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| Singchronizers 7th Anniversary Concert

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Peace Joy Love

Singchronizers 7th Anniversary Concert


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| Singchronizers 7th Anniversary Concert

Singchronizers

P e a c e

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Peace Joy Love

7th

Anniversary

J o y

Concert

l o v e Programme

ćœˆ5 6 7 8 13 14 15 16 17 18 19

About Us

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Acknowledgements

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All That Hath Life & Breath Praise Ye The Lord O Clap your Hands Missa brevis Sancti Joannis de Deo The Last Words of David Geistliches Lied Op. 30 The Dance from The Bavarian Highlands The Turtle Dove Laughing Song Set Me As A Seal from A New Creation John the Revelator Music Director : Sanders Lau Conductor : Sarah Maria Leung Soloist : Alison Lau Composer & Pianist : Elena Chiu Organist : Gary Tong Pianist : Alexander Wong Instrumentalists


Programme

All That Hath Life & Breath Praise Ye the Lord René Clausen (b. 1953) O Clap Your Hands Elena Chiu (b. 1989) Missa brevis St Joannis de Deo Joseph Haydn (1732 – 1809) Intermission The Last Words of David Randall Thompson (1899-1984) Geistliches Lied Op.30 Johannes Brahms (1833-1897) The Dance from the Bavarian Highlands Edward Elgar (1857-1934) The Turtle Dove Ralph Vaughan Williams (1872-1958) Laughing Song David Dickau (b. 1953) Set Me As A Seal Rene Clausen (b. 1953) John the Revelator Arr. Paul Caldwell & Sean Ivory


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All That Hath Life & Breath Praise Ye the Lord! René Clausen (b. 1953)

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he longtime conductor of the Concordia Choir, René Clausen is a world renowned choral composer whose works are widely performed both in the United States and across the globe. Among his many accolades, his recent recording, "Life & Breath: Choral Works by René Clausen," received three Grammy awards at the 55th Grammy Awards in 2013. Written at the age of 25, All That Hath Life & Breath is one of Clausen’s earliest works and has since established as a worldwide favourite. The piece’s majestic and energetic setting of Psalms 96 and 22 makes it a perfect starter for tonight’s concert. The animated beginning section is balanced by an expressive yet solemn soprano solo, followed by a serene legato tutti section in which the hymn “Praise to the Lord Almighty” is quoted with an intentionally ambiguous metre. Opening materials are then reiterated to bring the piece to a cheerful end.

All that hath life and breath praise ye the Lord, Shout to the Lord, Alleluia! Praise the Lord with joyful song, Sing to the Lord with thanksgiving, Alleluia, praise Him! All that hath life and breath praise ye the Lord, Sing to the Lord a new-made song, Praise His name, Alleluia. Unto Thee, O Lord, have I made supplication, And cried unto the rock of my salvation; But Thou hast heard my voice, And renewed my weary spirit. Praise to the Lord the Almighty the King of creation, O my soul praise Him for He is thy health and salvation. Praise Him, laud Him, Alleluia!

Programme notes written by Sanders Lau with reference to: Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw Music, 1996.


O Clap Your Hands

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Elena Chiu (b. 1989)

O Clap Your Hands (2013 World Premiere) Elena Chiu (b. 1989)

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Clap Your Hands is a setting of Psalm 47:1–6. The piece is a ceremonial work for Ascension Day Service and is designed to fill the cathedral with triumph and delight in praise of God. The joyous mood of the text is capitalized upon in a setting of extroverted jubilation. Composers such as Gibbons, Vaughan Williams and Rutter have also set music with this text, with distinctively varied styles ranging from unaccompanied voices to large-scale orchestral set up; these works are without doubt part of the ‘core repertoire’ in present-day choral music. This piece, written for SATB unaccompanied voice with a double-choir formation, begins with a conductor’s solo, where the main theme is introduced before the choir joins in unison. The vocal line takes on a recitative-like quality, which pays homage to the tradition of Gregorian or Hebrew chant. The composer explores virtually every possibility afforded her by both eightvoice counterpoint. The music is in a festive mood throughout that builds up its energy with some actions involved (clapping and finger snapping) to reach the anticipated climax, while the choir splits from four parts to

an eight-part antiphonal line up. Here you will hear the choirs sing ‘’Sing praises unto our King’’ and ‘’O clap your hands all ye people’’ together. After an exciting and jubilant Gmajor section (the climax), the B-flat major section provides the listener with an opportunity to indulge in introspection; this leads to the coda that restores the lively mood and character of the opening material. Elena Chiu is an active promoter of contemporary Classical music. Influenced by her composition pursuits, she enjoys exploring composition techniques through performing a wide range of modern repertoire, including: Ives, Cage, Rzewski, Kapustin, Ligeti, Rautavvara and Carl Vine. O Clap your hands, all ye people; shout unto God with the voice of triumph. For the Lord most high is terrible; he is a great King over all the earth. He shall subdue the people under us, and the nations under our feet. He shall choose our inheritance for us, the excellency of Jacob whom he loved. God is gone up with a shout, the Lord with the sound of a trumpet. Sing praises to God, sing praises: sing praises unto our King, sing praises. Programme notes © Elena Chiu 2013


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aydn was hailed in his time as the greatest composer alive. Prolific in every medium, he is best remembered for his numerous symphonies and string quartets, which established standards of quality, style, content, form, and expressivity that other composers emulated.

organ solo and a soprano solo in the Benedictus, traditionally the one place in an Austrian Missa brevis where an extended musical treatment was allowed. It also explains the title of “Little Organ Mass”, under which the work has become one of the most popular of all Haydn’s Masses.

The Missa brevis Sancti Joannis de Deo (Hob. XXII:7) – also known as the “Little Organ Mass” (Kleine Orgelmesse) – was commissioned by the Order of the Brothers of Mercy (Barmherzige Brüder) in Eisenstadt c. 1775. In his younger years, Haydn was Sunday organist at the Vienna House of the Order. Haydn dedicated this Mass to the Order’s Patron Saint, John of God (Joannis de Deo), Juan Cuidad (1495 – 1550), a Portuguese monk.

