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20 OCT 2023 | FRI | 8PM Grand Hall, The University of Hong Kong 尋根與突破：向林樂培大師致敬 Of Roots and Ways: A Tribute to Maestro Doming Lam Ensemble Traversée | Vicky Shin, conductor | Prof. Chan Hing-yan, host 第二號弦樂四重奏《五段錦》
String Quartet No. 2, Five Settings (2009) I. 長調 Long Tone Folk Singing II. 鄉慶 Villages Celebration III. 青海民歌：在那遙遠的地方 Qing Hai Folk Singing IV. 飄忽的迴響 Flowing Echoes V. 客家風情 Ke-Jia Sentiments
《李白驪歌兩首》
Two Farewell Songs from the Poems of Li Po (1964)
Amelia Chan, violin Kurt Chan, violin Ringo Chan, viola Chor Kai-hei, cello
Tete Bae, flute Rachel Kwok, soprano
I. 《送友人》Saying Farewell to a Friend II. 《早發白帝城》Leaving White Emperor City at Dawn
《迴紋曲》小提琴二重奏
Amelia Chan, violin Kurt Chan, violin
《突破 I》為長笛與大提琴而作
Tete Bae, flute Chor Kai-hei, cello
《兩相歡》
Rachel Kwok, soprano Nicky Kwok, xiao Leung Ka-lok, pipa Ying-yee Ava Lau, sheng Loo Sze-wang, sheng Bryan Lai, yangqin Siu Chun-yin, yangqin Alvin Chan, percussion Mark Lui, percussion
Retrograde for Two Violins (1959) Breakthrough I for Flute and Cello (1976) Song of Pure Happiness (1980, rev. 1994) I. 散序歌頭 Rubato prelude II. 入破 Entering (into a section of ) pulsation III. 中板 Moderato
Today's concert is recorded by RTHK Radio 4. Broadcast details will be announced later.
林樂培 Doming Lam (1926-2023) Adopting the creed of "searching for roots in tradition and finding ways in the avant-garde", Dr. Doming Lam was a maverick pioneer and one of the few among his generation of Chinese musicians to be featured in the authoritative New Grove Dictionary of Music and Musicians. According to a critic in the Hong Kong Economic Journal in 1988, future music histories of Hong Kong would undoubtedly feature a dedicated chapter on Doming Lam, highlighting his musical compositions, perspectives on modern Chinese music, and significant contributions to the musical scene and composers' rights. Even at that 林樂培博士特立獨行，蓽路藍縷， time, the statement was not prophetic, as Dr. 「在傳統中尋根，在前衛中找路」 Lam's career was already at its peak, earning 是他畢生的信條，其生平及貢獻 him the revered title of the "Father of Hong 已被載入權威的《新格羅夫音樂 Kong New Music". The timeline presented in 與音樂家辭典》，是同代中國音樂 this booklet offers a glimpse into Dr. Lam's 家中的極少數。1988 年，一位樂 extraordinary journey, chronicling a range of 評人在《信報》寫道：「將來香港 events and achievements. Although by no 音樂歷史一定有那麼一章，就是 means comprehensive, it demonstrates his 評論林樂培的作品，他對中國新 considerable impact on the music scene in Hong Kong during the vibrant decades of the 音樂的主張，以及香港樂壇及作 1970s through mid-1990s. 曲家權益的貢獻等。」即使在當 年，這番話也不是甚麼預言，因 Throughout his illustrious career, Dr. Lam 為林博士當時正處事業巔峰，享 orchestrated a number of momentous 有「香港新音樂之父」的美譽。這 campaigns, advocating for modern music 本小冊子以時間軸的形式記錄了 at a broader level, tirelessly championing 一系列事件和林博士的成就，讓 Hong Kong's musical landscape, and proudly 我們一窺他非凡的歷程。雖未能 presenting his own compositions. His 鉅細靡遺，林博士對我城音樂界 approach at times might have been overly 在上世紀 70 年代至 90 年代中期 adventurous, but when opportunities were not easy to come by, it was precisely his audacious 那段黃金歲月裡的重大影響已躍 courage that opened doors for composers 然紙上。 to flourish. One case in point was in the early 1980s when, undeterred by challenges, 2
林博士獨步樂壇，一生成就斐然， 是開風氣之先的領頭人。推廣現 代音樂，他高瞻遠矚；捍衛香港 音樂的人和事，他不遺餘力；展 示自己的作品時，他毫不羞赧。 他行事有時可能冒進，但當機會 並非唾手可得時，恰恰是他張揚 的勇氣為作曲家敞開了一道道 門，讓他們能茁壯成長。其中一 個 例 子 是 在 1980 年 代 初， 既 樂 觀又堅韌的林博士鍥而不捨，排 除萬難，成功遊說國際現代音樂 協會（ISCM）接納香港成為正式 會員。因著林博士的不屈不撓， 香港作曲家遂能逐步與國際接 軌，最終與西方當代音樂界並駕 齊驅。林博士在香港文化史的地 位毋容置疑，他洞燭機先、突破 界限，為香港音樂界打開一片新 天地。 儘管林博士是現代音樂的忠實 信徒，卻絕非故步自封的象牙塔 作曲家。他與演奏家關係密切， 與香港中樂團合作的一系列開創 性作品，尤為人津津樂道；其中 《秋決》 （1978）和《 昆 蟲 世 界 》 （1979）更是他扛鼎之作。此外， 他還是一個真誠心繫觀眾的作曲 家。1980 年，事業如日中天的他 就睿智地指出：「作曲家是音樂 進步的原動力，但是缺乏了演奏 者、推廣者與觀眾，又能夠做到 些甚麼？」
