Shadow of Wind by HKNME HKNME

⾵風的影⼦子⾹香港創樂團第⼗十樂季閉幕⾳音樂會

Shadow of Wind HKNME 10th Season Closing Concert

曲⺫⽬目

Programme

許敖⼭山：《⾵風的影⼦子》(2018)* 世界⾸首演

Steve Hui: Shadow of Wind (2018)* World Première

#1〈失明⼈人杜煥往憶〉 #2 〈客途秋恨〉 #3 〈涼⾵風有信〉 #4 〈⽼老九南⾳音〉 #5 〈涼⾵風有信〉卡農

#1 Blind Dou Wun Recounts His Past #2 The Wanderer’s Autumn Lament #3 The Cool Breeze Arrives Like a Kept Promise #4 Naamyam by Lao Jiu (the Ninth Son) #5 The Cool Breeze Arrives Like a Kept Promise Canon

南⾳音演唱：許敖⼭山指揮：廖國敏⻑⾧長笛：李⼀一葦雙簧管：鄭永健單簧管：梁志承巴松管：梁德穎⼩小提琴：⾦金恩娥中提琴：凌藝廉⼤大提琴：Antonio Roig Tarros 低⾳音⼤大提琴：許裕成敲擊樂：劉語、尤美盈鋼琴：嚴翠珠箏：邱丹⻘青

Naamyam: Steve Hui Conductor: Lio Kuokman Flute: Angus Lee Oboe: Henry Cheng Clarinet: Leung Chi Shing Bassoon: Leung Tak Wing Violin: Euna Kim Viola: William Lane Cello: Antonio Roig Tarros Double Bass: Simon Hui Percussion: Matt Lau, Karina Yau Piano: Linda Yim Zheng: Chiu Tan Ching

阿爾亞迪：《⽖爪哇巫師的咒語》(2017/2018) ⾹香港⾸首演

M. Arham Aryadi: Jampi-Jampi (2017/ 2018) Hong Kong Première

⻑⾧長笛：李⼀一葦雙簧管：鄭永健⼩小提琴：嚴天成中提琴：凌藝廉敲擊樂：尤美盈、余林橞箏：邱丹⻘青

Flute: Angus Lee Oboe: Henry Cheng Violin: Patrick Yim Viola: William Lane Percussion: Karina Yau, Karen Yu Zheng: Chiu Tan Ching

洪靖年：《雖死猶⽣生》(1995) ⾹香港⾸首演

Chinary Ung: Still Life After Death (1995) Hong Kong Première

⼥女中⾳音：連皓忻指揮：廖國敏⻑⾧長笛：李⼀一葦單簧管：梁志承⼩小提琴：嚴天成⼤大提琴：Antonio Roig Tarros 敲擊樂：劉語鋼琴：嚴翠珠

Mezzo-Soprano: Carol Lin Conductor: Lio Kuokman Flute: Angus Lee Clarinet: Leung Chi Shing Violin: Patrick Yim Cello: Antonio Roig Tarros Percussion: Matt Lau Piano: Linda Yim

—- 中場休息⼗十分鐘 ——- Intermission of 10 minutes —-

* 作品於2018年由⾹香港創樂團委約，費⽤用由⾹香港作曲家及 * This new work is commissioned by Hong Kong New 作詞家協會轄下的「CASH⾳音樂基⾦金」贊助 Music Ensemble in 2018 with sponsorship from CASH Music Fund

朱世瑞：《靈歌——四個不同編制的樂器舞臺》 (2000/2003) ⾹香港⾸首演

Zhu Shirui: In Umbra Song of Souls in 4 Instrumental Scenes (2000/2003) Hong Kong Première

第⼀一場：〈詩篇〉第⼆二場：〈國殤〉第⼆二場：間奏曲第四場：〈墓誌銘〉

Scene 1: Psalm Scene 2: Guoshang Scene 3: Intermezzo Scene 4: Epitaphs

⼥女中⾳音：連皓忻指揮：廖國敏⻑⾧長笛：李⼀一葦雙簧管：鄭永健單簧管：梁志承⻑⾧長號：Benjamin Pelletier ⼩小提琴：⾦金恩娥中提琴：凌藝廉⼤大提琴：朱牧低⾳音⼤大提琴：許裕成敲擊樂：劉語、尤美盈鋼琴：嚴翠珠結他：杜⼦子駿