A second factor was the worship situation at the Order’s chapel. The Brothers of Mercy is a nursing order, and when celebrating Mass, they felt obligated to leave their patients unattended for no more than half an hour. Haydn’s Mass, with a performing time of fifteen minutes, provided a maximum of musical interest without delaying the service. The texts in “Gloria” and “Credo” were radically shortened by having two or more parts sing different words simultaneously.

Several factors influenced the creation of the “Little Organ Mass”. First of all, due to the death of the princely organist at Eisenstadt in 1773, Haydn was once again a practicing organist when he wrote the Mass. Thus Haydn knew he could count on one skilled soloist – himself – for a first performance in the Order’s chapel. He wrote a beautiful

Lastly was the limited performance space, the tiny size of the Order’s chapel would certainly have restricted the composer to traditional Vienna church-trio setting – two violins and continuo. All these explain Haydn’s return to the short mass (Missa brevis) form after a lapse of at least twenty-five years.


Missa brevis Sancti Joannis de deo

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Joseph Haydn (1732 – 1809)

Missa brevis Sancti Joannis de Deo Joseph Haydn (1732 – 1809) Texts and translations: (from Ordinary of Mass)

The whole Mass was written in B-flat major except in Benedictus, where E-flat major (the dominant key of B-flat) was employed. The Kyrie is adagio throughout, providing a contemplative yet magisterial tone. The Gloria, as said above, is so radically condensed that it is just thirty-one bars long in a fast 3/4 metre. The best part of Credo is the middle adagio section of “Et incarnates est”, especially its “Crucifixus” with chromatically descending choral bass line. The Sanctus is a 6/8 allegro unique to Haydn’s Masses – perhaps a reference to St. John’s past as shepherd and soldier. Benedictus is usually considered the musically high point of the Mass. The concluding Agnus Dei in 3/4 adagio throughout (a departure from the Viennese tradition of having Dona Nobis Pacem in faster tempo), ends with the merest whisper, a fitting final bow to the caregivers for whom the Mass was written.

Kyrie

Kyrie

Kyrie eleison; Christe eleison; Kyrie eleison.

Lord have mercy; Christ, have mercy; Lord have mercy.

Gloria

Gloria

Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Glory to God in the highest And on earth peace to men of good will.

Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.

We praise You, we bless You, we adore You, we glorify You. We give thanks to You for Your great glory.

Lord God, heavenly Domine Deus, King, almighty God the Rex caelestis, Father. Deus Pater omnipotens. Domine Fili unigenite, Lord Jesus Chris, only begotten Son. Jesu Christe.


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Domine Deus, Agnus Dei, Filius Patris.

Lord God, Lamb of God, Son of Father.

Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

You who take away the sins of the world, have mercy on us. You who take away the sins of the world, hear our prayers. You who sit at the right hand of the Father, have mercy upon us.

Quoniam tu solus Sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu in Gloria Dei Patris.

For You are the only Holy One, the only Lord, the only Most High, Jesus Christ. With the Holy Spirit in the glory of God the Father.

Amen.

Amen.

Credo

Nicene Creed

Credo in unum Deum; I believe in one God; Patrem omnipotentem, the Father almighty, maker of heaven and factorem coeli et earth, terrae, visibilium omnium et and of all things visible and invisible. invisibilium. Credo in unum Dominum Jesum Christum, Filium Dei unigenitum, Et ex Patre natum ante omnia sĂŚcula. Deum de Deo, lumen de lumine, Deum verum de Deo vero, Genitum non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis.

I believe in one Lord Jesus Christ, the only begotten Son of God, begotten of the Father before all worlds; God of God, light of light, true God of true God, begotten not made; being of one substance with the Father, by Whom all things were made. You who for us men and for our salvation descended from heaven; and was incarnate by


Missa brevis Sancti Joannis de deo

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Joseph Haydn (1732 – 1809)

Missa brevis Sancti Joannis de Deo Joseph Haydn (1732 – 1809)

Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est.

the Holy Ghost, of the Virgin Mary, and was made man.

Crucifixus etiam pro He was crucified also nobis for us, sub Pontio Pilato, suffered under Pontius passus et sepultus est. Pilate, Et resurrexit tertia die and was buried. secundum Scripturas. And on the third day Et ascendit in coelum: He rose again  sedet ad dexteram Patris. according to the Scriptures: and ascended into heaven. Et iterum venturus est He sitteth at the right cum gloria, hand of the Father; judicare vivos et and He shall come mortuos: again with glory cujus regni non erit finis. to judge the living and the dead; and His kingdom shall have no end. Credo in Spiritum Sanctum,

I believe in the Holy Ghost,

Dominum, et the Lord and giver of vivificantem: life, qui ex Patre Filioque Who prodeedeth from procedit. the Father and the Son, Qui cum Patre et Filio Who with the Father simul and the Son together adoratur et is worshipped and conglorificatur: glorified; qui locutus est per as it was told by the Prophetas. Prophets. Credo in unam sanctam And I believe in one catholicam et holy apostolicam Ecclesiam. catholic and apostolic Church. Confiteor unum baptisma, in remissionem peccatorum.

I acknowledge one baptism for the remission of sins.

Et expecto And I await the resurrectionem resurrection of the dead mortuorum and the life of the world et vitam venturi sæculi. to come. Amen.

Amen.


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Missa brevis Sancti Joannis de Deo Joseph Haydn (1732 – 1809)

Sanctus

Sanctus

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis.

Holy, Holy, Holy Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest.

Benedictus

Benedictus

Benedictus qui venit in nomine Domini. Hosanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

Agnus Dei

Lamb of God

Lamb of God, Agnus Dei, qui tollis peccata mundi, who take away the sins of the world, have mercy upon us. miserere nobis. Lamb of God, Agnus Dei, qui tollis peccata mundi, who take away the sins of the world, have mercy upon us. miserere nobis. Lamb of God. Agnus Dei, qui tollis peccata mundi, who take away the sins of the world, dona nobis pacem. grant us peace.

Programme notes written by Sanders Lau with reference to: Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw Music, 1996.