Dr. Lam persistently and optimistically lobbied the International Society for Contemporary Music (ISCM) for Hong K ong's for mal membership. Through his tenacious efforts, Hong Kong composers gradually connected with the global music community, ultimately reaching a level of artistic prowess that placed them on equal footing with the western contemporary music scene. Dr. Lam's pivotal role in shaping Hong Kong's cultural history remains unshakable. He seized the opportune moment to push boundaries, break new ground, and shape the music scene. Despite being a staunch advocate of modern music, Dr. Lam defied the stereotype of an ivory tower composer. He forged close collaborations with his performers, particularly the Hong Kong Chinese Orchestra, resulting in a series of ground-breaking works, among which Autumn Execution (1978) and Insect World (1979) bolstered his artistic statue. Additionally, Dr. Lam held a genuine concern for his audiences. In 1980, at the pinnacle of his career, he astutely remarked, "Composers propel the evolution of music, but how far could they progress without performers, promoters, and audiences?" Dr. Lam's childlike spirit and insatiable curiosity were evident throughout his artistic endeavours. His piano cycle, Uncle Suite (1960), was composed specifically for his nephew and four nieces, revealing a personal and playful aspect of his compositional approach. His reinterpretation of the pipa classic Moonlit over Spring River (1964/1971) was inspired by a mesmerising pipa performance he 3
林博士的童心和求知若渴的好奇 心在他的創作中表露無遺。他的 鋼琴曲集《舅舅組曲》 （1960）是 專為他的五位外甥而作的，展現 他作曲手法的一個既個人又好玩 的面向。他對琵琶經典《春江花月 夜》的重新詮釋（1964/1971)，靈 感乃來自 1961 年一次令他著迷的 琵琶演奏。無獨有偶，《秋決》的 素材是源於他在南加州大學就讀 期 間（1960-1963），一 位 小 提 琴 家朋友推介他聽的傳統音樂。更 妙的是，他的《昆蟲世界》不僅顛 覆了中樂大型合奏的音樂語言， 還與聯合國的國際兒童年（1979） 相契合，作品以年輕觀眾為對象 的意圖再明顯不過。1980 年，雖 已屆知天命之年，林博士仍孜孜 留意當代音樂潮流，赴德國黑森 參加塔木士達新音樂暑期課程。 1994 年退休後，林博士繼續探索 各種電腦軟件，確保自己能與時 俱進。這些趣事軼聞生動地反映 林博士對音樂感染力的深信不疑， 以及他持之以恆的創作態度。 晚年，林博士回歸啟發他以音樂 為職志的宗教音樂懷抱，寫下大 量聖樂作品。這些作品的難度固 然不可與他的音樂廳作品同日而 語，但林博士獨特的現代主義風 格仍是有跡可尋，它們亦著實滿 足了粵語天主教社群的實際禮儀 需求，在虔誠或世俗的場合均為 人所喜聞樂唱，展現林博士藝術 氣質的多樣性。
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experienced in 1961. Similarly, his Autumn Execution traces its origins to traditional music introduced to him by a violinist friend during his years at the University of Southern California (1960-1963). His Insect World (1979) not only revolutionised the musical language of the Chinese orchestra but also intriguingly coincided with the United Nations' International Year of the Child, demonstrating his intentional engagement with young audiences. Even at the age of 54, he attended the Darmstadt Summer School in 1980, diligently keeping abreast of contemporary music trends. Following his retirement in 1994, Dr. Lam continued to explore various computer software, ensuring he remained up-to-date. These anecdotes and interesting titbits vividly exemplify his unyielding commitment to artistic exploration and his unwavering belief in the profound ability of music to captivate diverse audiences. In his later years, Dr. Lam found solace in the religious roots that ignited his musical calling and composed a significant body of sacred vocal music. While these works may not reach the same level of technical demands as his concert-hall compositions, traces of Dr. Lam's unique modernist style can still be found. They undeniably fulfil the practical liturgical needs of Cantonese-speaking Catholic communities, resonating harmoniously in both devotional and secular settings, showcasing the versatility of Dr. Lam's artistic temperament. HKU Music is fortunate to have crossed paths with such a pioneering figure on two occasions. Dr. Lam taught at the Music Department and served as its Composerin-Residence from 1986 to 1994. During his
香港大學音樂系與有榮焉，能與 這樣一位先驅人物有過兩次交集。 林博士 1986 年至 1994 年間在港 大任教，並任駐校作曲家，教授作 曲和開了一門名為「音樂與社會」 的課。與他推動「新音樂」的取向 同出一轍，林博士在校園內致力 讓現代音樂和作曲這活動能接觸 和感染既多且廣的觀眾。他任內 深受學生愛戴，並於 1991 年獲當 時的學生會頒發「最佳教學獎」。
tenure on the Pokfulam campus, he taught composition and offered a course entitled "Music and Society". As with his many other efforts in championing "new music", Dr. Lam strived to make modern music and the act of composing accessible and relevant to as wide and diverse an audience as possible. As a popular and highly respected teacher, Dr. Lam was bestowed a Best Teaching Award by the then Students' Union in 1991.
