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PRESENTED BY:

PROGRAMME CLASSICS TO MODERNS SHEUNG WAN CIVIC CENTRE LECTURE HALL 25.08.2016 THURSDAY 7:30PM COLLABORATOR:

RHYTHMIC 2ND ANNIVERSARY GALA SHEUNG WAN CIVIC CENTRE LECTURE HALL 26.08.2016 FRIDAY 8:00PM COLLABORATOR:


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㜥㖒鋊⵱ 昸✫⟂㣐㹻㼩➛妄怵ⴀ殆♴繡㥪⽫韍䧮⦛䋞劆ぐ⡙ⴗ⺡㖈㜥Ⰹ伢䕧ꏗ갉䧴ꏗ䕧❠锞⺡摳䧴궬굺㖈眏湡鹎 遤⵹锞ꡠ䱈䩛䲿ꨶ鑨Ⱖ➮갠뇀⿻涮⯕涸酤縨锞殆䖊侮껷坿刼㸤穡䖕䩞㜡⟃䱍耫렽⺑锞㢵闒ぐ⡙ざ⡲ HOUSE RULES In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the auditorium. Please ensure that your mobile phones and other sound and light emitting devices are switched off before the performance. Please reserve your applause until the end of the entire work. Thank you for your kind co-operation.


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PROGRAMME

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MEET THE COMPOSERS

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MEET THE PERFORMERS

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PROGRAMME NOTES CLASSICS TO MODERNS

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RHYTHMIC 2ND ANNIVERSARY GALA

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UPCOMING CONCERTS AND CONTACT US

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25.08.2016 THURSDAY 7:30PM CLASSICS TO MODERNS Crosswind

CHIN TING (PATRICK) CHAN b.1986

Tears in Heaven

Misty

Take the A Train

The unsungs

CHARLES KWONG b.1985

Dream of the Butterfly I Moderato - II Freely - III Lento - IV Playful - V Ballad

YIP KIM FUNG b.1978

Translucent Or Opaque I Lento - II Lively - III Andante - IV Vivace - V Allegro

KRISTOFFER TO b.1990

Cosmo Memory

YIP KIM FUNG b.1978 ——— Intermission ———

March from Galimathias Musicum

HIROSHI AOSHIMA b.1955

Dance on the Moon River

ERIKSON TING b.1988

Caprices pour violoncelle, No.1 ‘’Forher’'

UZONG CHOE b.1968

In the Distance I - Interlude - II - Interlude - III

KRISTOFFER TO b.1990

天 · 地 · ⼈人

ANTHONY CHENG b.1974

Yesterday Once More

Europa

Greatest Love of All

Cello Suite No.3 in C major BWV 1009 Prélude - Allemande - Courante - Sarabande - Bourrée I - Bourrée II - Gigue

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J.S. BACH 1685-1750



26.08.2016 FRIDAY 8:00PM RHYTHMIC 2ND ANNIVERSARY GALA Garden of Love

JACOB TER VELDHUIS b.1951

The First Noel

Drift I Moderato - II Adagio - III Andante - IV Allegretto - V Meno mosso Danse sacrée et danse profane

CHIN TING (PATRICK) CHAN b.1986 CLAUDE DEBUSSY 1862-1918

Le Rossignol S. 250/1

FRANZ LISZT 1811-1886 ——— Intermission ———

Sonata in G minor BWV 1020 transcribed by John Harle I Allegro - II Adagio - III Allegro