The Last Words of David

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Randall Thompson (1899-1984)

The Last Words of David Randall Thompson (1899-1984) 2 Samuel, 23:3-4 KJV

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ra Randall Thompson was born in New York City. As the son of an English teacher, he never strayed from an academic environment. Despite having been discouraged from becoming a professional musician, he engaged in organ studies at an early age. He entered Harvard University in 1916; while his audition for the choir was turned down, its conductor Archibald T. Davison eventually became his mentor and later offered him criticisms of his early compositions. Thompson later mused, “My life has been an attempt to strike back.” In 1922, Thompson began studying at the American Academy in Rome where, inspired by composers of the Renaissance period, he developed a musical style that led him to the forefront of American choral composers. In 1939, Thompson was appointed the Director of the Curtis Institute of Music, at which Samuel Barber and Leonard Berstein were also among his students and assistants.

Harvard Crimson wrote in 1965, “What texts! Thompson chooses his texts with the care of a sculptor choosing his stone, a calligrapher his nib.” The text is taken from 2 Samuel 23:3-4 (KJV). Typical of Thompson’s deep understanding of texts and choral music, the piece begins with a majestic passage that is propelled by an accompaniment of rapid ascending scales and eventually evolves into a warm, gentle passage of Alleluias.

The Last Words of David was commissioned in 1949 by the Boston Symphony Orchestra in honour of Dr. Serge Koussevitzky’s 25th Anniversary of Directorship. Upon hearing a performance of the piece, a writer for the

Amen.

He that ruleth over men must be just, ruling in the fear of God. And he shall be as the light of the morning, when the sun riseth, even a morning without clouds, as the tender grass springing out of the earth by clear shining after-rain. Alleluia.


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Geistliches Lied Op. 30

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rahms studied piano from the age of seven and composition from thirteen. A prolific choral composer, Brahms wrote thirteen motets and no less than forty-six a cappella songs in addition to the German Requiem and several other accompanied choral works. Geistliches Lied, written when he was twentythree, was written in the style of a Lutheran chorale. Whether or not Brahms is a believer, the piece truly embraces the Christian ethic and Biblical literature. Highly interested in early music, Brahms wrote the piece as one of a number of compositions which he and his friend Joachim exchanged for mutual criticism, both having the aim to improving their contrapuntal mastery. A strict double canon between soprano/tenor and alto/bass, voices imitate each other at the 2nd above and the 9th below. With the accompanying organ part that is also quasi-canonic, the piece generates a profound mood of serenity and gentleness.

Johannes Brahms (1833-1897) Text by Paul Flemming (1609-1640) (Edited by John Rutter) Laß dich nur nichts nicht dauren mit Trauren, sei stille, wie Gott es fügt, so sei vergnügt mein Wille! Was willst du heute sorgen auf morgen? Der Eine steht allem für, der gibt auch dir das Deine. Sei nur in allem Handel ohn Wandel, steh feste, was Gott beschleußt, das ist und heißt das Beste. Amen. (Translation)

Do not be sorrowful or regretful; Be calm, as God has ordained, and thus my will shall be content. What do you want to worry about from day to day? There is One who stands above all who gives you, too, what is yours. Only be steadfast in all you do, stand firm; what God has decided, that is and must be the best. Amen.


From the Bavarian Highlands 1. The Dance “Sonnenbichl”

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Edward Elgar (1857-1934)

From the Bavarian Highlands 1. The Dance “Sonnenbichl”

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nglish composer Edward Elgar grew up in a musical environment as his father owned a music shop in Worcester and tuned pianos. At his father’s shop, he studied the music available and taught himself to play a variety of instruments. He also self-learned composing – evidence of his strong determination behind his unique talents. Other than his best-known orchestra works Enigma Variations, the Pomp and Circumstance Marches, concertos for cello and violin, Elgar is also known for his choral compositions like The Dream of Gerontius and The Music Makers. From The Bavarian Highlands is written as a remembrance of Elgar’s vacation with his wife Alice. So impressed with the spirit and carefreeness of the Bavarian Highlands, Elgar set the poems that Alice wrote in imitation of the local folksongs into six choral pieces. Written in ternary form, the first piece The Dance depicts a coaching inn at Sonnenbichl with a spirited waltzing theme, intervened with a more relaxed and gentler middle section akin to a fireside rest inside the tavern. The melodies are so simple and beautiful – a celebration of the Bavarian Highland’s carefree pleasures and breath-taking scenery. In it Elgar also described the local courting dance Schuhplattler, in which characteristically the male dancers strike their thighs, knees and soles rhythmically, at the same time clap their hands and stamp with their feet.

Edward Elgar (1857-1934) Text by C. Alice Elgar Come and hasten to the dancing, Merry eyes will soon be glancing, Ha! my heart upbounds. Come and dance a merry measure, Quaff the bright, brown ale my treasure. Hark! what joyous sounds. Sweet heart come, on let us haste, On, on, no time let us waste, With my heart I love thee! Dance, dance for rest we disdain, Turn, twirl and spin round again, With my arm I hold thee! Down the path the lights are gleaming, Friendly faces gladly beaming, Welcome, welcome us with song. Dancing makes the heart grow lighter as we dance along. Dancing makes the world and life grow lighter as we dance. Come! Dance!


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The Turtle Dove Ralph Vaughan Williams (1872-1958) Trad. Folk Song

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aughan Williams is recognised as one of the greatest British composers, comparable to Henry Purcell. His music is notable for its power, nobility and expressiveness, and represents the essence of ‘Englishness’. His teachers included Stanford and Parry at the Royal College of Music, Max Bruch and Maurice Ravel. Vaughan Williams also conducts Bach’s St. Matthew’s Passion at the Leith Hill Music Festival regularly, and eventually became professor of composition at the Royal College of Music in London. A prolific writer, his creative pen touched and enriched numerous musical genres, including nine symphonies, five operas, film music, ballet and stage music, song cycles, church music, etc. At the turn of the century, Vaughan Williams was among the first to travel in the countryside to collect folk-songs. The Turtle Dove is a traditional symbol of constancy and faithfulness. Narrating the storyline, he set verses one and four as a baritone solo with chordal accompaniment. Verse two is an antiphonal verse in which female and male voices call and answer each other. Then the piece reaches climax at verse three: second sopranos and tenors double in melody while the other voices provides a wall of harmony, the lovers vowing eternal love for each other. Vaughan William’s setting of The Turtle Dove personifies his description of English folksongs as having “sincerity, depth of emotion, simplicity of expression and, above all, beautiful melody.”