At the 2002 edition of the ISCM World Music Days in Hong Kong, Dr. Lam was honoured as 2002 年，香港舉辦 ISCM 世界音 one of the eight 'Signature Composers'. Seizing 樂節，其中一個亮點是八位「代 this opportunity, he returned to Hong Kong 表作曲家」，林博士是其中一位。 from Canada and generously donated over 30 抓住這個機會，他從加拿大返港， manuscripts to HKU's Music Library, marking 捐贈了三十多份手稿予港大音樂 the beginning of a cherished collection. 圖書館，標誌著這個珍貴收藏的 Tonight, we are delighted to announce that 開始。 Miss Kathy Lam, Dr. Lam's daughter, has 今晚，我們非常高興地宣布，林 博士的女兒林家琦小姐已決定將 她父親的遺物贈予港大圖書館特 藏部，當中包括草稿、信件、手 稿、照片和其他寶貴的物品，都 是了解林博士生平和藝術成就的 重要資料。此外，林小姐還在港 大音樂系設立了一個支持年輕作 曲家的獎學金，以紀念她的父親。 林小姐的慷慨捐贈，她在保存和 傳承林博士的檔案所付出的努 力，我們不勝感銘。能夠獲得她 的信任，成為她父親遺物的保管 者，我們深感榮幸。這個珍貴收 藏，必將成為栽培音樂後學的靈 感泉源。
decided to donate her father's archive to HKU's Special Collection. This assortment includes drafts, letters, manuscripts, photographs, and various other valuable items that provide profound insights into Dr. Lam's life and artistic oeuvre. Additionally, Miss Lam has established a scholarship at HKU Music to honour her father and support young composers. We extend our sincerest gratitude to Miss Lam for her generosity contribution in preserving and disseminating Dr. Lam's legacy. We are honoured that she has entrusted HKU as the custodian of these valuable materials, which will serve as a fount of inspiration for future generations.
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林樂培生平簡介 Timeline of Doming Lam's Life and Achievements
1926 8 月 5 日生於澳門。本名林嶽培， 因「嶽」字筆劃太多，所以改用同音但筆劃較少的「岳」 字；後來因從事音樂工作，再改用「樂」字。聖名本為 Domingos，但因前澳門林家駿主教 同是 Domingos Lam，為了易於分別才改作 Doming。 Born on 5 August in Macau. The middle character of his Chinese name is changed twice: first from "嶽 " to a homophone "岳" with fewer strokes, and later to "樂 ", which conveys the meaning of music, in accordance with his musical career. His baptismal name, Domingos, is modified to Doming to avoid confusion with Bishop Domingos Lam Ka Tseung in Macau.
1954-58
1955-59
在多倫多皇家音樂學院學習， 以訪問學生身份，在多倫多 獲 ARCT 作曲文憑。 大學音樂學院旁聽課程。
1960-63 於南加州大學電影學院隨 羅饒・米克羅斯（1907-1995） 學習電影配樂。
Studies at the Royal Conservatory of Music, Toronto, obtains the ARCT diploma in composition.
Audits courses at the Faculty of Music, University of Toronto as a Visiting Student.
1970-77
1973
與友人合組廣告公司，任創 作總監。
參與籌備成立亞洲作曲家聯盟（ACL），10 月 2-3 日，ACL 首屆會議和音樂節於香港舉行，獲選為香港區主席（197383），後任大會秘書長（1980-90）。
Teams up with friends to establish an advertising agency, taking on the role of Creative Director.
Studies film scoring with Miklós Rózsa (1907-1995) at School of Cinematic Arts, University of Southern California.
Participates in the establishment of the Asian Composers League (ACL), which has its inaugural conference and festival held in Hong Kong on 2-3 Oct. Lam is elected as the Chairman of its Hong Kong Chapter (1973-1983) and later serves as its Secretary General (1980-1990).
1977 9 月 23 日，香港作曲家及作詞家協會（CASH）成立，林樂培參與其籌備工作，並擔任 理事（1977-1994）。 10 月 14 日，香港藝術中心開幕，同一天，職業化後的香港中樂團在第 2 屆亞洲藝術節開幕 音樂會初試啼聲。 23 Sep, Composers and Authors Society of Hong Kong (CASH) is incorporated. Lam participates in its establishment and serves as one of its directors (1977-1994). 14 Oct, the Hong Kong Arts Centre is inaugurated, and on the same day, the professionalised Hong Kong Chinese Orchestra makes its debut performance at the opening concert of the 2nd Festival of Asian Arts. 6
1938
1947
1953
進入聖若瑟修院及聖堂， 隨司馬榮神父（1910-2000） 學習小提琴。
定居香港，隨富亞（19001981）學習小提琴，關美楓 學習樂理。
考獲皇家音樂學院八級樂理； 11 月，赴加拿大多倫多。
Enters St. Joseph's Seminary and Church, studying violin with Father Guilherme Schmid (1910-2000).
Moves to and settles in Hong Kong, studying violin with Arrigo Foa (1900-1981), music theory with Maple Quon.
1964
1965
六月回香港發展。
2 月 23 日，香港管弦協會在大會堂主辦林樂培作品專場 音樂會。
Returns to Hong Kong in June.
Achieves Grade 8 Music Theory from the Royal Conservatory of Music; Nov, travels to Toronto.
任麗的電視編導（1965-1970） 。 23 Feb, the Hong Kong Philharmonic Society presents a concert exclusively featuring works by Doming Lam at City Hall. Serves as a producer at Rediffusion Television (1965-1970).
1975
1976
向香港市政局建議創辦亞洲 藝術節。
11 月 10 日，首屆亞洲藝術節開幕音樂會，日本京都交響 樂團首演《謝灶君》。
Proposes to the Hong Kong Urban Council organising a festival showcasing Asian performing arts.
《太平山下》 （1969）獲香港市政局藝術獎。 10 Nov, Thanksgiving to Joe-Kwan, the Kitchen God premiered by City of Kyoto Symphony Orchestra at the opening concert of the inaugural The Festival of Asian Arts. Tai Ping Shan Panorama (1969) is honoured with an Art Award by the Hong Kong Urban Council.
1978
1979
11 月 19 日，指揮香港中樂團 首演《秋決》。
5 月，《謝灶君》代表香港參加第 26 屆國際作曲家交流會。
19 Nov, conducts the Hong Kong Chinese Orchestra in the premiere of Autumn Execution.
May, Thanksgiving to Joe-Kwan, the Kitchen God represents Hong Kong at the 26th International Rostrum of Composers. 15 Aug, conducts the Hong Kong Chinese Orchestra in the premiere of Insect World.