Root Position

J.S. BACH 1685-1750

GERALD BARRY b.1952

Arpeggio

HOWARD SKEMPTON b.1947

Cantilena

HOWARD SKEMPTON b.1947

Tunch

GRAHAM FITKIN b.1963

Haiku

JONATHAN HARVEY 1939-2012

Sazz

GRAHAM FITKIN b.1963

Autumn Leaves/Desafinado/Nothing Gonna Change My Love For You

Auld Lane Syne

Arc-Song

TOSHIO HOSOKAWA b.1955

Sonata I - II - III

ANDY SCOTT b.1966


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MEET THE COMPOSERS CHIN TING (PATRICK) CHAN 陳展霆 The music of Chin Ting (Patrick) Chan stems from an interest in representing his impressions of the visual world with sonic images. It is often inspired by patterns and shapes he discovers in daily objects, as well as imaginary landscapes he sometimes encounters. These abstract concepts are projected to a music that is characterized by complex harmonic progressions within a multi-layered texture. Chan has been a fellow and guest composer at the International Computer Music Conference, the International Rostrum of Composers, IRCAM’s ManiFeste, the ISCM World Music Days Festival, June in Buffalo, the mise-en music festival and the Wellesley Composers Conference. He has held residencies with the Charlotte Street Foundation and the Virginia Center for the Creative Arts, and has received commissions and grants from ArtsKC, the Hong Kong Composers' Guild and the Music Teachers National Association, as well as performances by Ensemble Signal, the Nouveau Classical Project and the S.E.M. Ensemble, in venues such as Staatstheater Darmstadt, the Seoul Arts Center and the Tongyeong Concert Hall, among many others. Awards and other recognition include those from the American Prize, ASCAP, Association for the Promotion of New Music, the Cortona Sessions for New Music, Foundation Destellos, Foundation for Modern Music, the Interdisciplinary Festival for Music and Sound Art - Shut Up and Listen!, the Lin Yao Ji Music Foundation of China, the MidAmerican Center for Contemporary Music, newEar, the New-Music Consortium, the Portland Chamber Music Festival, the RED NOTE New Music Festival, Semaine international de la musique électroacoustique, the Soli fan tutti Composition Prize and others. Raised in Hong Kong, Chan is Assistant Professor of Music Theory and Composition at Ball State University. He previously held faculty positions at the University of Missouri–Kansas City and Kansas City Kansas Community College. He holds degrees from San José State University (B.M.), Bowling Green State University (M.M.) and the University of Missouri–Kansas City (D.M.A.). His primary teachers include Chen Yi, Zhou Long, James Mobberley, Paul Rudy, Marilyn Shrude and Brian Belet. His works are published with the ABLAZE Records, Darling’s Acoustical Delight, Melos Music, Music from SEAMUS, Navona Records/PARMA Recordings, the SCI Journal of Music Scores and Unfolding Music Publishing (ASCAP). For more information, please visit: www.chintingchan.com

⾹香港作曲家陳展霆,其⾳音樂作品著重於以聲⾳音表達抽象視覺形式,以不同的⾓角度探討及展現兩種感官的關聯。他的 創作範疇涉獵甚廣,除了發表⼤大⼩小型室樂及管弦樂作品外,亦致⼒力參與電⼦子⾳音樂及聲響設計的創作和研究,且屢獲 殊榮,曾認可於維也納跨學科⾳音樂節、 Soli fan tutti 作曲獎、美利堅獎、現代⾳音樂協會、⾹香港作曲家聯會、林耀基 中國⾳音樂基⾦金會、中美現代⾳音樂中⼼心、新⽿耳現代室內樂團、新⾳音樂會社、波特蘭室內⾳音樂節、紅⾳音符新⾳音樂節、科 爾托納新⾳音樂會議、APNM、ASCAP、Foundation Destellos、MMTA/MTNA、VCCA,以及在世界各地演出/廣 播,包括美國、加拿⼤大、墨⻄西哥、巴⻄西、奥地利、德國、法國、英國、意⼤大利、葡萄⽛牙、希臘、韓國、新加坡和⾹香 港。他也曾獲邀參與多個國際重要⾳音樂節,當中包括國際電腦⾳音樂會議、國際作曲家論壇、ISCM 世界⾳音樂節、六 ⽉月在⽔水⽜牛城、⽶米信⾳音樂節及維斯理作曲家會議,更曾於⼆二零⼀一三年遠赴巴黎參與IRCAM舉辦的 ManiFeste,協助著 名意⼤大利作曲家 Mauro Lanza 編寫互動聲響程式。 陳⽒氏現於美國波爾州⽴立⼤大學任作曲系助理教授,他曾任教於密蘇⾥里⼤大學(堪薩斯城分校)及堪薩斯城堪薩斯社區學 院。他曾就讀於聖荷⻄西州⽴立⼤大學及鮑林格林州⽴立⼤大學,⼆二零⼀一四年於密蘇⾥里⼤大學(堪薩斯城分校)獲取⾳音樂博⼠士, 在學期間主要師從著名作曲家陳怡、周⻯⿓龍、James Mobberley、Paul Rudy、Marilyn Shrude 和 Brian Belet。 www.chintingchan.com ERIKSON TING 丁龑霆 Erikson Ting graduated from the Music Department of the University of Hong Kong (B.A.) in 2011. He majored in Recorder and Piano. He was a member of the Early Music Ensemble (recorder and harpsichord) of University of Hong Kong, Hong Kong Recorder Workshop, and singer of the Hong Kong Voices, etc. He is also a very experienced pianist who majors in piano accompaniment. Besides performances, he is also a freelance composer mainly for individual films. His works was performed in the 1st Asia Recorder Festival in Osaka at 2013 and the University of Hong Kong, etc.