Mezzo-Soprano: Carol Lin Conductor: Lio Kuokman Flute: Angus Lee Oboe: Henry Cheng Clarinet: Leung Chi Shing Trombone: Benjamin Pelletier Violin: Euna Kim Viola: William Lane Cello: Zhu Mu Double Bass: Simon Hui Percussion: Matt Lau, Karina Yau Piano: Linda Yim Guitar: Mario To

樂曲介紹

Programme Notes

許敖⼭山：《⾵風的影⼦子》

Steve Hui: Shadow of Wind

以保育傳統⾳音樂來說，⾳音樂會、出版唱⽚片和樂譜，只可以說是⽐比較消極的⽅方法。⾳音樂是活的表演藝術，如果沒有⼈人創造新的創作，沒有新的發展，傳統也只會⾯面臨失傳的命運，像⾵風⼀一般悄悄地消失。廣東地⽔水南⾳音曾經是⼆二⼗十世紀初期⾹香港最普及的⺠民間表演藝術，也是最能代表⾹香港歷史的流⾏行⾳音樂。但到了今天在⾹香港也只剩下不⾜足⼗十位演唱南⾳音的藝術家，毫無疑問，南⾳音像很多⺠民間傳統⼀一樣逐漸步向失傳的邊緣。⼗十年前我從中⽂文⼤大學出版的《失明⼈人杜煥憶往》唱⽚片認識南⾳音及演唱家杜煥，當時令我驚為天⼈人。南⾳音的故事以我最熟悉的⺟母語直通⼤大腦神經，⾵風格上卻⼜又不像粵語流⾏行曲、粵曲、或任何我聽過的任何⾳音樂。《客途秋恨》是我最早接觸的南⾳音經典曲⺫⽬目。作為⼀一位作曲家，當時我很想更深⼊入了解南⾳音是如何做出來的，但我找不到任何理論書或樂譜，所以決定就以最直接的⽅方法去學習：我不斷跟著杜煥和新⾺馬師曾版本的《客途秋恨》唱⽚片邊唱邊模彷。過了⼀一段⽇日⼦子，我開始嘗試把俱樂部電⼦子⾳音樂和南唱的唱⽚片同時播放，製作南⾳音混⾳音版。後來，我更嘗試以《客途秋恨》的旋律⾼高低結構配上新寫的故事歌詞，⾃自⼰己演唱。⼀一步⼀一步，我其實想⼤大膽地以不同⽅方法創造出新的南⾳音。在《⾵風的影⼦子》中我以⻄西洋室樂的形式把過往多次不同的嘗試結合成⼀一體，是我對廣東南⾳音研究的最新嘗試，也是階段性總結。

Conserving traditional music through concert presentation, recording and publication is more or less a passive means. Music is a living performing art. The art form would cease to develop if no one creates any more new works, causing the tradition to face the crisis of being extinct and gone like the wind. Cantonese naamyam was once the most popular folk arts at the turn of the 20th century in Hong Kong. Today, unfortunately, there are less than 10 naamyam performing artists in Hong Kong. Naamyam, like many other folk traditions, is undoubtedly facing the threat of extinction. My first encounter with naamyam and master Dou Wun was through the recording Blind Dou Wun Recounts His Past published by the Chinese University of Hong Kong. I feel astonished with what I’ve found. Sung in Cantonese, the story told in my mother-tongue language rooted directly in my perception; but in terms of musical style naamyam carries no resemblance to Cantopop, Cantonese Opera, or any other music I know. The Wanderer’s Autumn Lament is the very first naamyam music I encountered. As a composer I instinctively wanted to learn more about the creative process of naamyam music but for a while I could not find any relevant theory books or scores. I decided to learn by the most direct way: repeatedly singing-along with the recordings of Sun Ma Sze Tsang (Tang Wing Cheung) and Dou Wun’s versions of The Wanderer’s Autumn Lament and imitating their singing styles. Then after a while I started to play CDs of club music and naamyam simultaneously and produced several remixed version of naamyam. Later, I created new lyrics according to the melody contour of The Wanderer’s Autumn Lament and performed on my own. Step by step I wish to use different approaches to create new naamyam music. In Shadow of Wind, I use contemporary ensemble music as a vehicle to summarise my years-long experimentation with naamyam. This piece is my latest experimentation of my research and also a period conclusion of my exploration on this unique narrative form of singing.