8 月 15 日，指揮香港中樂團首演《昆蟲世界》。
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1980
1982
3 月 31 日，應香港藝術中心委約創作的《兩相歡》在第 2 屆 「香港音樂新環境」首演。
10 月，赴奧地利格拉茨， 代表香港以觀察員身分出席 國際現代音樂協會（ISCM） 世界音樂日。
7 月，赴德國黑森，參加塔木士達新音樂暑期課程。 31 Mar, Song of Pure Happiness, commissioned by the Hong Kong Arts Centre, is premiered at the 2nd edition of 'New Music Hong Kong'. July, travels to Hesse, Germany to attend Darmstadt Summer Course for New Music.
Oct, travels to Graz, Austria, represents Hong Kong as an observer at the International Society for Contemporary Music (ISCM) World Music Days.
1986-94
1988
任香港大學駐校作曲家及 講師。
10 月 22-29 日，ISCM 與 ACL 在香港舉行聯合大會及 音樂節，林樂培任選曲評審團主席。
Serves as Composer in Residence and Lecturer at the University of Hong Kong (HKU).
獲香港藝術家聯盟頒首屆香港藝術家年獎。 獲澳門總督頒文化功績勳章。 22-29 Oct, ISCM and ACL jointly organised a conference and festival in Hong Kong, Lam chairs the composition selection panel. Receives the inaugural Hong Kong Artist of the Year Award from the Hong Kong Artists' Guild. Receives the Merit of Medal (Culture) from the Governor of Macau.
1999 獲 CASH 音樂成就大獎。 《秋決》獲臺灣全球中華文化藝術薪傳獎。 日本文化日，被日本作曲界譽為亞洲五位傑出作曲家之一， 與伊福部昭、周文中、尹伊桑、何塞 · 馬塞達並列。 Receives the CASH Hall of Fame Award. Autumn Execution receives the Global Chinese Cultural and Arts Award in Taiwan. Japan Culture Day, hailed as one of the five eminent Asian composers by the Japanese composition circle, alongside with Akira Ifukube, Chou Wen-chung, Isang Yun, and Jose Maceda.
2006
2007
返港定居。
獲選為 ISCM 榮譽會員。
Relocates back to Hong Kong.
香港中樂團出版《尋找中國新音樂 – 林樂培作品集》。 Elected as an Honorary Member of the ISCM. Hong Kong Chinese Orchestra publishes In Search of Chinese New Music – Works by Doming Lam.
8
1983
1984
2 月，ACL 香港區分會改組為香港作曲家聯會，林樂培 榮任其名譽會長。
9 月，出席在多倫多 / 蒙特利爾 舉辦的 ISCM 世界音樂日， 並成功說服 ISCM 接受香港為 正式會員。
8 月，獲邀出任香港兒童合唱團音樂總監（1983-1984） 。 Feb, the ACL Hong Kong Chapter is reorganised into the Hong Kong Composers Guild, Lam is named its Honorary Chairman. Aug, invited to serve as Music Director of the Hong Kong Children's Choir (1983-1984).
1991
1993
獲香港大學學生會頒最佳 教學獎。
《秋決》獲北京中華文族文 化促進會評為「二十世紀華 Receives the Best Teaching Award 人音樂經典」。 from HKU Students' Union. Autumn Execution honoured as one of the "20th Century Chinese Music Classics" by the Chinese Culture Promotion Society, Beijing.
2001
Sept, attends the ISCM World Music Days held in Toronto/Montreal and successfully persuades the ISCM to grant formal membership to Hong Kong.
1994 退休移居多倫多。 Retires and relocates to Toronto.
2002
《新葛羅夫音樂與音樂家辭典》 10 月 9 日，將部份手稿贈與香港大學音樂圖書館；獲澳門 收錄其生平及成就。 特區政府頒授榮譽獎狀。 Earns an entry in The New Grove Dictionary of Music and Musicians.
10 月 11-19 日，香港第二次舉辦 ISCM 世界音樂日，其中一 個亮點是八位「代表作曲家」，林是其中一位。 9 Oct, donates part of his manuscripts to HKU Music Library; receives the Honourific Title of Prestige from the Macau SAR Government. 11-19 Oct, Hong Kong hosts ISCM World Music Days for the second time, Lam is named one of the eight 'Signature Composers'.
2020
2023
獲香港演藝學院頒授榮譽博士 學位。
1 月 11 日去世。 Dies on 11 Jan.
Conferred Honorary Doctorate by The Hong Kong Academy for Performing Arts. 9
樂語融融 Music in Words 陳慶恩教授將與香港電台第四台合作，主持四輯節目， 暢談林樂培博士的音樂作品。 廣播日期：2024 年 1 月 7 日、14 日、21 日及 28 日
Professor Chan Hing-yan will collaborate with RTHK Radio 4 to host a series of four programmes, discussing the musical works of Dr. Doming Lam. Broadcast Dates: January 7, 14, 21, and 28, 2024
展覽 Exhibition 2023 年 11 月底，位於逸夫教學樓 11 樓的 港大音樂圖書館將展出林樂培博士檔案中的精品。 詳情將稍後公佈，敬請密切留意。
In late November 2023, an exhibition showcasing a curated selection of items from Dr. Doming Lam's archive will be held at the HKU Music Library, 11/F Run Run Shaw Tower. Further details will be announced soon. Stay tuned!
