brings in internationally renowned musicians, including conductors Helmuth Rilling (Bach Mass in B minor), Stephen Layton (Mozart Requiem), Jonathan Cohen (Handel Israel in Egypt and Messiah), Nicholas Cleobury (Rutter Requiem, Chilcott Requiem), Chen Yun-hung (contemporary works by Chinese composers) and countertenor Iestyn Davies (Bernstein Chichester Psalms, Pergolesi Stabat Mater). The choir’s artistic accomplishments have led to invitations of collaboration from eminent artists and organisations local and abroad. DK has repeatedly appeared in Hong Kong Arts Festival’s programmes, most notably a series of concerts in celebration of Benjamin Britten’s centenary in 2013. The choir has also appeared in two of the Festival’s PLUS programmes in 2016. The choir was featured for four consecutive years in the broadcasted RTHK 4 Christmas in the Park concert. Hong Kong Composers’ Guild invited the choir to perform in its Musicarama Festival and Chinese Composers’ Festival in 2012 and 2013 respectively. Performances with Hong Kong Sinfonietta (Faure Requiem) and Hong Kong City Chamber Orchestra (Karl Jenkins Requiem) were both critically acclaimed. In February 2015, DK was invited by the Hong Kong Economic and Trade Office to perform at the Victoria Theatre in Singapore. A keen advocate of Baroque music, the group joins hand with Early Music Society of Hong Kong in forming the first-ever local Baroque orchestra, Cammer Musicus, for the performance of Handel’s masterpiece Messiah in December 2015. Under the baton of its own Felix Yeung, DK has previously performed J.S. Bach St. Matthew Passion with an all-local cast of soloists, Buxtehude Membra Jesu Nostri with period instrument ensemble of the Hong Kong Academy of Performing Arts, and Purcell Dido and Aeneas with Professor Lo King-man as director. DK also ardently supports local young musicians through its Apprentice Scheme and Young Talents Series. Die Konzertisten 音樂總監: 楊欣諾 駐團指揮: 劉卓熙 彩排琴師: 黃歷琛 「本地合唱團 Die Konzertisten精煉的演出令人驚艷…[他們]的聲音完美調和，自然地表達樂句，而且極致投入其中。」－胡銘堯 成立於2008年，Die Konzertisten (DK) 現為香港最優秀的室內合唱團之一。在音樂總監楊欣諾及駐團指揮劉卓熙的領導下，DK積極演出各個時期的曲目。由文藝復興複調音樂、巴洛克鉅作、浪漫派精萃，以致全新委約的現代作品 。 DK定期邀請國際知名音樂家來港合作，務求為本地觀眾帶來最頂尖的演出。歷年來包括指揮家： 利靈（巴赫《B小調彌撒曲》）、萊頓（莫扎特《安魂曲》）、高恩（韓德爾《以色列人在埃及》及《彌賽亞》）、高貝利（瑞特、契爾考特《安魂曲》）、陳雲紅（當代華人合唱作品）；以及假聲男高音戴維士（伯恩斯坦《奇切斯特詩篇》，佩高萊斯《聖母悼歌》）。 合唱團的高水平往績亦為之帶來不少邀請。DK多次在香港藝術節中亮相，當中最重要的演出要數2013年，慶祝作曲家布列頓誕辰100週年的《布列頓100》專場音樂會系列。2016年，DK於兩場藝術節「加料節目」中擔綱。香港電台第四台曾一連四年邀請DK於其《聖誕園林音樂會》中演唱，音樂會其後於電視及電台轉播。其他邀約包括：香港作曲家聯會《華人作曲家音樂節2013》及《音樂新文化2012》、香港小交響樂團（佛瑞《安魂曲》），及香港城市室樂團（詹金斯《安魂曲》）。2015二月，DK獲香港經濟貿易辦事處邀，於新加坡維多利亞劇院演出。 DK一直致力推廣巴洛克音樂，更與香港早期音樂協會合作，成立本地第一隊巴洛克樂團Cammer Musicus，於2015年十二月演出韓德爾《彌賽亞》。以往在楊欣諾棒下，DK曾演出巴赫《聖馬太受難曲》（全本地歌唱家陣容）、布克斯特胡德《耶穌的軀體》（聯同香港演藝學院早期音樂小組），以及浦賽爾歌劇《狄多與阿尼亞斯》（由盧景文教授執導）。