Fare you well, my dear, I must be gone, And leave you for a while; If I roam away, I’ll come back again, Though I roam ten thousand miles, my dear, Though I roam ten thousand miles. So fair thou art my bonny lass, So deep in love am I; But I never will prove false to the bonny lass I love, Till the stars fall from the sky, my dear, Till the stars fall from the sky. The sea will run never run dry, my dear, Nor the rocks never melt with the sun, But I never will prove false to the bonny lass I love, Till all these things be done, my dear, Till all these things be done. O yonder doth sit that little turtle dove, He doth sit on yonder high tree, A-making a moan for the loss of his love, As I will do for thee, my dear, As I will do for thee.


Laughing Song

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David Dickau (b. 1953)

Laughing Song David Dickau (b. 1953) Text by William blake (1757-1827)

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avid Dickau is a well-known choral conductor and composer in the United States. An alumnus of Northwestern University and University of Southern California, he receives numerous commissions every year and his compositions are widely performed nationally. Since 1991, Dickau has served as the Director of Choral Activities at the Minnesota State University where he teaches composition and conducting. He has also served as the president of the American Choral Directors Association of Minnesota. Moreover, Magnum Chorum, a chamber ensemble he directs in the past thirteen years, has appeared at ACDA national and regional conventions. The ensemble has also been featured on National Public Radio in the nationally syndicated program The First Art. This setting of William Blake’s Laughing Song bristles with excitement and jubilation. The poem rejoices a joyous scene of beautiful nature: of running streams, dancing trees, merry grasshoppers, whistling birds and sweet maidens. Dickau skilfully utilizes mixed meters which notonly propels the music and mood but also personifies the text “Ha, ha he!” such that it sounds like genuine laughter. A dramatic piano and lofty flute (and rhythmic tambourine) join the chorus to bring the text to brilliant life.

Ha ha he he he! When the green woods laugh with the voice of joy, And the dimpling stream runs laughing by, When the air does laugh with our merry wit, And the green hill laughs with the noise of it. When the meadows laugh with lively green, And the grasshopper laughs in the merry scene, When Marry and Susan and Emily With their sweet round mouths sing ha ha he he he. When the painted birds laugh in the shade, Where our table with cherries and nuts is spread; Come live and be merry, and join with me to sing the sweet chorus of ha ha ha he.


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Set Me As A Seal from A New Creation Rene Clausen (b. 1953) Song of Solomon 8:6 ESV

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ome time ago my wife suffered 4 consecutive miscarriages. She finally carried a child into the fifth month, all was well, and the doctor suggested she undergo an amneosentisis, as she was past 35. During the procedure the doctor inserted the needle accidentally into the umbilical cord, and killed the baby in her womb. As she was so far along, she had to deliver the dead baby normally. For some reason I will never understand, the hospital placed her in a birthing room on the maternity floor, directly next to the nursery. As she underwent the labor through the night, we heard the crying babies next door in the nursery. I wrote Set Me As A Seal the next evening. Normally, when I am asked about the “inspiration” process, I laugh and deny inspiration in favor of work and effort. In this case, however, I just sat down and wrote the piece. I don’t know what is wrapped up inside these few, simple notes. I can say actually very little about the piece. Whenever I return to it, however, I am struck by the phrase “for love is strong as death”, because when I wrote it my actual feeling was “for love is stronger than death”; abiding, all-encompassing love absorbs even the pain of death. If the piece is about anything, it is about the simple but powerful conviction of permanent love that seeks to overflow the boundary between life and death.

I can’t imagine a choir singing it without open hearts.” Rene Clausen Rene Clausen is a renowned composer and arranger, having written over 100 commissioned compositions for organizations such as The King’s Singers, the Mormon Tabernacle Choir, and the American Choral Directors Association. He is also a frequent guest conductor, composer-in-residence, clinician and lecturer. Clausen received his Masters and DMA from the University of Illinois, Urbana, and was named the Paul J. and Eleanor Christiansen Chair in Choral Music at Concordia. “Life and Breath: Choral Works by Rene Clausen” is a 13-track recording by the Kansas City Chorale; this CD of his compositions won two Grammy Awards in 2013, including Best Choral Performance. Set me as a seal upon your heart, As a seal upon your arm, For love is strong as death. Many waters cannot quench love; Neither can the floods drown it.


John the Revelator

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Arr. Paul Caldwell & Sean Ivory

John the Revelator Arr. Paul Caldwell & Sean Ivory Trad. Gospel Blues

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aul Caldwell and Sean Ivory have been arranging music together since 1990s when they both worked with a community-based youth choir in Michigan. Their works have become staples of many of the world’s finest ensembles, performances of which have been held at Carnegie Hall, Avery Fisher Hall, the Sydney opera House, and throughout Europe, Asia and Africa.

Gospel groups throughout the American South have performed various arrangements of John the Revelator in early 20th century. The arrangements of Blind Willy Johnson and Son House inspired Caldwell and Ivory; making optimal use of Johnson and House’ blue scales, the two arrangements are closely related harmonically and textually. Highly percussive and chromatic, the piece offers glimpses of the world described by John in the Book of Revelations. Equally important is that it also offers respite and hope to an African-American population trapped in webs of economical and physical hardship of the time.

O tell me who is that writin’? John the Revelator, writin’ in the book of seven seals. O tell me what is he writin’? ‘bout the revelation, writin’ in the book of seven seals. When John looked over Calvary’s hill, heard a rumbling like a chariot wheel. Well, tell us John, what did you see? I saw a beast rising from the sea! Talk to us, John! What’s the good news? The crippled can walk; the dumb are singing the blues Oh, John in the graveyard, whadaya see? The dead are dancin’ all around me! Tell us: Who is writin’? Tell us what he’s writin’? Tell us why he’s writin’? Time for revelation and for jubilation. Tell us what you’re writin’, read it to us, John! Well, just tell it in your precious book, John. Well, just tell it in that book of seven seals. John!

Programme notes written by Sarah Maria Leung.