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Programme Notes 第二號弦樂四重奏《五段錦》 String Quartet No. 2, Five Settings (2009) 林樂培寫有兩部弦樂四重奏，第一號弦樂四重奏（1958）是在北美求學時期的 畢業作品。至於兩首弦樂四重奏是否有關聯還有待考証。 第二號弦樂四重奏《五段錦》的樂譜標有三個日期：2009 年 6 月 4 日、2010 年 10 月 10 日、2010 年 11 月 11 日，作品是應香港電台第四台委約創作的，2010 年 3 月由香港電台弦樂四重奏首演，並於同年獲香港作曲家及作詞家協會頒發 金帆獎（最佳正統音樂）。樂曲的副題是「五段音詩」，顧名思義，由五個連續演 奏的樂段組成： 1. 長調 2. 鄉慶 3. 青海民歌：在那遙遠的地方 4. 飄忽的迴響 5. 客家風情 林樂培在樂譜最後一頁寫下的一段文字，正好反映他晚年的創作心態： 這首樂曲的靈感，來自一部大陸民間以「長調歌曲」傳情的電視紀錄片。我 特意在簇新的音樂聲中，零碎地混雜了少數民族歌曲的元素，希望不習慣 欣賞無調性新派音樂的聽眾，也能接受這首作品。「一望無際的藍天白雲， 那麼平恬，安詳。在渡日如年的歲月中，偶然勾起波濤起伏的前塵往事， 這就是人生，就是這首作品的故事。」
Doming Lam has written two string quartets. The first quartet (1958) was his graduation piece during his studies in North America. As for the potential connection between the two quartets, further investigation is required. String Quartet No. 2, Five Settings has three dates indicated on the score: 4 June 2009, 10 October 2010, and 11 November 2010. The piece was commissioned by RTHK Radio 4 and premiered in 2010 by the RTHK String Quartet. It received the Golden Sail Award (Best Classical Music) from the Composers and Authors Society of Hong Kong in the same year. The composition, as suggested by its subtitle "A Tone Poem in Five Sections", features five sections performed attacca:
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1. Long Tone Folk Singing 2. Villages Celebration 3. Qing Hai Folk Singing 4. Flowing Echoes 5. Ke-Jia Sentiments On the final page of the score, Lam penned a passage that aptly captures his creative mindset during his twilight years: "This musical composition finds its inspiration in a mainland Chinese documentary series that beautifully captures emotions through the heartfelt melodies of 'long tune songs.' Intentionally interweaving fragments of ethnic folksongs into its contemporary tapestry, I aim to create a piece that resonates even with those unaccustomed to atonal new music. Within the vast expanse of the blue sky and serene white clouds, memories of bygone days rise and fall like the ebb and flow of waves, embodying the essence of life and serving as the narrative thread of this composition."
《李白驪歌兩首》 Two Farewell Songs from the Poems of Li Po (1964) 據林樂培說，《李白驪歌兩首》是他從北美學成返港後的第一部作品，兩個樂章 分別表達離別時的兩種不同情緒，曲詞來自唐代詩人李白（701-762）的兩首送 別詩：《送友人》、《早發白帝城》，樂曲根據英文譯詩譜成，譯者姓名不詳。《送 友人》是題獻給美國同學 William Sabados，祝願友誼永固；《早發白帝城》的 對像是位華僑 R. Wang，著他不要留戀美好的地方，要有堅決回國服務的志向。 作曲家在樂曲解說上寫道：「《李白驪歌兩首》的風格是自由調性的，間中亦採 用十二音階作曲技法」，但他所指的只是在長笛伴奏上用了一個包含十二個音的 反覆音型，而非傳統的序列音樂寫法，反覆音型的十二個音也沒有按照嚴格的 規定順序出現，這多少反映林樂培求新但不怕逾矩的性格。全曲對歌聲及長笛 的技巧與結合都有很好的發揮。 《送友人》 青山橫北郭，白水繞東城。 此地一為別，孤蓬萬里征。 浮雲遊子意，落日故人情。 揮手自此去，蕭蕭班馬鳴。
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《早發白帝城》 朝辭白帝彩雲間， 千里江陵一日還。 兩岸猿聲啼不住， 輕舟已過萬重山。
According to Doming Lam, Two Farewell Songs from the Poems of Li Po was his first composition upon returning to Hong Kong after completing his studies in North America. Its two movements eloquently capture the contrasting emotions of parting, drawing inspiration from two farewell poems by the celebrated Tang poet Li Po (701-762), namely Saying Farewell to a Friend and Leaving White Emperor City at Dawn. The composition is based on an English translation of the poems, with the translator's identity remaining unidentified. Saying Farewell to a Friend is dedicated to the composer's American classmate, William Sabados, with the heartfelt wish for their friendship to endure. Leaving White Emperor City at Dawn is directed towards R. Wang, an overseas Chinese individual, urging him not to cling to comfortable surroundings but to embrace a resolute aspiration to return and serve his homeland. In the composer's commentary on the music, he elucidates, "The style of Two Farewell Songs from the Poems of Li Po is tonally free, occasionally incorporating the twelve-tone composition technique." However, it is important to note that he specifically refers to the utilization of a twelve-note ostinato in the flute accompaniment, departing from the traditional dodecaphonic writing. The twelvetone ostinato breaks away from a fixed sequence, reflecting the composer's quest for innovation within the realm he sought to conquer. Throughout the piece, both the vocal and flute techniques are skilfully showcased and integrated. Saying Farewell to a Friend (to Wm. Sabados) The green mountain lies beyond the north wall of the city, Where the white water winds in the east. Here we part, The solitary sail will attempt a flight of a ten thousand li, The flowing clouds are the dreams of the wandering son, The setting sun, the affection of an old friend. So you go, waving your hands— Only the bark of the deer.
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Leaving White Emperor City at Dawn (to R. Wang) At dawn amid coloured clouds, I left White Emperor City. A thousand miles to Chianging, I was there in a day! Chattering monkeys on the cliffs, no end to their bowling. So the light boat slipped the ten thousand mountains.