DK 透過音樂新秀系列及學徒計劃，熱心支持本地年青音樂家。 20.11.2016 - Nancy Loo and Mary Wu 羅乃新及吳美樂 Nancy Loo - Pianist Nancy Loo, Pianist Nancy Loo is one of Hong Kong’s most versatile artists, as pianist, radio programme host, actress and writer. She was a recipient of the Ten Outstanding Young Persons Award. She currently teaches piano at the Hong Kong Academy for Performing Arts and the Chinese University of Hong Kong, and is often invited to host music talks and masterclasses, and to serve as a juror for piano competitions. Loo attended the Juilliard School on scholarship, where she studied with Adele Marcus. After graduating with a Master’s degree, she studied with Vlado Perlemuter in Paris and Guido Agosti in Italy. She was first-prize winner at the Fourth Rina Sala Gallo International Competition in Monza, and has won many other international competitions, including the Marguerite Long International Competition in Paris. As a pianist, Loo has given solo recitals and performed with orchestras in England, Europe, North America and Asia. Locally, she has appeared in the Hong Kong Arts Festival Orchestra and the Hong Kong Sinfonietta. A keen promoter of contemporary music, she has participated in the annual Musicarama and the ISCM World Music Days Festival. She has also played the piano part for the soundtrack of several Hong Kong films and television series. Her recordings include a piano solo album of Christian music, Ambush and Moonlight on Spring River with the Hong Kong Chinese Orchestra, and piano works by local composers. 羅乃新，鋼琴家 羅乃新為香港一位多面藝術家：她既是鋼琴家，亦是電台節目主持、戲劇演員和作家。羅氏曾獲選為香港十大傑出青年，現任教於香港演藝學院及香港中文大學，並經常應邀主持音樂講座、大師班和出任鋼琴比賽評判。 羅乃新曾獲獎學金入讀茱利亞音樂學院，受教於阿德里‧馬蓋斯（Adele Marcus）門下。在該校取得碩士學位後，又往巴黎及義大利隨弗拉多‧柏利慕特（Vlado Perlemuter）及基度‧阿哥斯提（Guido Agosti）學藝。她曾在多項比賽中獲獎，包括在義大利蒙紮舉行的里薩拉加略國際鋼琴比賽首獎、在巴黎舉行的馬瑰烈‧朗格國際鋼琴比賽等。 羅氏曾以鋼琴家身份在英國、美國、歐洲、北美洲及東南亞各地舉行獨奏會及與樂團合作。她致力推廣現代音樂，曾在多屆「音樂新文化」中演出，又在前年舉行的「國際現代音樂節」中亮相。她曾為電影《情色地圖》、《天長地久》、《源來是愛》及電視劇《洋紫荊》的配樂演奏。已灌錄的唱片包括聖詩專輯《縈繞心間》、與香港中樂團合作的《春江花月夜》、《十面埋伏》以及香港作曲家之鋼琴獨奏曲。 Mary Wu - Pianist Mary Wu, Pianist Born in Hong Kong, Mary Wu gave her first public performance at an early age and has been captivating audiences ever since in Austria, Poland, Canada, England, Germany, Hong Kong, the United States and throughout Asia. Highly acclaimed for her piano playing, Wu is said to surprise with “her musical variety, profundity and sensitivity” by Vlado Perlemuter and “…a captivating poetical quality to her playing” by the late Lord Menuhin. She has performed in many of the world’s major concert halls and with international orchestras and chamber musicians. She has performed with the late Vlado Perlemuter in Queen Elizabeth Hall in UK, and with the late Lord Menuhin in UK, France and Germany. She is also a founding member of the Bauhinia