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tarting with some passionate young graduates of St Paul’s Co-educational College, Singchronizers is now a choir of more than 40 experienced and passionate young singers. The days in the alma mater had given the choristers a thorough choral training and strong affection towards choral music. Since the foundation of Singchronizers of 2006, the choir is dedicated not only to the highest quality of music making, but also pledging to uphold the bonding between the choristers in music, and sharing their love, hopes and dreams of music to the public. Singchronizers is interested in a wide range of music, from major classical and modern choral masterpieces to folk songs, jazz, theatre music and African-American spirituals. Pieces the choir has performed include Vivaldi’s Gloria, Brahm’s Ein Deutsches Requiem, Bob Chilcott’s A Little Jazz Mass, Faure’s Requiem and Mahler’s Symphony for a Thousand. Since its establishment, Singchronizers has delivered numerous performances for various occasions and purposes. Apart from annual concerts, the choir has participated in various competitions such as the Hong Kong International Youth and Children’s Choir Festival and Hong Kong Youth Singing Festival of year 2006 with excellent results. The choir has also made a number of performances at the RTHK Radio Four programmes “Belle Nuit” and “Seasons Greetings in the Park”.

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ingchronizers

由一群畢業於聖保羅男女中學的

年青合唱熱愛者所組成,至今已發展成一隊由逾四十 位經驗豐富的年青歌者組成的合唱團。中學期間,成 員皆接受過穩厚的合唱訓練,培養了對合唱音樂的熱 愛。自Singchronizers於2006年成立至今,成員一直 致力在合唱技巧上力臻完美,更希望鞏固成員之間因 歌唱建立的情誼,而且向大眾分享對音樂的熱愛、願 望和夢想。 Singchronizers熱衷於不同類型的音樂,舉凡古今著名 的合唱作品 ,以至 民歌、爵士樂、音樂劇選段和黑人 靈歌。合唱團過往曾演出的曲目包括韋華第的《榮耀 頌》、布拉姆斯的《德意志安魂曲》、蕭廓的《小爵 士彌撒曲》、佛瑞的《安魂曲》以及馬勒的《千人交 響曲》。 立團以來,Singchronizers曾在不同場合作多場表

演。除了年度音樂會外,合唱團亦曾參與多個比賽, 如2006年的香港國際青少年合唱節及香港青年歌唱節 等,屢獲佳績。合唱團也曾多次應邀於香港電台第四 台節目“弦外之音”及“聖誕園林音樂會”中演唱。


About us

about

Singchronizers

soprano Chan, Erica Cheung, Lilian Chiu, Jeanie Fung, Joanne Lau, Alison Lau, Stephanie Leung, Sarah Ma, Katherine Ng, Alexis Poon, Hayley Tsang, Cecilia Yim, Sharon

陳靜琳 張慧文 趙蓁宜 馮穎謙 劉卓昕 劉穎章 梁明秀 馬子琪 伍萱瑜 潘希然 曾思衡 嚴思祺

alto Chan, Sherine Cheung, Ella Lam, Chun Fong Lam, Jessica Lui, Heidi Lui, Kelly Manansala, Rachel Po, Janice Sze, Victoria Yim, Cherry

tenor Au, Kelvin Chan, Theodore Cheung, Eric Choi, Brian Jiang, Patrick Liu, Angus Ng, Clement Wu, Jimmy Yip, Vincent

區珈偉 陳俊銘 張又丰 蔡尚熹 姜子瀅 廖靈生 吳卓維 胡津鳴 葉松鑫

陳卓賢 張皚靈 林俊芳 林凱誼 雷凱婷 呂凱莉 馬思婷 布簡頤 薛慧亭 嚴清樺

bass Chua, Oscar Hui, Johnny Lau, Sanders Lee, Matthew Leung, Ivan Ko, Geoffrey Kong, Sunny Pau, Sunny Wong, Geoffrey Yeung, Kelvin

蔡穎豪 許俊彥 劉卓熙 李卓輝 梁納匡 高惠充 江承蔭 鮑栢燊 黃雋文 楊永悠


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劉 卓熙是一名活躍的年青合唱者,獨

唱和指揮。他現為 Die Konzertisten和 Die Jungen Konzertisten之合唱指導。 於 2011年,他與香港中文大學音樂系的同學 組成並指揮合唱團Aqua Voice。 自2012 年起,劉氏擔任Singchronizers的音樂總 監和指揮。2012年7月,他以助理指揮的 身份隨母校聖保羅男女中學之高級混聲合 唱團到美國辛辛那提參加第七屆世界合唱 比賽,並助合唱團取得一面金牌。 劉氏隨恩師林思漢先生和楊欣諾先生修習 合唱指揮,並曾參加由Stephen Layton, Helmuth Rilling, Fred Sjöberg, Theodora Pavlovitch, 和 Steve Zegree等國際知名指 揮家的大師班和工作坊。劉氏也曾先後師 陳晃相先生,胡永正先生和嚴翊樺女士習 聲樂。 劉卓熙剛畢業於香港中文大學音樂系,在 新學年,他將負笈美國伊斯曼音樂學院, 攻讀指揮碩士學位。


music director

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SANDERS LAU

劉 卓 音熙 樂 總 監

Sanders Lau Music Director


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梁 明 秀 指 揮

Sarah Maria Leung Conductor


CONDUCTOR

S

arah Maria Leung is at her third year of study at the University of Southern California (USC), USA, pursuing a Bachelor of Arts degree with a double major in Choral Music and History. Currently she studies choral conducting under Dr. Cristian Grases; at Chinese Evangelical Free Church in Los Angeles, she volunteers as director of its Children’s Choir. As a devoted singer, Sarah also studies voice under the tutelage of Mary Scheibe, and previously she had studied with Janice McVeigh and Margaret Yim. She sings with the USC Concert Choir, with which she has performed Stravinsky’s Symphony of Psalms , Gershwin’s Porgy and Bess and various choral repertoires ranging from the Renaissance to the Modern. She also sings with Flos Campi, an early music ensemble formed by students at USC. In November 2013, she will be singing Britten’s War Requiem under the baton of James Conlon, music director of the

LA Opera and the Ravinia Fes tival. Additionally, Sarah has been elected Secretary at the American Choral Directors Association, Thornton Student Chapter in the coming academic year. Born and raised in Hong Kong, Sarah’s singing career began in the prestigious St. Paul’s Co-educational College (SPCC) choirs from the age of five. In F.6, she was appointed Chairlady and Soprano Section Leader of the SPCC Senior Mixed Voice Choir. Sarah was also the recipient of many awards and scholarships in and out of school for her outstanding performance in singing and academics, including First Place in the Hong Kong Schools Music Festival solo categories. She has also been honored Distinction at the Associated Board of the Royal School of Music Grade Eight Examination for Singing.