《迴紋曲》小提琴二重奏 Retrograde for Two Violins (1959) 《迴紋曲》是一首作曲家不時引以為傲的少作。在多倫多大學當旁聽生時，從老 師的口中得知巴赫的《音樂的奉獻》是對位法的金科玉律，林樂培隨即找來研 究了大半天，受這部經典裡的逆行卡農啟發，並模仿寫成此曲。如他所說，這 是「一頁樂譜兩頭通的遊戲小品。兩位小提琴手，甲由頭彈到尾，乙由尾倒置 地彈上頭，有時齊奏、合奏，或者對答，但都是和諧和有中國風味的。」據說， 當時的老師對他的創意感到驚訝，還問他是怎樣寫出來的。
Retrograde is an early composition that Lam would occasionally boasted about. While auditing classes at the University of Toronto, Lam was enlightened by a teacher who considered Bach's The Musical Offering as the epitome of counterpoint. Drawing inspiration from the collection's crab canon, Lam devoted considerable time to its study and subsequently crafted this piece in emulation. In his own words, it is "a playful composition that can be performed from either end of a single sheet of music. Two violinists, one commencing from the beginning and the other from the end, engage in harmonious interplay, at times collaborating, at times responding, all infused with a distinctive Chinese touch." Reportedly, Lam's teacher was astounded by his ingenuity and even inquired about the process behind its composition.
《突破 I 》為長笛與大提琴而作 Breakthrough I for Flute and Cello (1976) 《突破 I》是林樂培受 1976 年東京泛音樂節委約而特別創作的，標誌著其音樂風 格的一大轉折，同時亦啟動了日本和香港兩地具開創性的新音樂交流。林樂培 在這首短小的作品中，刻意求新，擁抱前衛原則，深入探索創意思維的未知領 域。往後回顧，他不諱言自己由「《突破 I》開始，脫胎換骨的走進了一個更有 個性的風格。」
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林樂培畢生致力推動中國音樂現代化，《突破》從中國戲曲，尤其是京劇中汲取 靈感，但並非停留在表面音樂素材的引用，而是聚焦於其極具特色的身段造手 和擊樂效果。
Commissioned and composed specially for the 1976 Pan Music Festival in Tokyo, Breakthrough I marked a pivotal moment in Doming Lam's musical style, while igniting ground-breaking exchanges in the realm of new music between Japan and Hong Kong. In this succinct piece, Lam intentionally seeks novelty, embracing avantgarde principles and delving into uncharted realms of creative thinking. Reflection on his work, Lam candidly acknowledged that it was from Breakthrough I onward that he shed his artistic skin, emerging with a newfound and unmistakable identity. As a dedicated advocate for modernising Chinese music, Lam drew inspiration from the rich tapestry of Chinese opera, especially Peking Opera. Breakthrough I transcended mere musical references, focusing on the distinctive body movements, hand gestures, and mesmerising percussion effects that define the genre.
《兩相歡》 Song of Pure Happiness (1980, rev. 1994) 《兩相歡》是根據李白（705-762）描寫唐明皇（685-762）與楊貴妃（719-756） 情事的樂府《清平調》三段七言絕句譜成。在這部作品中，林樂培尋根的對像是 唐代大曲及元代雜劇的曲式結構、傳統說書及京腔唸白的人聲運用；同時，為 中樂合奏尋求突破，他在西方前衛音樂的織體寫法及機遇音樂中找路；全曲著 意探討唐詩的新境界。 雲想衣裳花想容，春風拂檻露華濃。 若非羣玉山頭見，會向瑤臺月下逢。 一枝紅豔露凝香，雲雨巫山枉斷腸。 借問漢宮誰得似，可憐飛燕倚新妝。 名花傾國兩相歡，長得君王帶笑看。 解釋春風無限恨，沉香亭北倚欄干。 《兩相歡》是 1980 年應香港藝術中心委約而特別創作的，為第二屆「香港音樂新 環境」其中一個亮點，作品首演的音樂會有一個很長的標題：「從《板橋道情》 到《昆蟲世界》林樂培二十年來創作香港新音樂的過程」。
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其時，香港作曲家聯會尚未成立，音樂會及整個「香港音樂新環境」均由當時 成立了不到三年的香港藝術中心主辦，協辦的機構計有香港電台、1973 年成立 的亞洲作曲家同盟、以及與香港藝術中心同年成立的音樂事務統籌處；此外， 還得到當年也是未滿三歲的香港作曲家及作詞家協會的贊助。那是香港文化起 飛的黃金歲月。 小提琴曲《板橋道情》創作於 1962 年，1979 年首演的《昆蟲世界》在當年是 劃時代的作品，如今已是中樂大型合奏的經典曲目。音樂會還包括另外七首林 樂培不同時期的作品，然而在這十首作品中，有九首由當時任職香港電台的廖 思敬及曾葉發以錄音及幻燈放映樂譜介紹評述，只有壓軸的《兩相歡》首演是 現場演奏。該曲由費明儀擔任獨唱，七位來自香港中樂團的樂手參與演出，而 林樂培則親自指揮。這樣一個專場音樂會恰如其份地凸顯林樂培當年的成就及 其作品受重視的程度。 《兩相歡》於 1980 年首演的錄音收錄在 1997 年出版的鐳射唱片《昆蟲世界：林 樂培民樂交響作品》中。作品的第二次演出要等到 1994 年，在台灣舉行的亞洲 作曲家聯盟大會暨音樂節才實現，1994 年的修訂應該是因為這次演出而進行的。 林樂培在他 1980 年的手稿中稱《兩相歡》為清唱劇，2010 年他著手重寫《兩 相歡》為器樂合奏，在一個最後修改日期為 2010 年 3 月 10 日的電腦檔案中， 他寫道：「 80 年我曾經寫成一首連編（聯篇）歌曲（《兩相歡》），由於有相 當難度，只有費明儀歌唱家演唱過兩次就成為絕響。其實作品對中樂合奏有很 多獨特可取心（之）處。趁這次演出機會，我重寫成中樂小組合奏小品，希望 以後有重生的機會。」可惜這首改編曲最終沒有完成。
Song of Pure Happiness is based on Li Bai's (also Li Po, 705-762) Qingping Tune (Song of Serene Melody), a Yuefu poem consisting of three sections of seven-character quatrains that depict the romance between Emperor Tang Minghuang (685-762) and Consort Yang Guifei (719-756). To search for roots, Doming Lam delved into the structural forms of Tang dynasty grand works and Yuan dynasty variety dramas, as well as the vocal techniques of traditional storytelling and Peking opera. To forge a path of innovation, he incorporated elements of Western avant-garde music, exploring both textural writings and aleatoric techniques. These creative endeavors were driven by a vision to push the boundaries and discover new realms within Tang poetry. In clouds, I think of her raiment, in flowers, see her face, Blooming, beaming by the railing, in Zephyr's dewy embrace. ‘Tis only on Hills of Emerald, might such a beauty be seen, else By moonlight at Jasper Terrace, be blest to encounter her grace. 16
Ablush, abloom, O peony, your fragrance dewdrops retain! That nymph of mists and mizzles, was a rendezvous dreamt in vain; And who in the courts of old times, your beauty might match? I ask. ‘Twas (pity!) the pretty Feiyan, while her new paint was yet to wane. Famed peony, fairest lady----in love requited, in bliss, With the monarch's eyes, all smiles, to find you, never miss. North of the Agar Pavilion, by the railing together you lean, Zephyr's moods melancholic, to dispel, disperse, dismiss. (English translation by Andrew W. F. Wong) Song of Pure Happiness (also known as Like Is Their Delight) was specially commissioned by the Hong Kong Arts Centre in 1980, creating a remarkable highlight within the second edition of "New Music Hong Kong". The premiere concert bore a lengthy title: From Old Fisherman to the Insect World – Doming Lam's development of Hong Kong New Music in the last 20 years. At that time, the