Piano Trio formed in 1995. She has recorded for the BMG, ASV, Dutton Sound, Paradisum and Hugo, CFM Deutschland and Universal labels that include solo and chamber music by classical and contemporary composers. She recently gave all-Ravel programmes in many major concert halls in China under the invitation of Alliance Francaise China. Her prizes include the Clavichord and Harpsichord Prizes; Chappell Gold Medal - the most prestigious pianist prize given at the Royal College of Music; first prizes at the London Royal Overseas-League Music Competition and the Mozart Bicentenary International Piano Competition of Asia. She has performed as a soloist with the Polish Gdansk Philharmonic Orchestra, Calgary Symphony Orchestra in Canada, Guangzhou Symphony Orchestra, the Hong Kong Sinfonietta, Hong Kong Philharmonic Orchestra, the Macau Orquestra Camarata and the Singapore Chinese Orchestra. She completed her doctoral degree at the State University of New York at Stony Brook, USA. Her teachers include Betty Drown, Peter Norris, Louis Kentner, Vlado Perlemuter, Kendall-Taylor, Gilbert Kalish and Constance Wu. She has been the artist-in-residence at the Chinese University of Hong Kong for many years and is currently a faculty member at the Hong Kong Academy of Performing Arts, Baptist University and Chinese University. Wu was selected as one of the Ten Outstanding Young Persons Awardees Hong Kong in 2003 and the ADC Best Artist of the Year 2010 award. She has been invited to be a jury member at many competitions including the Steinway Competition and the Ibiza International Piano Competition in Spain. 吳美樂，鋼琴家 吳美樂出生於音樂世家，父親吳東是香港早年最傑出合唱指揮之一，母親黃瑞貞於上海音樂專業學院鋼琴系畢業，姊姊吳恩樂、吳禧樂皆為出色的鋼琴家。吳美樂師從肯德爾．泰勒、根納 `柏利慕特及基利殊，畢業於英國曼奴軒音樂學院及皇家音樂學院，並在美國紐約州立大學石溪校取得博士學位。她曾獲多個比賽獎項，包括英國皇家音樂學院頒發的最高榮譽鋼琴獎—查普爾金獎、協奏曲獎 「古鍵琴獎」 倫敦皇家海外聯賽冠軍及莫扎特二百周年國際亞洲鋼琴大賽冠軍等。 吳美樂是香港活躍及其中一位最出色的鋼琴家，琴音遍及歐洲、北美及亞洲多個國家，除了舉行獨奏會外，亦與多個樂團合作，包括波蘭愛樂樂團、加拿大卡格利交響樂團、北京中央樂團（現中國交響樂團）、廣州愛樂交響樂團、新加坡華樂團、澳門室內樂團、香港小交響樂團、香港管弦樂團、香港中樂團及香港城市室樂團等。她亦醉心於室樂演奏，曾與小提琴大師曼奴軒勛爵在英國及德國合奏，及多次與英國格林美室樂獎得主麥金尼四重奏合作，也是香港洋紫荊鋼琴三重奏的創辦人之一。除傳統古典樂章外，吳美樂亦熱衷於演奏現代音樂, 曾多次在國際現代音樂節中演出，亦參與新加坡藝術節開幕演出及在2011年盛中亮的首屆『創意間的親暱』現代音樂節中演出。 吳美樂灌錄過多張唱片，包括《中國現代曲目》及由環球唱片發行的拉威爾鋼琴獨奏全集等，獲樂評熱烈讚賞。她的演奏曾獲曼奴軒曾勛爵稱許「具濃郁詩意」及被法國著名鋼琴家柏利慕特讚譽為：「豐富多變、意味深長和觸覺敏銳」和「她是當代最有天賦的鋼琴家之一」. 美國普爾茲獎得主偉拿稱她為 『 大舞台藝術家』 ，她亦被樂評人稱譽為「世界級的鋼琴家」」。 吳美樂曾任香港中文大學駐校藝術家。現任於香港演藝學院,浸會大學及中文大學任教，並在2011年德國墨格吐芭音樂節中授課。她亦為多個鋼琴比賽任評委, 包括 珍娜巴考華 國際鋼琴(香港區)比賽，新加坡國家音樂比賽 及多次作為西班牙以別沙國際鋼琴比賽評委等。吳美樂獲選為2003年香港十大傑出青年、2010年香港藝術發展局最佳藝術家(音樂)、2012年香港推動文化藝術發展傑出人士。 