丁龑霆畢業於⼆二零⼀一⼀一年⾹香港⼤大學⾳音樂系。其主樂器為鋼琴及直笛。曾為⾹香港⼤大學古樂團的直笛及古鍵琴樂⼿手,並 參與⾹香港⽊木笛協會、⾹香港和聲等業餘樂團及合唱團。丁教學多年,主要活躍於⾹香港不少中學的⽊木笛校隊及合唱團; 教學以外,他也是⼀一名作曲家,主要為獨⽴立電影及廣告作曲;其⽊木笛作品曾於⾹香港⼤大學及⽇日本第⼀一屆亞洲國際⽊木笛 節中演出。

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CHARLES KWONG 鄺展維 Hong Kong composer Charles Kwong’s creative output ranges from orchestral music to works written for all types of ensembles and solo performers. He has been commissioned by festivals and groups such as soundSCAPE Festival, Hong Kong Sinfonietta, Hong Kong New Music Ensemble, Hong Kong Saxophone Ensemble, HKGNA Music Festival and Hong Kong Composers Guild. Other professional groups and artists who performed Kwong's music include London Chamber Orchestra, City Chamber Orchestra of Hong Kong, Kreutzer String Quartet, Romer String Quartet, Contrast Trio, Chimera Ensemble and Pianist Mary Wu, among others. Kwong's music has been featured in occasions such as the final of the London Chamber Orchestra’s “LCO New 2008”, the Royal Musical Association Research Conference, York Spring Festival of New Music, World Saxophone Congress, Festival Internacional de Música de Ibiza, Yogyakarta Contemporary Music Festival, Hong Kong Arts Festival, Freespace Fest and Freespace Happening. Kwong was the First Prize winner in the New Generation 2009, the competition organised by the Hong Kong Composers Guild and Radio Television Hong Kong Radio Four. His work has been published by the Imprimata Edition of England. Kwong completed an undergraduate degree with First Class Honour from the Chinese University of Hong Kong and a master from King’s College London, with obtaining multiple scholarships from the respective institutes and the Composers and Authors Society Hong Kong. An RC Lee Scholar with full sponsorship from the Drs Richard Charles and Esther Yewpick Lee Charitable Foundation, he earned his doctorate from the University of York under the supervision of Thomas Simaku, since when he has settled back in Hong Kong. Besides his creative output as a composer, Kwong has been actively involved in arts administration at professional performing entities in Hong Kong, promoting contemporary music in the local music scene. He was the Research Coordinator of Hong Kong New Music Ensemble and the Modern Academy in 2014-2015, and currently serves at the Hong Kong Sinfonietta for the orchestra’s contemporary music research. For more information, please visit: www.charleskwong.com