Hong Kong Composers' Guild had not yet been established. The concert, along with the entire "New Music Hong Kong", was presented by the Hong Kong Arts Centre, which had been established for less than three years. Collaborating institutions included Radio Television Hong Kong (RTHK), the Asian Composers League (founded in 1973), and the Music Office, established in the same year as the Hong Kong Arts Centre. Additionally, sponsorship was provided by the Hong Kong Composers and Lyricists Association, which was also less than three years old at the time. It was a truly golden age for the burgeoning of Hong Kong's cultural scene. Dated in 1962, Old Fisherman is a violin solo. The 1979 premiere of Insect World was a ground-breaking masterpiece that ushered into a new era. Today, it has become a celebrated classic in the realm of modern Chinese orchestral music. The 1980 concert also showcased seven other works by Doming Lam from various periods. However, among these ten compositions, nine were introduced and expounded upon through audio recordings and slideshow presentations of the scores by Tom Pniewsky and Richard Tsang, who were affiliated with RTHK at the time. The only live performance during the concert was the grand finale, which marked the premiere of Song of Pure Happiness. The distinguished soprano Barbara Fei was supported by seven musicians from the Hong Kong Chinese Orchestra, all under the baton of Doming Lam himself. This dedicated concert perfectly highlighted Doming Lam's accomplishments at the time and the recognition his works received.
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The recording of the 1980 premiere was included in the laser disc album Insect World: Doming Lam's Chinese Orchestral Works, which was published in 1997. The second performance of Song of Pure Happiness did not take place until 1994, during the Asian Composers League Conference and Music Festival held in Taiwan. It is likely that the revision in 1994 was made in preparation for this performance. In his manuscript from 1980, Doming Lam referred to Song of Pure Happiness as a cantata. In 2010, he began reworking the piece as an instrumental ensemble. In a computer file last modified on 10 March 2010, he remarked, "In 1980, I composed a song cycle (Song of Pure Happiness). Due to its considerable difficulty, it was only performed twice by Barbara Fei and then fell into silence. In fact, the work has many unique and commendable aspects in its writing for Chinese ensemble. Taking advantage of this performance opportunity, I am rewriting it as a small ensemble piece for Chinese instruments, hoping for its revival in the future." Unfortunately, this adapted version was never materialised.
Biography & Programme Notes by
Prof. Chan Hing-yan Chan Hing-yan currently holds the position of James Chen and Yuen-Han Chan Professor in Music at the University of Hong Kong, where he also serves as Associate Dean (Teaching and Learning) of the Arts Faculty. As a composer, he has an outstanding oeuvre, with five chamber operas to his credit. His works have been heard around the world at prestigious festivals. At HKU, Professor Chan has been honoured with the Faculty Knowledge Exchange Award and the Outstanding Research Student Supervisor Award, recognising his excellence in teaching and mentoring. Additionally, he has been an advisor to HKU's Cultural Management Office since its inception and has played a significant role in planning and delivering innovative programmes for its MUSE series.
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Biographies
Ensemble Traversée To traverse is to travel across and traveling back and forth. Ensemble Traversée was formed with that very idea in mind: to travel between different musical periods between the antiquity and contemporary, and from classical to popular genres. We see no boundaries in the arts and therefore no border needs to be broken, just as we believe all art forms are interconnected and complementary to each other. Under the direction of Vicky Shin, Ensemble Traversée aims to take audiences on journeys through unimagined dimensions of time and space.
Vicky Shin, conductor Multi-talented conductor and percussionist Vicky Shin has collaborated with various ensembles across Asia, North America, and Europe in both conducting and percussion. He is currently the Resident Conductor of the Hong Kong New Music Ensemble, recorded several records and premiered several new works. He is also the Founder/Music Director of Ensemble Traversée. Shin obtained a Master's degree in Conducting from the Eastman School of Music and a Bachelor's degree in Music from McGill University's Schulich School of Music. Shin's principal conducting teachers include Brad Lubman, Alain Cazes, and Alexis Hauser. 19
Rachel Kwok, soprano Rachel Kwok has been an active vocalist throughout Hong Kong and Asia. Award winner of various competitions, Kwok appears as chorister and soloist in many large-scale choral-orchestral works. She is one of the alumni of the Jockey Club Opera Hong Kong Young Artist Development and Education Programme 2019-2022. She obtained an Advanced Diploma in Vocal and Opera Studies from The Hong Kong Academy for Performing Arts with a full HKSAR Government Scholarship, a BSc in Sociology from Hong Kong Baptist University, and a MA in Music Studies from the University of Hong Kong.