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Sarah Maria Leung

明秀現於美國南加州大學就讀三年 級,主修合唱音樂以及歷史。她師隨Dr. Cristian Grases 學習合唱指揮,並於洛杉 磯羅省華人播道會擔任其兒童合唱團的指 揮。熱愛唱歌的她,從小跟隨嚴翊樺學習 聲樂,移居美國後則師承Janice McVeigh 及Mary Scheibe學藝。合唱方面,梁明 秀為南加大混聲合唱團團員,曾參與演出 史特拉汶斯基的詩篇交響曲,喬治 · 歌 舒詠的波吉和貝絲以及各種從文藝復興時 期到二十一世紀現代的合唱作品。除此之 外,她也是早期音樂樂團Flos Campi的成 員。於本年十一月,她將會在洛杉磯歌劇 團音樂總監James Conlon的指揮下參與演 出布烈頓的戰爭安魂曲。同時,梁明秀亦 獲選為美國合唱指揮協會南加州大學學生 分會下學年度秘書。 梁明秀在香港出生及長大。她的歌唱事業 由她五歲時參與聖保羅男女中學附屬小學 合唱團開始。中六時,她被委任為中學高 級混聲合唱團的團長及女高音部長。梁明 秀在音樂及學業均表現優秀,曾於校內校 外多次獲頒不同獎項及獎學金,包括香港 校際音樂節獨唱項目冠軍。她亦以優等榮 譽考獲英國皇家音樂學院8級聲樂。


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Soloist

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Alison Lau

劉 卓 昕 女 高 音

Alison Lau Soprano


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趙 學 作文 曲 家 兼

鋼 琴 家

Elena Chiu Composer & Pianist


Composer & pianist

A

ward winning pianistcomposer Elena Chiu is one of the most versatile and exciting musicians of her generation. She is a finishing postgraduate student at London’s Royal Academy of Music (RAM), studying the piano with Carole Presland and composition with Ruth Byrchmore. Elena has worked with distinguished artists, including Freddy Kempf, Yevgeny Sudbin, Vanessa Latarche, Andrew Ball, Kathryn Stott, Stephen Hough, Michael Finnissy and Betsy Jolas, to name a few. In recent years, Chiu has been awarded numerous prizes, remarkable ones include receiving the Christian Carpenter Recital Prize for the performance of her Piano Suite (London 2013), winner of the ‘International Contemporary Music Competition’ with her Piano Tango (Italy 2012), the RAM Foundation Award (2012), and the KCL Concerto Competition prizewinner (2009). She also received funding awards, such as the KCL Hong Kong Foundation Scholarship and the RAM Second-Study Award, for all her study programmes.

In England, Chiu has performed at major concert venues including London’s St. Martins-in-the-Fields, St. John Smith Square, and appeared in notable festivals such as the BBC Proms and the Aldeburgh Festival. As an active composer, Chiu is appointed the Resident Composer for Singchronizers. Some of her other composition works have been performed by London’s Lontano Ensemble, Children’s International Voices and more artists. Forth coming composition concerts are due to be performed by these groups, JENGA Percussion Ensemble (Hong Kong) and the Romer String Quartet. She is also writing a piano duo piece for London’s Royal Overseas League Competition in 2014. Aside from composing, Chiu is dedicated as a concert pianist and a teacher; she will soon begin her doctorate studies in composition at the Chinese University of Hong Kong.

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Elena Chiu

學文,新一代作曲家兼鋼琴家。憑 其全面的技巧和過人創意, 於國際比 賽中屢獲殊榮。 現於皇家音樂學院深 造鋼琴演奏及作曲,分別師隨Carole Presland, Ruth Byrchmore。趙學文有 幸與多位著名演奏家合作,包括 Freddy Kempf, Yevgeny Sudbin, Vanessa Latarche, Andrew Ball, Kathryn Stott, Stephen Hough, Michael Finnissy, Betsy Jolas等。趙氏於香港、英國及意大 利等各地比賽中得獎無數:Christian Carpenter Recital Prize (2013), RAM Foundation Award (2012),演奏自己 的作品 Piano Tango 並蠃得意大利第四 屆國際當代音樂比賽冠軍 (2012), KCL Concerto Competition Prizewinner (2009) 等獎項外,更有幸獲KCL Hong Kong Foundation Scholarship, RAM Second Study Award 等全額資助學費。 近年,趙學文先後於倫敦聖馬田大教 堂,聖約翰史密夫廣埸,更獲邀於英國廣 播公司的倫敦夏季逍遙音樂會 (The BBC Proms) 和奧爾德堡音樂節 (Aldeburgh Festival) 中演出。趙氏積極與各大小樂 團合作,並為香港 Singchronizers 擔 任駐團作曲家,其作品分別獲倫敦Lontano Ensemble, Children’s International Voices 等演奏。 除了準備由香港 JENGA Percussion Ensemble即將演出的最 新委約作品,她目前正埋首為2014年倫 敦Royal Overseas League Competition 創作一首鋼琴二重奏。趙氏身兼鋼琴演 奏家及教師兩職,來年她將會在香港中 文大學攻讀作曲博士學位。


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guest organist

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gary tong

唐 展 管煌 風 琴 家

Gary Tong Organist


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黃 歷 鋼琛 琴 家

Alexander Wong Pianist


Pianist

A

lexander Wong is an active collaborative pianist. He has collaborated with various choirs, including Robert Wesleyan Chorale, Chung Chi Choir, Chinese University Chorus, Cantacore Society, Hong Kong Oratorio Society, Holy Trinity Church Children Choir, Singchronizers and Aqua Voice. Alexander’s major mentors include Dr. Mary Wu and Ms. Jeffie Leung. He also studied organ with Ms. Wong Kin Yu. During his studies in The Chinese University of Hong Kong, he has been awarded with Chung Chi College’s Head List, Departmental prize and placed in Arts Faculty Dean’s List. He graduated in 2012 and holds a Bachelor of Arts Degree in Music (First Class Honor). Alexander is currently a master student in Eastman School of Music (major in Piano Accompanying and Chamber Music), studying with Dr. Jean Barr.