鄺展維,⾹香港作曲家,創作範疇包括管弦樂以⾄至為各種樂隊組合及獨奏者⽽而寫的⾳音樂作品,曾委約鄺⽒氏創作的⾳音樂 節及樂團包括⾹香港⼩小交響樂團、⾹香港創樂團、Hong Kong Saxophone Ensemble、soundSCAPE ⾳音樂節及⾹香港新 世代藝術⾳音樂節等等。其他專業組合及演奏者如倫敦室樂團、⾹香港城市室樂團、克萊采弦樂四重奏、羅曼弦樂四重 奏、Contrast 三重奏、Chimera Ensemble 及鋼琴家吳美樂等亦曾演出過鄺⽒氏之⾳音樂作品。 鄺⽒氏之作品曾於倫敦室樂團「LCO New」計劃、英國皇家⾳音樂協會研討會、英國約克春季新⾳音樂節、世界薩克斯管 年會、⻄西班⽛牙伊維薩國際⾳音樂節、印尼⽇日惹現代⾳音樂節、⾹香港藝術節、⻄西九⾃自由野及⻄西九⾃自由約等之中演出,亦為 ⼆二零零九年⾹香港作曲家聯會及⾹香港電台第四台舉辦之⾳音樂新⼀一代之第⼀一名得主。其作品在英國曾由 Imprimata Editions 出版。 鄺⽒氏分別於⾹香港中⽂文⼤大學以⼀一級榮譽完成學⼠士課程及於倫敦⼤大學國⺩王學院完成⾳音樂碩⼠士課程,期間曾獲兩間院校及 ⾹香港作曲家及作詞家協會等頒授多個獎學⾦金。及後獲利銘澤百年紀念獎學⾦金全費資助,於英國約克⼤大學繼續鑽研作 曲,受 Thomas Simaku 之指導,取得博⼠士學位,⾃自此回港發展。除創作外,鄺⽒氏現同時亦活躍於⾹香港之專業演出 團體中的藝術⾏行政⼯工作,在港推動現代⾳音樂發展。於⼆二零⼀一四⾄至⼆二零⼀一五年間鄺⽒氏為⾹香港創樂團及現代學院之研究 統籌,現於⾹香港⼩小交響樂團擔任當代⾳音樂研究。www.charleskwong.com YIP KIM FUNG 葉劍峰 Yip Kim Fung gained Master in Music Composition at University of York, UK. During studying at York, Yip studied with his supervisor Dr. Thomas Simaku and Professor Roger Marsh. Yip’s unique style encompasses western and oriental flavours along with colourful manifestation. Yip’s mentor Professor Richard Tsang has also influenced Yip’s composition hence Yip has composed varied genre of musics which included String Quartet, Large Chamber, Solo, Duo and some ensembles for Chinese and Western instruments. Yip is active in different music events. During studying in UK, his works had been selected and performed by Kreutzer Quartet. In 2014, Yip’s work Kokû has been selected as a winning work chosen from over 250 submissions in ‘Up Close With Music’ Ireland. In 2015, Yip’s another piece ‘Typhoon Wanda’ has been selected in ICF music festival which is held by Iowa University U.S.A. In 2015, Yip had been commissioned by HK composers’ guild for a solo recorder work and one of his works had also been selected in the event of sound imagination. For more information, please visit: www.hkcg.org/#!yip-kim-fung/koayz/

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ANTHONY CHENG 鄭汝森 Largely self-taught in compositional techniques and orchestration, Cheng’s music consists of an eclectic inspiration of a variety of Western musical styles. Cheng holds B.A. (Hon.), M.Phil. and Ph.D. at the University of Hong Kong, and M.Mus. at King’s College, University of London. During his postgraduate education, Cheng has been studying composition and electronic music under the guidance of Dr. Joshua Chan at HKU; Dr. Silvina Milstein, Professor Sir Harrison Birtwistle, and musical analysis with Christopher Wintle at King’s. Besides, he was a pupil of Denise Ham in conducting at the Royal Academy of Music. Cheng is the producer and director of his music production company Takumi Works Limited which produced vastly for TV jingles, video/film soundtracks, Musicals, pop songs, music for multi-media projects and CD productions, etc. His compositions and music productions were performed in various international music festivals and conferences such as ISCM, IDRS, Beijing International Electronic Music Festival, MUSICARAMA, etc. Cheng also appeared as composer and conductor with ensembles and orchestras including London University Symphony Orchestra, Surrey Philharmonic Orchestra (UK), Hong Kong Chinese Orchestra, HKU Union Philharmonic Orchestra, Lontano (UK), Les Six (HK), King’s Harmonica Quintet (HK), Eastern Winds Ensemble (HK), Groove Wind Quintet (HK) and Hong Kong New Music Ensemble. For more information, please visit: www.takumiworks.com