阿爾亞迪：《⽖爪哇巫師的咒語》

M. Arham Aryadi: Jampi-Jampi

取材⾃自⻄西⽖爪哇祭祀⾳音樂塔拉旺薩，這⾸首作品原為 Studio C.樂團⽽而寫。《⽖爪哇巫師的咒語》結合聲⾳音、雜⾳音、旋律，在傳統的祭祀儀式中⾳音樂是簡約、莊嚴的。演奏者必須要聆聽當中的聲⾳音，如演奏嘉美蘭樂器般感受聲⾳音的空間感。原作兼有⼀一位戴著⾯面具的舞者參與演出。

Adapted from Tarawangsa playing from the Sunda (West Java in Indonesia), this piece was originally written for Ensemble Studio C. Jampi-Jampi is a spatial composition combining sound, noise and melody. Tarawangsa uses a minimal theme and sacred music in sunda tradition. Performer must hear sound to feel a sense of spatial sounds like playing gamelan instruments. A masked dancer is featured in the original version of the composition.

洪靖年：《雖死猶⽣生》

Chinary Ung: Still Life After Death

⾳音樂劇場作品《雖死猶⽣生》靈感來⾃自古代柬埔寨為瀕臨死亡的⼈人所做的儀式，僧侶會被邀請到家中，為進⼊入彌留時份的⼈人以誦經來過渡⽣生死。僧侶以古巴利語唱誦簡短語句，⽽而瀕死的⼈人會跟著僧侶重覆每句短語，直⾄至最後⼀一⼝口氣。在《雖死猶⽣生》中，⼥女歌者代表瀕死的⼈人，男歌者則代表僧侶。樂曲中的⽂文本，尤其是最後數分鐘，以巴利語演唱，意思是：「禮敬世尊，阿羅漢，正等正覺者」。

Still Life After Death is a music theatre work inspired by an ancient Cambodian ritual that traditionally takes place at an individual’s deathbed. A Buddhist monk would be invited to a home to preside at this ritual, which assists a dying person in his or her transit from life to death. The monk chants short phrases in the ancient language of Pali, and the dying person would repeat each phrase after the monk, until the very last breath. In Still Life, the female vocalist represents the dying person and the male vocalist represents the Buddhist monk. The text that are used, especially at the last minutes, was sung in Pali and it can be translated to English, as follows: “Honour to the Blessed One, the Exalted One, the fully Enlightened One”

朱世瑞：《靈歌——四個不同編制的樂器舞臺》

Zhu Shirui: In Umbra Song of Souls in 4 Instrumental Scenes

《靈歌》由德國達姆斯塔特市及達姆斯塔特國際 This work was commissioned by the City and 新⾳音樂研究所聯合委約創作。 the International New Music Institute Darmstadt. 五個層⾯面的作曲創意：－五個產⽣生於不同⽂文化及時空背景的詩歌⽂文本，構成整部套曲的詩意與⾳音樂內涵； The five aspects of the compositional thoughts in this work are as follows: －四個不同編制的樂器舞臺，四種語⾔言：拉丁 - Five texts from different cultures and times 語、漢語、英語、德語，和四種⾳音樂的考量：旋律形態、聲⾳音材質、⾳音響⾳音⾊色、及其句法合成； can be considered as the semantic and the －三個時代，三種跨⽂文化背景下的時空關係；－兩種⽂文本（詩歌原⽂文⽂文本和譯⽂文⽂文本傳遞的⽂文化、宗教和語⾔言意蘊）實時的⾳音樂對話；－⼀一個⼈人類共同主題的藝術關切：⽣生命與死亡 ——紀念在中國或世界其它地⽅方，過去或現在，所有被無辜奪去性命的⼈人們。

musical context of the whole work;

- Four different instrumental scenes, four different languages: Latin, Chinese, English and German, and four musical parameters: melodic construction, quality of sound, tone colour and phases of sounds;

- Three ages in an intercultural background with three kinds of time-space relations;

- Two kinds of texts (original and translated text) of cultures, religions and languages in a real-time musical dialogue;

- One theme of human beings: life and death - in memory of all the innocent persons who were killed in China or in the whole world, in the past or in the present.