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Alexander Wong

黃 歷琛熱衷於聲樂及器樂伴奏,先 後曾任本地及國外多個音樂團體之鋼 琴伴奏,包括美國羅伯特衛斯理學院 合唱團丶崇基合唱團丶中大合唱團丶 雅謌合唱團丶香港聖樂團丶聖公會聖 三一堂兒童合唱團丶Singchronizers丶 Aqua Voice 等。黃氏曾隨吳美樂博 士及梁靜宜老師學習鋼琴、黃健羭老 師學習管風琴。就讀中文大學音樂系 期間,獲頒崇基學院榮譽獎狀丶優異 獎學金及文學院優秀學生, 並於2012 年以一級榮譽成績畢業,獲文學士學 位。黃氏現於美國伊士曼音樂學院修 讀碩士課程,主修鋼琴伴奏及室內 樂,師隨Dr. Jean Barr。


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李 健 小 強 提

Ken Li Violinist

K

en started playing the violin at the age of 11 under the tuition of Mr Benson Ma, later with Mr Joe Chan, and now with Mr Wong Wai Ming. He obtained his DipABRSM certification in violin performance in 2009, and further obtained the LTCL Viola Performance Diploma with Distinction. Ken has just graduated from the Chinese University of Hong Kong with a Bachelor degree of Arts in Music.

Being an enthusiastic orchestral player, he has performed with many local orchestras and acted as a leader in some of them, such as Hong Kong Symphony Orchestra, Hong Kong Philharmonic, Chung Chi Orchestra, City University Philharmonic Orchestra, Pro Arte Orchestra of Hong Kong and Learners Orchestra etc. He has also worked with various world-renowned artists such as violist Mr Paul Silver-

琴 李

thorne, clarinetist Lorenzo Iosco 健強剛畢業於香港中文大學音樂 and hornist Mr Jeff Nelsen etc. 系,自十一歲起學習小提琴,啟蒙於馬 文彬先生,並於2009年在陳祖健先生指 He was appointed concertmaster 導 下 考 獲 英 國 皇 家 音 樂 學 院 小 提 琴 演 奏 of Chung Chi Orchestra in 2010 文 憑 ( D i p A B R S M ) 。 就 讀 大 學 期 間 , 李 氏隨黃衛明先生主修小提琴演奏,並以優異 and performed Lalo’s Symphonie 成績考取倫敦聖三一音樂學院中提琴演奏高 Espangole as a soloist with the 級文憑(LTCL)。 orchestra in 2012 . Apart from performances in Hong Kong, Ken 李氏熱衷管弦樂演奏,在學期間擔任香港中 also represented Hong Kong to 文大學崇基管弦樂團團長,並以獨奏者身份 與樂團演出拉羅的《西班牙交響曲》選段。 perform in Nanjing and Taiwan. 他亦曾在其他管弦樂團擔任首席,如香港Pro Arte Orchestra、香港城市大學管弦樂團 Besides orchestral playing, Ken 及香港交響樂協會青年交響樂團等。李氏也 participates actively in chamber 曾於本地多個著名樂團同台演出,如香港管 music making in different groups, 弦樂團、香港愛樂團、學士管弦樂團等。他 including horn trio, string quar- 曾隨不同樂團赴深圳、南京及台北等地作演 tets, piano quintets and septet 出,也曾與不同的世界級演奏家合作,如中 提琴家史維托恩、單簧管家艾奧斯高及圓號 etc. He also learnt about ensem家謝菲.尼爾遜等。 ble and solo playing with cellist Mr Friedrich Gauwerky and Mr 除了管弦樂演奏,李氏亦對室樂演奏極感興 Paul Silverthorne in master class- 趣,曾組成弦樂三重奏、鋼琴三重奏、弦樂 es. Ken performs actively with his 四重奏、鋼琴五重奏、七重奏等等多個組合 team in wedding banquets and 作出表演。他亦曾於中提琴家史維托恩及大 提琴家哥維其的大師班中受指導。李氏組成 events etc. 固定團隊,經常於婚宴等場合演出。


InstrumentalistS

劉 銘 小 提 琴

Ming Lau Violinist

M

ing Lau learns the violin with Mr. Li Yongchun, Prof. Zheng Shisheng and Prof. Lin Yaoji of the Central Conservatory of Music. He was awarded LRSM (Violin Music Performance) and received masterclasses from Prof. Chai Liang from Juilliard School of Music and the Shanghai Quartet.

Ming was the concertmaster in St. Paul’s Co-educational College school orchestra and was invited to perform in the Hong Kong Festival Orchestra and Hong Kong Strings. He performed as a soloist in Yip’s Talents’ Strings Concerts.

He joined the Concert Tour to China with the Hong Kong Children’s Symphony Orchestra and the YUE International Music Festival. He also won various prizes in the Hong Kong Schools Music Festival. Ming is currently studying medicine at the University of Hong Kong.

劉 銘師隨李永純先生、鄭石生教授及 林耀基教授學習小提琴,並在大師班獲 茱莉亞音樂學院的柴亮教授及「上海四 重奏」的指導。已考獲英國皇家音樂學 院小提琴演奏專業文憑(LRSM) ,曾在 香港校際音樂節屢獲殊榮。就讀香港聖 保羅男女中學期間,擔任該校管弦樂團 團長。曾獲邀與香港節慶管弦樂團及香 港弦樂團同台演出,亦於葉氏弦琴精英 顯才華音樂會擔當獨奏。曾隨香港兒童 交響樂團赴內地表演,及曾參與雅禮協 會音樂交流計劃(YUE)。現為香港大學 三年級醫科生。


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周 文 大健 提

Teddy Chow

Cellist

C

urrently a Sir Edward Youde Memorial Scholarship recipient to study Public and International Affairs at Princeton University, USA, Teddy Chow has been a student of Professor Ray Wang since the age of nine, and was awarded Fellowship by the Trinity College London (FTCL) in 2009. In 2011, he was the only string instrumentalist to be chosen by RTHK to participate in the Young Music Makers Series. In the same year, he was invited by the Wuhan Orchestra to act as cello soloist at the ‘International Children’s Festival Concert’. He was selected by Hong Kong Schools Music and Speech Association to represent Hong Kong to compete in Wales, United Kingdom, and won the championship of 2008 Llangollen International Musical Eisteddfod under 16 category. In the same year, Teddy also won the Hong Kong Young Musician of the Year 2008 – Strings (Open Class) and

the 6th National Professional Cello Competition for Young Cellists in China. Teddy has collaborated with major orchestras, including the Hong Kong Philharmonic Orchestra, Wuhan Orchestra, Macau Youth Symphony Orchestra, Pan Asia Symphony Orchestra and the Hong Kong Children’s Symphony Orchestra. Teddy has toured countries in Asia, North America, and Europe to give cello performances. In 2010, he held his first cello recital, the net proceeds of which donated to the Hong Kong Outstanding Teens Association he led. Teddy received “Young Artist Award” in both 2010 and 2007, and was named “Hong Kong Outstanding Teens” in 2008 and “Hong Kong Outstanding Students” in 2011 and 2005.