⾹香港作曲家及歌曲監製。先後畢業於⾹香港⼤大學及英國倫敦⼤大學⾳音樂系,並於⼆二零零七年在⾹香港⼤大學⽂文學院取得哲學 博⼠士學位。現主⼒力創作多媒體⾳音樂,其餘作品亦⾒見於電視廣告、電影及流⾏行曲。⼆二零零五年憑古巨基的歌曲《天才 與⽩白痴》獲頒⾹香港電台⼗十⼤大中⽂文⾦金曲作曲獎及四台聯頒歌曲⼤大獎,成為該年度本港四家電台/電視台合共最⾼高播放率 的歌曲。⽽而⼆二零⼀一五年亦憑其多媒體⾳音樂作品《遺 · 留》獲頒 CASH ⾦金帆⾳音樂獎之「最佳正統⾳音樂作品」殊榮。其 ⾳音樂作品曾於⾹香港、中國、台灣、⽇日本、英國、愛爾蘭等國家及其多個城市發表。www.takumiworks.com KRISTOFFER TO 杜正謙 Born in Hong Kong, Kristoffer To moved to England in 2004. He graduated from the University of York in 2012, and has stayed on for another year studying for an M.A. in Composition under Dr. Thomas Simaku, kindly supported with funding from the Schools Competition Act Settlement Trust. Recent years saw premières of In the Distance at the ISCM (Korea) in 2016; Piano Trio No.1 at the Zodiac Music Academy & Festival (Artistic Director: Kliment Krylovskiy) in July 2015; Trio for Flute, Clarinet and Violin at the Avant Music Night (Artistic Director: Yip Kim Fung) in April 2015; and Gamma for small ensemble in November 2013. Over the years, To’s music has been performed by prestigious ensembles and musicians such as AMGA Ensemble, Octandre Ensemble, Ricochet Ensemble, Berkeley Ensemble, Kreutzer Quartet, Quatuor Diotima, Callie Brennan, Marielle le Monnier, Zachariah Reff, James Whittle, Kim Hojung, Gabreille Yuen and Giacomo Pozzuto. To had studied composition with Alain Bancquart, Michael Jarrell, Isabel Mundry and Sally Beamish. He was the Finalist of The Intimacy of Creativity in 2014 and 2015 (Hong Kong). He has taken part in composition courses such as CoMA Mid-Winter in Oxford, Zodiac Music Academy & Festival in France, KLK New Music - Orient Occident Music Composers’ Forum in Ukraine, and Takefu International Festival in Japan. For more information, please visit : www.kristofferto.com

⽣生於⾹香港的作曲家,⼆二零零四年起定居於英國,並於⼆二零⼀一⼆二年畢業於約克⼤大學⾳音樂系。畢業後,杜正謙師隨 Thomas Simaku 博⼠士並獲 Schools Competition Act Settlement Trust 資助完成⾳音樂⽂文學碩⼠士,主修作曲。 近年杜正謙的作品在世界各地由⾳音樂家及樂團公開演出,包括⼆二零⼀一六年三⽉月在韓國ISCM的《In the Distance》; ⼆二零⼀一五年七⽉月在法國 Zodiac Music Academy & Festival (⾳音樂總監:Kliment Krylovskiy)的《第⼀一鋼琴三重 奏》;⼆二零⼀一五年四⽉月在⾹香港 Avant Music Night(⾳音樂總監:葉劍峰)的《⻑⾧長笛、單簧管及⼩小提琴三重奏》;及 ⼆二零⼀一三年⼗十⼀一⽉月在英國《Gamma》室樂。 多年來杜正謙曾與專業樂團組合及演奏家合作,包括 AMGA 室樂團、Octandre 室樂團、Ricochet 室樂團、 Berkeley 室樂團、Kreutzer 弦樂四重奏、Quatuor Diotima 弦樂四重奏、⼩小提琴家 Callie Brennan、鋼琴家 Marielle le Monnier、⼤大提琴家 Zachariah Reff、⼤大提琴家 James Whittle、⼤大提琴家 Kim Hojung、⼤大提琴家袁 凱瑩、雙簧管家 Giacomo Pozzuto等。www.kristofferto.com