Ticketing 購票資訊 Ticket 票價：$150, $100 Tickets available now at URBTIX 門票現於城市售票網公開發售 Programme Enquiries 節目查詢：2877 3982 Ticketing Enquiries 票務查詢： 3761 6661 Internet Booking 網上購票：www.urbtix.hk Credit Card Telephone Booking 信用卡電話購票：2111 5999 Mobile Ticketing App 流動購票應用程式：MY URBTIX Ticket Discount 購票優惠 Half-price tickets for senior citizens aged 60 or above, people with disabilities and the minder, full-time students and CSSA recipients 六十歲或以上高齡人士、殘疾人士及看護人、全日制學生及綜援受惠人士半價優惠 Discounts Schemes 集體購票優惠 4-9 tickets or 2 concerts 四至九張門票或兩場音樂會：10% discount 九折優惠 10-19 tickets or 3 concerts 十至十九張門票或三場音樂會：15% discount 八五折優惠 20 or more tickets 二十張門票或以上：20% discount 八折優惠 Other Discounts其他購票優惠 10% discount for “Friends of Radio 4” 「第四台之友」會員九折優惠 Patrons may enjoy only one of the discount scheme for each purchase. 購買每張門票，只可享有上述其中一項購票優惠。 Performers

音樂新一代 2019 New Generation Concert 音樂新一代音樂會 2019 New Generation Concert 音樂新一代音樂會 2019 New Generation Concert 音樂新一代音樂會 2019 1/2 入圍及得獎名單 Composers 作曲家 Titles 作品名稱 Results 成績 Chan Nok-him 陳諾謙 Shing Mun Riverside Promenade 《城門河邊的散步》 - Lai Mui-yeung Israel 黎渺揚 To Distance 《To Distance》 - Tsang, Henry Chi-yeung 曾子揚 Summer Breeze 《夏鳴》 - Wan, Virginia Lok-yi 溫樂怡 Give Wings 《翅予》 1st Runner-up 亞軍 Wong Chi-chun Adrian 黃子峻 Tiled City 《石林雀語》 Winner 冠軍 Wong Chung-hei 黃頌熙 The Crossroad 《十字路口》 2nd Runner-up 季軍 Wong Shing-yan Alvin 黃承恩 Alien Fantasie 《外星幻想曲》 - Yu Tsz-long 余梓朗 The Lightest 《比一切還要輕》 - 音樂新一代 2019 音樂會 演出日期和時間：2019年6月6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: Cong 四重奏 音樂新一代2018冠軍委約作品：吳藝敏《人性 ﹣第一面》 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2019年6月22日星期六晚上8時在「第四台音樂會」播出，並在6月27日星期四下午2時重播。

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

傳承 ． 美樂之河 香港作曲家聯會 2023 年慶祝 40 周年紀念。為了紀念這個特別的時分，本會藉此機會向大眾分享我們過去四十年的音樂創意和音樂理念。聯會精選的原創作品將在以下音樂會上展出： 1. NOVA Ensemble 音樂會 2. 香港天籟敦煌樂團音樂會; 及 3. 香港兒童合唱團音樂會 是次音樂節將演出合共二十多首當代音樂 作品，當中包括三首分別由葉樹堅、陳明志及陳啟揚所創作的委約作品。另外九首由著名作曲家 林樂培、紀大衛、曾葉發、陳永華、陳能濟、羅永暉、陳錦標、盧厚敏及梅廣釗之作品亦將展演。 在 2023 年 9 月 25 日（星期一）下午三時正假座香港 上環文娛中心排練廳（香港皇后大道中 345 號上環市政大廈 7 樓）舉行 40 周年紀念活動「傳承‧ 美樂之河」音樂會發佈會。屆時亦會宣怖「山區校歌計劃」及「林樂培作曲獎」之詳情。發佈會的主禮嘉賓為香港藝術發展局梁建楓先生，以及香港作曲家聯會主席梅廣釗博士。 「傳承 ‧ 美樂之河」由香港作曲家聯會主辦、香港藝術發展局和 CASH 音樂基金資助。 記者會 1. NOVA Ense mble 音樂會 更多資訊 Nova Ensemble 及作曲家訪問片段 現場音樂會 音樂會詳情 : 日期/ 27.10.2023 (五) 時間/ 晚上8時正 地點/ 上環文娛中心劇院 特邀嘉賓/ 盧思泓 (笙), 彭偉倫 (琵琶) 節目 : 紀大衛｜Variations（1991） 林樂培｜古舞曲三首（1963 改編） 林俊熹｜道盡塗窮（2022） 梁康裕｜旅 二（2022 / 2023） 盧厚敏｜薩（1994） 彭振町｜如雪（2012） 葉樹堅｜Sempre Invictus（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。 作品來源 古舞曲三首（1963 改編） Variations (1991) Sempre Invictus (2023) * 薩（1994） 如雪（2012） 旅 二（2022 / 2023） 道盡塗窮（2022） 2. 香港天籟敦煌樂團音樂會 香港天籟敦煌樂團及作曲家訪問片段 現場音樂會 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。 作品來源 彈撥搖滾（2020 / 2023） 東風來（2023） 謝謝你的時間（2022） 觀自在敦煌 (2023) 春暉園 (1998, rev. 2023) 八陣圖（2013 / 2023） 苦行（2023） 3. 香港兒童合唱團音樂會 The HKCC 3 The HKCC 1 The HKCC 3 1/2 香港兒童合唱團及作曲家訪問片段 現場音樂會 DSC00115 0N7A6702 0N7A6611 DSC00115 1/12 音樂會詳情 : 日期/ 12.04.2024 (五) 時間/ 晚上8時正 地點/ 上環文娛中心劇院 節目 ： 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） * 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。 作品來源 A Bright New Sunny Day (2014) 遠方的星星 (1997) 音樂使我們連結在一起（2012 / 2023） 離思（2016） 鳳陽花鼓（1957 改編） 靈山路遠（1985） 希望（1988） 微風吹拂（2021） 不寐倦長更（2016） I Am Not There (2014) 想飛（1994 / 2003） ｜一個字（2023）* 新的一天（2023） Ticket