樂曲介紹由作曲家提供

Programme notes by the composers

⾹香港創樂團⾸首席指揮兼⾳音樂總監 HKNME Principal Conductor & Music Director 廖國敏 Lio Kuokman 獲美國《費城詢報》譽為「令⼈人矚⺫⽬目的指揮奇才」，廖國敏在巴黎舉⾏行的國際史雲蘭諾夫指揮⼤大賽勇奪⾸首獎，並獲費城樂團總監雅尼克．涅傑瑟貢委任為助理指揮，為該樂團史上⾸首位華⼈人助理指揮。並於近期獲邀擔任⾹香港創樂團的⾸首席指揮及⾳音樂總監。廖國敏活躍於國際舞台，曾與美國費城樂團、荷蘭⿅鹿特丹愛樂管弦樂團、法國國家電台管弦樂團、韓國⾸首爾愛樂、丹⿆麥國家交響樂團等合作。近期⾸首次與⽇日本NHK交響樂團、底特律交響樂團、東京都交響樂團演出，在⾹香港指揮新製作普契尼的歌劇《波希⽶米亞⼈人》，在美國⾱韋爾⼭山⾕谷⾳音樂節與費城交響樂團、法國拉羅克．昂迪榮⾳音樂節與波蘭華沙交響樂團巡演和再次受邀到法國南特和⽇日本東京的狂熱之⽇日⾳音樂節演出，並榮幸在國家主席習近平出席的慶祝⾳音樂會上指揮⾹香港管弦樂團演出。在 2018樂季焦點包括⾸首次受邀指揮莫斯科愛樂樂團和京都交響樂團的樂季⾳音樂會等。在歌劇指揮也備受注⺫⽬目的廖國敏曾指揮過許多不同的歌劇製作，包括《愛情靈藥》、《⼩小丑》、《杜蘭朵》、《遊唱詩⼈人》、《弄⾂臣》、《卡⾨門》等。並獲指揮家⽡瓦列⾥里．格吉耶夫之邀請到俄羅斯⾺馬林斯基劇院客席指揮林姆斯基．⾼高沙可夫的歌劇《普斯科夫的⼥女⼦子》。廖⽒氏曾以鋼琴家⾝身份與多個樂團演出包括薩爾斯堡室樂團和美國沃斯堡交響樂團等。

廖⽒氏在⾹香港演藝學院畢業，再赴美⼊入讀茱莉亞⾳音樂學院、寇蒂斯⾳音樂學院、新英格蘭⾳音樂學院深造，師承指揮家梅勒及胡富學習管弦樂指揮。此外他先後在多個著名指揮家⼤大師班上學習，包括賽⾨門．拉圖、⿆麥可．提爾森．湯瑪⼠士、詹姆⼠士．李汶、艾森巴赫、阿倫．吉伯特等。為推廣室內樂，廖⽒氏為澳⾨門室內樂協會的創會主席。廖⽒氏曾獲⾹香港及澳⾨門特區政府頒授嘉許獎狀及⽂文化功績勳章，表揚他在⽂文化藝術等多⽅方⾯面的成就。

Praised by the Philadelphia Inquirer as “a startling conducting talent”, Lio Kuokman was the laureate at the Svetlanov International Conducting Competition in Paris. Lio has served as assistant conductor to music director Yannick Nézet-Seguin at the Philadelphia Orchestra, the first Chinese conductor to be appointed in this position in the history of the orchestra and recently appointed as the Principal Conductor and Music Director of the Hong Kong New Music Ensemble. Lio has worked with many leading orchestras around the world including the Philadelphia Orchestra, Rotterdam Philharmonic, Radio France Philharmonic, Seoul Philharmonic and Danish National Symphony Orchestra. Recent highlights include debut with the NHK Symphony, Detroit Symphony, Tokyo Metropolitan Symphony, a new opera production of Puccini’s La bohème in Hong Kong, Vail festival with the Philadelphia Orchestra, Festival de la Roque d’Anthéron in France with Sinfonia Varsovia and return to Nantes and Japan La Folle Journées Festival, and a celebration concert conducting the Hong Kong Philharmonic with the presence of the President of China Xi Jinping. His coming season highlight include debut with the Moscow Philharmonic and subscription debut with the Kyoto Symphony. Equally sought after as an opera conductor, Lio has conducted in many opera productions including L’elisir d’amore, Pagliacci, Turandot, Il Trovatore, Rigoletto, Carmen and was invited by Maestro Valery Gergiev to be the guest conductor at the Mariinsky theatre conducting Rimsky-Kosarkov’s The Maid of Pskov. As a pianist, he has performed as soloist with many orchestras including the Salzburg Camerata and the Fort Worth Symphony. Lio received his degree from the Hong Kong Academy for the Performing Arts, the Juilliard School, the Curtis Institute of Music and the New England Conservatory. He has studied with OttoWerner Mueller and Hugh Wolff and in masterclasses coached by Sir Simon Rattle, Michael Tilson Thomas, James Levine, Christopher Eschenbach and Alan Gilbert. Lio is a founding member and Pre s i d e n t o f t h e M a c a o C h a m b e r M u s i c Association. For his contributions to the development of arts and culture, Lio has received Certificate of Commendation and Medal of Cultural Merit from both governments of Hong Kong and Macao.