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UZONG CHOE Uzong Choe, born in 1968 in Seoul, studied 1987-91 composition and theory of music at Seoul National University (with Byung-Dong Paik and Sukhi Kang), 1991-95 at the Mozarteum in Salzburg (with Boguslaw Schaeffer and Franz Zaunschirm) and 1995-98 at the Conservatoire National Supérieur de Musique de Paris (with Emmanuel Nunes). Since 1994 he has worked with the Director Yoon-Taek Lee and his street theater troupe “Yon-Hee Dan”, and has made compositions and arrangements for Ogu, Babo-Gaksi, Yon-San, Mutter Courage und ihre Soehne etc. Since 2001 he is professor of composition and theory of music at Seoul National University, and artistic director of Ensemble TIMF(ensemble in residence of Tongyeong International Music Festival). His works have been performed at various festivals such as Gaudeamus Music Week in 1996 (Das Lied der Unfruchtbaren for flute and 13 strings) and in 1999 (San for piano, percussion and 6 instruments), the ISCM World Music Days in Manchester in 1998 (Das Lied der Unfruchtbaren), the Contemporary Music Days in Bacau in 2003 (Préludes pour piano), the Festival “Aspekte Salzburg” in 2004 (Hebrew Melodies – concert version), Festival “Métamorphose” au lac de Brienz in 2004 (Belle époque for piano and violin), den Internationalen Ferienkursen in Darmstadt in 2004 (Woodwind quintet), Asian-Pacific Weeks Berlin in 2005 (Air for Piano and String Quartet), and St. Gellert Festival in Szeged in 2009 (Im Himmel gegraben for string quartet) etc. His compositions have ranged over a wide variety of musical styles and aesthetic standpoints – from early music to pop music. And his recent works especially reflect his research for European polyphony and Korean traditional music, and show his strong interest in music theater and musical comedy. So he composed, wrote and directed a music theater Rose, as the opening work of the Tongyeong International Music Festival 2006, and composed in 2008 a musical comedy Happy Prince, based on a story by Oscar Wilde. In 2010, a music theatre Francisca, based on “Hebrew Melodies” by Lord Byron, co-produced by Ensemble TIMF and Seoul Performing Art Festival, and Love Letter, an opera commissioned by the city Seoul were premièred. And in 2011, another music theatre “The Chorus : Oedipus” was premièred.

JACOB TER VELDHUIS Dutch ‘avant pop’ composer JacobTV started as a rock musician and studied composition and electronic music at the Groningen Conservatoire. He was awarded the Composition Prize of the Netherlands in 1980 and became a full time composer who soon made a name for himself with melodious compositions, straight from the heart and with great effect. ‘I pepper my music with sugar,’ he says. The press called him the ‘Andy Warhol of new music’ and his ‘coming-out’ as a composer of ultra-tonal, mellifluous music reached its climax with the video oratorio Paradiso, based on Dante’s Divina Commedia. JacobTV’s so called boombox repertoire, works for live instruments with a grooving sound track based on speech melody, became internationally popular. With about a 1000 performances worldwide per year, he is one of the most performed European composers. JacobTV is still an outlaw in the established modern classical music scene, and was accused of ‘musical terrorism’. According to the Wall Street Journal some of his his work ‘makes many a hip-hop artist look sedate’. In 2007 a 3 day JacobTV festival took place at the Whitney Museum of American Art in New York City. His never ending reality opera THE NEWS is constantly updated and various editions were performed in Chicago, Rome, Amsterdam, Hamburg, New York.