文健自九歲起隨王磊教授習大提琴,於 2009年考獲倫敦聖三一學院(音樂)院士 (FTCL) 文憑。2011年,周氏為唯一一位被 香港電台挑選參與「樂壇新秀」的弦樂演奏 家,同年應武漢管弦樂團邀請擔任國際兒童 節音樂會的大提琴獨奏。2008年,周氏被 香港學校音樂及朗誦協會選為香港代表參與 威爾斯的Llangollen International Musical Eisteddfod比賽,並在十六歲或以下組別勇 奪冠軍。同年,周氏分別於2008年香港傑出 青少年音樂家大獎弦樂公開組及第六屆VC杯 專業青少年大提琴比賽取得冠軍。 周氏曾與多個大型管弦樂團合作,包括香港 管弦樂團、武漢管弦樂團、澳門青年交響樂 團、泛亞交響樂團及香港兒童交響樂團, 曾到亞洲、北美、歐洲等地舉行大提琴演 奏。2010年,周氏首次舉行大提琴獨奏會, 收益捐予由他擔任要職的香港遊樂場協會。 周氏曾於2007及2010年 獲頒「年輕藝術家 獎」,更分別於2008年和2005/2011年被評 為「香港傑出少年」及「香港傑出學生」。 他已獲得尤德爵士紀���基金海外獎學金,下 年將負笈美國普林斯頓大學攻讀公共及國際 關係學位。


InstrumentalistS

Geoffrey Ko

高 惠 長充 笛

Flutist

G

eoffrey Ko has travelled a challenging path as a flutist. Aspired to play in an orchestra, he waited three years before a generous relative gave him a flute. The future looked promising when a well-known local flutist promised to teach him, but his flute was deemed inferior. Before a better instrument was purchased, the teacher passed away unexpectedly; so his former student gave Geoffrey his first lessons, which were suspended due to the riots in 1967. When peace was restored, Geoffrey studied with the Principal Flautist of the Hong Kong Philharmonic Orchestra; but she soon moved overseas. Geoffrey then joined the Hong

Kong Youth Orchestra for continuous musical and technical development. It was not until university that he finally received more advanced training. Today, Geoffrey voluntarily serves as a coach in school bands to share his passion for ensemble playing and encourage young players to gratefully treasure their learning opportunities.

高 惠充年幼便夢想成為管弦樂團成 員,但他吹奏長笛之路,可謂迂廻曲 折,荊棘滿途。他苦候三年,終蒙一 位親屬慷慨贈送一枝長笛,一位著 名的本地長笛家亦答允作他的啟蒙老 師;可惜老師認為樂器質素欠佳,須 要更換。不久,老師突然辭世,改由 一位資深學生負責教導;一九六七年 的暴動和宵禁,逼使他暫停上課。動 亂過後,他追隨香港管弦樂團首席長 笛手學習,但該名老師迅即離港。高 惠充随即加入香港青年管弦樂團,繼 續發奮自學,追求進步;在就讀大學 期間,終有機會接受更具體的訓練。 時至今日,高氏繼續在學校管樂團作 義工,協助年青樂手,勉勵他們以感 恩的心珍惜其學習機會。


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林 偉 敲聰 擊

Alex Lam

Percussionist

A

lex Lam is one of the founding members of Singchronizers. He started choral singing in primary school, and has sung and performed with many of the Singchronizers’ choristers in the choir of St. Paul’s Co-educational College. He has also learnt percussion playing for 8 years with Mr. Choi Lap Tak and Mr. Chow Chin Tung respectively. Working as a journalist has limited Alex’s participation in Singchronizers in recent years, but he is happy to join this year’s concert as a percussionist.

林 偉聰是Singchronizers創團成員之 一。他自小學起就參與合唱團,在聖 保羅男女中學的合唱團認識現時Singchronizers多位團員,後來並一同組團 演出。林氏亦先後跟隨蔡立德先生及周 展彤先生學習敲擊樂。現職記者的林氏 近年較少參與Singchronizers的演出, 他對於今年能以敲擊手參與音樂會感到 十分高興。


committee & acknowledgements

CHOIR ADMINISTRATION HonorARY Advisors Sunny Pau Jessica lam Lilian Cheung

Acknowledgements

Choir Coordinator Kelvin Yeung Treasurer Heidi Lui General Secretary Hayley Poon Concert Manager Katherine ma Internal Affairs Secretaries Theodore Chan Alexis Ng External Affairs Secretaries Victoria Wong Brian Choi Section Leaders Sharon Yim (Soprano) Heidi Lui (Alto) Theodore Chan (Tenor) Geoffrey Wong (Bass)

PUBLICATION BOARD Editor-In-Chief Matthew Lee Editorial Director Joanne Fung Managing Editor Hayley Poon Design Director Erica Chan Photography Director Kelvin Yeung

Mr Nathaniel Chan Pastor Raymond Chan Miss Stephanie Chau Chinese Methodist Church Dr Cristian Grases Mr Alex Lam mr jason lui Miss Alicia Ng Miss Joanna Ng Parsons Music Ms Mary Scheibe Professor Frank Ticheli Mr Gary Tong Mr Charles Wong Miss Priscilla Yuen SponsorS: Mr geoffrey Ko mr raymond wong ANONYMOUS PATRON


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Commerical


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Singchronizers 7th Anniversary Concert


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Singchronizers

7th Anniversary Concert


Singchronizers | 7th Anniversary Concert - Special Edition