Carol Lin is one of the leading mezzosopranos in Hong Kong. She has taken principal roles in opera productions by Hong Kong and international companies including ”Carmen” (Carmen), “Santuzza” (Cavalleria Rusticana), “Suzuki” (Madama Butterfly) etc. She has been the featured soloists for many concert performances by organizations such as Boston Philharmonic Orchestra, Aspen Sinfonia, The Philharmonic Orchestra S i n g a p o re , H o n g Ko n g P h i l h a r m o n i c Orchestra, Hong Kong Sinfonietta. A native of Hong Kong, Ms. Lin graduated ⼥女中⾳音 Mezzo-Soprano 連皓忻 Carol Lin 連皓忻為⾹香港著名⼥女中⾳音，曾於多個國際及⾹香港的歌劇製作演唱⼥女中⾳音⾓角⾊色，包括《卡⾨門》的卡⾨門、《鄉村騎⼠士》的桑桃莎、《蝴蝶夫⼈人》的鈴⽊木等。連⽒氏亦經常與各⾳音樂團體合作擔任獨唱，曾合作的樂團包括波⼠士頓愛樂、亞斯本交響樂團、新加坡愛樂、⾹香港管弦樂團、⾹香港⼩小交響樂團等。

from Hong Kong Academy for Performing Arts and holds a Master of Music Degree (Vocal Performance and Opera) from New England Conservatory of Music, Boston. She is also a vocal fellow of the Aspen Music Festival in Summer 2006 and 2007. In 2013, she won the regional round of the 32nd International Hans Gabor Belvedere Singing Competition. She has also won First and Third Prize in international singing competitions held in Japan and Italy respectively.

⽣生於⾹香港，連⽒氏畢業於⾹香港演藝學院，獲美國新英格蘭⾳音樂學院頒授聲樂表演碩⼠士。她也是 2006年及2007年美國艾斯本⾳音樂節的聲樂院⼠士。2013年，連⽒氏於第32屆⾙貝弗迪爾國際聲樂⽐比賽的分站中勝出，也分別曾於⽇日本及意⼤大利舉⾏行的國際⾳音樂⽐比賽中榮獲第⼀一及第三名。

作曲 / 南⾳音演唱 Composer / Naamyam 許敖⼭山 Steve Hui 許敖⼭山以⾹香港為基地，經常以多重⾝身份遊⾛走於現代⾳音樂、聲⾳音藝術、多媒體劇場及地下⽂文化之間，專注混合藝術形式、跨越界別及實驗傳統。⾹香港演藝學院作曲及電⼦子⾳音樂碩⼠士。其作品曾於⾹香港藝術節、深圳⾹香港城市建築雙城雙年展、新視野藝術節、微波國際媒體藝術節等演出，並獲⾹香港⼩小交響樂團、⾹香港城市⼤大學、⾹香港創樂團、進念‧⼆二⼗十⾯面體、現在⾳音樂、無極樂團、城市當代舞蹈團、不加鎖舞踊館等委約創作，創⽴立及擔任⾹香港⾸首隊⼗十⼈人實驗樂團 Decade Ensemble 總監。主要作品包括《1984》電影歌劇、與龔志成合作《家‧春 ‧ 秋》現場電影配樂、邵逸夫創意媒體中⼼心開幕節⺫⽬目《四象萬相》及多媒體歌劇《利瑪竇的記憶宮殿》，集體創作包括蘇黎世交流計劃《製鏡廠》、⽇日本交流計劃《絕對飛⾏行機》、新⽂文本轉化《⽯石頭與⾦金⼦子》、體驗式裝置表演《像是動物園》、實驗南⾳音《客途選集》、舞蹈劇場《無⽤用》、《碼頭的窗⼝口》及《灵灵性性─ 天體樂園2011》。作為表演家及唱⽚片騎⼠士活躍於 Buffneck Rizness、Heavy、Noise to Signal、XXX 及 DIY⼾戶外派對等地下場域。曾任教⾹香港兆基創意書院及⾹香港國際⾳音樂學校，現為⾹香港演藝學院兼職講師。2017獲年亞洲⽂文化協會獎助於紐約考察研究。