Amelia Chan, violin Amelia Chan is currently Concertmaster of the City Chamber Orchestra of Hong Kong. Formerly Concertmaster of the West Virginia Symphony, she has also performed with the New York Philharmonic. She has been a cosoloist or chamber music partner with musicians such as Sir James Galway, Richard Galliano, and Sharon Isbin. Her performances have been broadcast on WQXR, New York; WQED, Pittsburgh; WV Public Broadcasting; BBC Radio Scotland; and RTHK Radio 4.
Kurt Chan, violin Kurt Chan studied at the Royal Northern College of Music. He has performed as freelance violinist with major orchestras and ensembles in Hong Kong, Macau, Taiwan, Armenia, Austria, Germany, Hungary, Switzerland, and United Kingdom. He is also in demand as a photographer for performing arts, his work can be seen at www. kurtachio.com.
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Ringo Chan, viola Currently violist of the Hong Kong Sinfonietta and the Romer String Quartet, Ringo Chan has performed at the Carnegie Hall, Toppan Hall, Sejong Center for the Performing Arts, and Shanghai Concert Hall. Chan was the recipient of the University Graduate Scholarship of the University of Cincinnati College-Conservatory of Music. He finished his Master's degree under the tutelage of Masao Kawasaki and Dr. Catharine Lees.
Chor Kai-hei, cello Chor Kai-hei graduated from Royal College of Music, Guildhall School of Music, and The Chinese University of Hong Kong (CUHK). He is a prizewinner of various international competitions, and was awarded a full scholarship from the Hong Kong Jockey Club Music and Dance Fund and Croucher Foundation. He is currently a cellist of the Hong Kong New Music Ensemble and serves as Ensemble-in-Residence in CUHK and cello instructor at The Education University of Hong Kong.
Tete Bae, flute Tete Bae graduated from the Royal Academy of Music and King's College, London, UK, and later gained the highest Solistendiplom degree from Musikhochschule Winterthur Zürich, Switzerland. Tete has performed in Festivals as solo and ensemble concerts worldwide, and has worked with numerous orchestras including Il Pomeriggi Musicali, BBC Consort Orchestra, Zurich Chamber Orchestra, and Winterthur Stadt Orchestra.
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Ying-yee Ava Lau, sheng Ava Lau has been playing the sheng since 2016, receiving guidance from Peitzu Huang and Loo Sze-wang. She has a rich background in orchestra performances and competitions. Since 2022, she has been a sheng player in the Hong Kong Youth Chinese Orchestra.
Loo Sze-wang, sheng Prize-winning Loo Sze-wang is the foremost sheng player of his generation in Hong Kong and has been active in worldfamous Music Festivals. Loo premiered the Sheng Concerto Mirror de Macao by Dr. Lam Bun-ching in ISCM2009 and several Sheng Concertos by Prof. Chan Hing-yan with HK Sinfonietta under the baton of Yip Wing-sie.
Nicky Kwok, xiao Nicky Kwok graduated from The Hong Kong Academy for Performing Arts with a Bachelor of Music in 2022, majoring in dizi with Sun Yongzhi and minoring in percussion with Yim Hok-man. He is currently the resident xiao and dizi musician of Hong Kong Gaudeamus Dunhuang Ensemble, freelance musician in the Hong Kong Chinese Orchestra, and part-time performer in the Music Office.
Leung Ka-lok, pipa Leung Ka-lok graduated with a Master of Music from The Hong Kong Academy for Performing Arts. An awardee of The Hong Kong Jockey Club Music and Dance Fund, he was a contract freelance musician of the Hong Kong Chinese Orchestra and actively works with the Music Office. He also performs as soloist and collaborates with different ensembles and orchestras such as the Yue Pipa Ensemble.
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Bryan Lai, yangqin Graduated from the Central Conservatory of Music in 2008, Bryan Lai is the first graduate in Hong Kong with a Master's degree in Yangqin Performance. He is currently a supervisor under the master's programme at The Hong Kong Academy for Performing Arts and serves as the Vice-Chairman of the Asian Dulcimer Association and Hong Kong Yangqin Association. In 2023, he received the Outstanding Teacher Award at the 4th International Yangqin Music Festival.
Siu Chun-yin, yangqin Siu Chun-yin is an Executive Committee Member of Hong Kong Yangqin Association and Yangqin player of TroVessional Band. Graduate of Bachelor's degree from The Hong Kong Academy for Performing Arts, he is currently studying for a Master's degree of Music, majoring in Yangqin and minoring in Chinese percussion. Siu has studied Yangqin with Chan Sham-lam and Li Tak-kong, and now with Lai Ying-bun; and Chinese percussion with Yim Hok-man.
Alvin Chan, percussion Alvin Chan graduated from The Hong Kong Academy for Performing Arts with a Master of Music under the full scholarships of The Hong Kong Jockey Club Music and Dance Fund. He is the resident percussionist of Hong Kong Gaudeamus Dunhuang Ensemble and a freelance player of Hong Kong Sinfonietta and Macao Orchestra.
Mark Lui, percussion Mark Lui is a freelance musician specialising in Chinese and Western Percussion. He was awarded multiple scholarships during his studies and has performed with various prestigious Hong Kong ensembles across Macau, Shenzhen, Kuala Lumpur, Melbourne, Vancouver, and Edmonton.