「音樂沙龍」旨在建立一個平台。為各參與的音樂學院進行音樂學術研究、音樂交流、演出、觀摩和進行各具創意的音樂活動。它亦提供一個平台給各學院的同學們和香港作曲家們進行交流和研究。 音樂沙龍：管樂作品展 Guest Performer: Hong Kong Wind Kamerata 演奏嘉賓：管樂雅集 Carmen Ma (Flute) 馬家敏（長笛） Guest Performer: Hong Kong Wind Kamerata 演奏嘉賓：管樂雅集 1/11 「音樂沙龍」旨在建立一個平台。為各參與的音樂學院進行音樂學術研究、音樂交流、演出、觀摩和進行各具創意的音樂活動。它亦提供一個平台給各學院的同學們和香港作曲家們進行交流和研究。「音樂沙龍」本年度參與的院校包括香港演藝學院、香港中文大學、香港教育大學和我們香港作曲家聯會。 演出日期和時間： 2021年10月15日（星期五）晚上8點 演出場地： 西灣河文娛中心劇院 音樂會監製： 李家泰／阮慧玲 演奏嘉賓： 管樂雅集 節目： 劉力致－藍剔（2019） 香港中文大學音樂系 彭珺－魔山（2019） 香港中文大學音樂系 鄧澤恩－手洞（2018） 香港教育大學文化與創意藝術系 黃志燊－雪域（2019） 香港演藝學院音樂學院作曲及電子音樂系 黃正彥－流螢斷續光（2019） 香港中文大學音樂系 吳藝敏－萌生（2018） Bowling Green State University 姚智康－月亮與輝夜姬（2019） 香港教育大學文化與創意藝術系 余梓朗－不會下雪的港（2018） 香港演藝學院音樂學院作曲及電子音樂系

樂譜徵收－音樂新一代2026 First held in 1989, the New Generation Concert aims at encouraging music creativity among young composers in Hong Kong by providing a platform for performance and exchange of musical ideas. Selected compositions for New Generation 2026 will be held on 11th June 2026 (Thursday) at RTHK Studio One and recorded by RTHK Radio 4 to be broadcast later. The concert will be performed by Fung Yat-shan Linus (clarinetist). Submission Details: 1. This Call for Scores is open to Hong Kong residents born on or after 11th June 1996. 2. Eligible composers can only submit one work in PDF file. An audio recording or MIDI demo of the clarinet with electronics may be included. Recordings are welcome but not required. (Only MP3 is acceptable.) 3. The duration of each work should be within 6-8 minutes. An accurate duration of the work must be stated on the score. 4. The work should be written for electronics + clarinet in Bb/bass clarinet. 5. Three types of electronic formats are acceptable for the call for scores, they are: i. Fixed electronic playback + click track (optional) 1 audio file playback + 1 click tack (optional) ii. Live electronics without live signal processing Audio file(s) triggered by the composers during the performance Recommended software: QLab, Ableton Live, MaxMSP, etc. i. ii. Live electronic with live signal processing (1 microphone) Audio file(s) and live audio signal processing are triggered and controlled by the composer during the performance. Recommended software: Ableton Live, MaxMSP, Pure Data, etc Composers can use any kind of controller to control the electronics during performance. All the electronics for the call for submission are only for 2 Speakers. The sample rate for the electronics needs to be in 48 kHz, 24-bit. Composers are responsible for providing all necessary equipment for their performance at no cost to the organiser. Two stereo speakers will be provided by the organiser. 