Steve Hui is a Hong Kong based multidisciplinary artist whose practice mines the boundaries between contemporary music, sound art, multimedia theatre and underground subcultures. Experimenting with tradition and remixing art forms, Nerve's music has been presented at the Hong Kong Arts Festival, Microwave International Media Art Festival and New Vision Arts Festival. He has received numerous commissions, from the City Contemporary Dance Company, City University of Hong Kong, Contemporary Musiking Hong Kong, Hong Kong New Music Ensemble, Hong Kong Sinfonietta, Unlock Dancing Plaza, Wuju Ensemble and Zuni Icosahedron. Recent theatre works include the cinematic opera 1984, digital opera The M e m o r y Pa l a c e o f M att e o R i c c i , l i v e soundtracks for the 1950s films Family, Spring, Autumn, and the Run Run Shaw Creative Media Centre opening performance Four Infinities. Collaborative works include Zurich x HK Mirror Factory, Tokyo x HK Absolute Airplane, installation/performance Zoo as Metaphor, experimental Naamyam in A Wanderer's Autumn Anthology, and dance theatre in Pier Window. Nerve is active in the local and international underground scene, performing and djing at Buffneck Rizness, Noise to Signal, Kill the Silence, XXX, CTM Vorspiel (Berlin) LUFF (Lausanne), as well as numerous DIY outdoor parties. He is the f o u n d e r a n d a r t i s t i c d i re c t o r o f t h e experimental music group Decade Ensemble. Nerve holds a masters degree in composition and electronic music from the Hong Kong Academy for Performing Arts, where he is currently a part-time lecturer. He has also held teaching posts at HKICC School of Creativity and Hong Kong International Institute of Music. In 2017 he was an Asian Cultural Council fellow in New York.

Indonesian Composer M. Arham Aryadi is the founder and music director of Indonesian Contemporary Gamelan Ensemble (ICGE). He completed his bachelor of arts in music composition at Conservatory Of Music Pelita Harapan University under the guidance of Otto Sidharta (Indonesia). He continued the master's degree in urban arts creation at Sekolah Pascasarjana Institut Kesenian Jakarta (IKJ). His works have been performed in various

作曲 Composer 阿爾亞迪 M. Arham Aryadi 印尼作曲家阿爾亞迪是印尼當代嘉美蘭樂團的創辦⼈人兼⾳音樂總監。他於印尼希望之光⼤大學⾳音樂學院修讀藝術學⼠士課程，師隨奧圖・薛哈特學習作曲，隨後於耶加達藝術⼤大學完成城市藝街創作碩⼠士課程。阿爾亞迪的作品於印尼及國外的不同藝術及⾳音樂節中演出，包括2011年印尼藝術節及塔⽐比⾳音樂節、2014年於吉隆坡表演藝術中⼼心舉辦的第五屆⾺馬來⻄西亞作曲家系列及第七屆印尼⽇日惹當代⾳音樂節等。他的作品《Ruang Suara》獲耶加達歌德學院及德國復興信貸銀⾏行基⾦金會委約創作，於2015年獲德國現代室樂團於法蘭克

festivals in Indonesia and abroad, including Indonesian Arts Festival and Tembi Music Festival in 2011, the 5th Malaysian Composer Series at KLPAC and the 7th Yogyakarta Contemporary Music Festival in 2014. His work Ruang Suara was commissioned by the Goethe-Institut Jakarta and KFW Stiftung, received performances in Frankfurt, Jakarta, Yogyakarta and Bandung by Ensemble Modern in 2015. In 2017, he was commissioned by Ensemble Multilatérale (France) and the work was performed in Jakarta, Yogyakarta, Surabaya and Paris. In 2018 Quatuor Bozzini from Canada performed his new commissioned work at Theater Salihara, Jakarta.

福、耶加達、⽇日惹演出。2017年，他獲法國多邊樂團委約，作品於耶加達、⽇日惹、泗⽔水、巴黎演出。2018年，加拿⼤大波斯尼弦樂四重奏於耶加達沙利哈拉劇院演出。

Chinary Ung was the first American composer to win the highly coveted international Grawemeyer Award (1989), sometimes called the Nobel Prize for music composition. Among other honours, Ung has received awards from The Kennedy Center (Friedheim Award), The American Academy of Arts and Letters, Asia Foundation, Asian Cultural Council, Rockefeller Foundation, Ford Foundation, Guggenheim Foundation, Joyce

作曲 Composer 洪靖年 Chinary Ung

Foundation, and The National Endowment for the Arts. Now a United States citizen, Chinary Ung was born in Takeo, Cambodia in 1942. He came to New York City in 1964 to further his studies in

洪靖年是美國⾸首位獲被譽為「⾳音樂界諾⾙貝爾獎」格⽂文美爾古典作曲⼤大獎 (1989) 的作曲家。除此

music at the Manhattan School of Music. Ung received his Doctorate of Musical Arts in music

以外，他亦曾獲⽢甘乃迪中⼼心 (費雷德姆⼤大獎)、美國藝術暨⽂文學學會、亞洲基⾦金會、亞洲⽂文化協會、洛克菲勒基⾦金會、福特基⾦金會、古根漢基⾦金會、喬伊斯基⾦金會及美國國家藝術基⾦金會頒發獎項。

composition, with honours, in 1974 from Columbia University. Since then, he has taught

1942年⽣生於柬埔寨茶膠的洪靖年現為美國公⺠民， 1 9 6 4 年赴美國曼克頓⾳音樂學院學習。 1974年獲哥倫⽐比亞⼤大學頒發⾳音樂藝術 (作曲) 榮譽博⼠士，隨後於北伊利諾伊⼤大學、康涅狄格⼤大學、賓⼣夕法尼亞⼤大學和亞利桑那州⽴立⼤大學教授作曲。他⺫⽬目前為加州⼤大學聖地亞哥分校的傑出⾳音樂教授，以及查普曼⼤大學的⾸首席院⼠士及駐校榮譽作曲家。

composition at Northern Illinois University, Connecticut College, The University of Pennsylvania, and Arizona State University. He is currently Distinguished Professor of Music at the University of California San Diego and a Presidential Fellow and Senior Composer in Residence at Chapman University.

Described by Deutsche Welle “a composer who has, with his own new musical language, the personal independence of conduct”, Zhu Shirui joined the Central Conservatory of Music in Beijing in 1986 as lecturer in the Composition Department. In 1991, he went to Germany for advanced studying composition with H. Lachenmann and then in Darmstadt 作曲 Composer 朱世瑞 Zhu Shirui 獲《德意志之聲》形容為「有特⽴立獨⾏行的新⾳音樂語⾔言的作曲家」朱世瑞1986任教北京中央⾳音院作曲系；1991赴德國斯圖加特師從拉赫曼，其後在達姆斯塔特隨胡伯爾、裡姆、施巴林格和芬尼豪夫研修新⾳音樂作曲；2003起於上海⾳音樂學院出任作曲教授及博⼠士⽣生導師。朱世瑞曾獲國內外多個作曲獎項，包括劉天華⺠民樂作品⽐比賽迄今⼗十五年所頒發的唯⼀一⼀一等獎、中國⽂文化部第⼗十、⼗十⼀一、⼗十三屆⽂文華獎、中國⽂文聯/⾳音協第四、五屆⾦金鐘獎、德國斯托羅⾙貝爾作曲獎、德國巴符州科教⽂文化部創作獎等；除此以外，亦曾獲德意志廣播交響樂團、德國百年樂會、達姆斯塔特國際新⾳音樂研究所、德意志廣播電台、上海之春國際⾳音樂節等委約創作。

studied with K. Huber, W. Rihm, M. Spahrlinger and B. Ferneyhough. He has been professor and doctorate tutor for composition in Shanghai Conservatory of Music since 2003. Zhu is the recipient of the Grand Prize of the 5th LiuTianHua Composition Competition (2012) for Chinese National Instruments, the Gold Bell Prizes of the Chinese Musicians’ Society (2004/2005) and Wenhua Prizes of the Cultural Ministry China (2004, 2005, 2007). He has received commissions and fellowships from institutions such as Ministry of SEC B a d e n - Wü r t t e n b u r g / M u s i k h o c h s c h u l e Stuttgart in 1993, Institute of International New Music Darmstadt in 1996, 2000 and 2006, Südwestrundfunk Symphonie Orchester/Eclat Festival in 2006, and Shanghai Spring IMF in 2006, 2007, 2010, 2015 and 2017.