6. The entire score (including western notation, symbols, necessary instructions to performer; indication of electronic cues, and/or description or graphic notation of electronic sounds; and duration) must be typed and/or drawn and in black-and-white only. Hand-written score will not be accepted. Only the title and instrumentation of the composition in both English and Chinese can be shown on the title page. Name and the institution of composer cannot appear anywhere on the score. Violators will be disqualified. 7. Application fees: Waived for all members* of the Hong Kong Composers’ Guild Limited (HKCG). HK$200 for composers who are not members of HKCG. Payment must be deposited into the Guild’s HSBC account at 636-474546-838 by the deadline. Please keep the deposit slip. Application without the slip will be disqualified. 8. All submissions must include a score in PDF file, a copy of Hong Kong ID, a completed application form in PDF file, and a deposit slip (if any). They should be sent via email to grace@hkcg.org on or before 6pm, 5th April 2026 (Sunday). Late applications will not be considered. Selection Arrangement: 1. A jury panel, appointed by the Hong Kong Composers’ Guild Limited, will select works on grounds of artistic merit and performance practicality. The decision of the jury panel is final. Results will be announced in mid April 2026 through the HKCG website: www.hkcg.org . Shortlisted composers will be notified by email. 2. Each shortlisted composer must: - provide full score and electronics file(s), a short programme note, a biography in English and Chinese (maximum 200 words each), and a recent photo of high-resolution on or before 12pm, 17th April 2026 (Friday); - attend rehearsals and the New Generation Concert 2026. Composers are welcome to bring your own audio interface for rehearsal and concert. Composers who fail to attend the concert will be disqualified. Award: There are three cash awards for the most outstanding compositions: 1st place HK$6,000; 2nd place HK$4,000; 3rd place HK$2,000. The winning composer will be invited to write a new work to be performed in the next New Generation Concert. All shortlisted composers will receive a certificate. 下載申請表

聲影集 2017：聲動香港 聲影集 2017：聲動香港 聲影集 2017：聲動香港 一場聲音、錄像、想像交織的音樂會 是次音樂會有別於以往只展現定格影像之系列，我們現揉合 15 段有關香港作為「大都會」的短篇錄像作品與新音樂，為觀眾帶來獨特的視聽饗宴。 * * * * * * 日期／時間：2017年5月15日 (星期一）8pm 地點：香港文化中心劇場 票價： $150, $75* (*全日制學生、60歲以上高齡人士、殘疾人士及看護人可享半價優惠，數量有限，額滿即止） 不設劃位 作曲家： 陳展霆、陳明志、陳詩諾、鄭汝森、黎雅婷、林詠嘉、李一葦、梁騫仁、陸尉俊、伍擎峯、成俊曦、鄧文藝、屈雅汶、黃逸偉及葉樹堅 錄像製作人： 鄭汝森、雷妮妮、梁冠舜、黃玲敏、楊景欣 演奏者： 昂錦猶（中提琴） 譚聰（大提琴） 林灒桐（琵琶） 主辦：香港作曲家聯會 協辦：香港多媒體設計協會 贊助：香港作曲家及作詞家協會 資助：香港藝術發展局