JOHN HARLE John Harle was born in 1956 in Newcastle Upon Tyne, and from the age of 17 was solo clarinettist and saxophonist with the Band of the Coldstream Guards. He won a Foundation Scholarship to the Royal College of Music in 1977 to study with Stephen Trier, and was the first person to attain A.R.C.M. (Honours) in saxophone performance. In 1978 he won the Dannreuther Prize for the best concerto performance of the year with Ibert’s ‘’Concertino da Camera’’. His postgraduate year was spent in Paris, studying with Daniel Deffayet (Professor of saxophone, Paris Conservatoire). He has done much to increase the repertoire of the Saxophone and Saxophone Quartet by commissioning works from such composers as David Bedford, Dominic Muldowney, Michael Nyman, Jonty Harrison and Jonathan Lloyd. He has worked extensively in the field of Music Theatre with Harrison Birtwistle. In 1980 he asked Luciano Berio to write ‘’Sequenza IXb’’ for solo alto saxophone (UE 17447) and give its World Première in London in 1981. Recently, the Myrha Saxophone Quartet, which he has lead since its inception at the World Saxophone Congress in 1976, commissioned and premièred ‘’Discours V’’ by Vinko Globular. The London Sinfonietta recently commissioned a Saxophone Concerto for him from Dominic Muldowney.

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He frequently appears as a soloist on Radio and Television as well as being as active freelance orchestral and chamber music saxophonist. He plays with the Philharmonia, B. B. C. Symphony and London Philharmonic Orchestras, and also with the London Sinfonietta and Nash Ensemble.

GERALD BARRY Gerald Barry was born in 1952 in County Clare in Ireland. He studied with Stockhausen and Kagel. He wrote the operas The Intelligence Park (1981-1988) and The Triumph of Beauty and Deceit (1991). He also wrote The Conquest of Ireland and The Road for the BBC and Frankfurt Radio Symphony Orchestras respectively. More recently he has written two works for violin and piano called In The Asylum and 1998. HOWARD SKEMPTON Howard Skempton was born in 1947 in Chester in the UK. He studied privately with Cornelius Cardew, a significant influence both as leading experimentalist and fine pianist. Professional activities have included being visiting Lecturer in Composition at the University of Adelaide, South Australia, and working in music publishing, as well as playing the accordion. His compositions include chamber and orchestral works and many short ‘lyric poems’ for piano solo or accordion. GRAHAM FITKIN Graham Fitkin was born in 1963 in West Cornwall in the UK. He studied with Peter Nelson and Nigel Osborne at Nottingham University; later with Louis Andriessen in Holland. In 1985 he co-founded the Nanquidno Group, four-pianists at two keyboards, since which point music for solo and multiple pianos has formed the central core of his work. He was Composer-in-Association with the Royal Liverpool Philharmonic Orchestra, 1994-1996. He has been active in educational projects in the UK and overseas. JONATHAN HARVEY Jonathan Harvey was born in 1939 in Sutton Coldfield, Warwickshire in the UK. He studied at Cambridge and Glasgow Universities; privately with Erwin Stein and Hans Keller; later, briefly, with Milton Babbitt. At the invitation of Pierre Boulez, he has worked and produced electroacoustic compositions at IRCAM, Paris. He is currently the Professor of Composition at the University of Stanford, USA. TOSHIO HOSOKAWA 細川俊夫 Toshio Hosokawa was born in Hiroshima in 1955. Following initial studies in piano and composition in Tokyo, he came to Berlin in 1976 to study composition with Isang Yun at the Universität der Künste. He continued his studies with Klaus Huber at the Hochschule für Musik in Freiburg from 1983 to 1986. In 1980, he participated for the first time in the Darmstädter Ferienkurse für Neue Musik where some of his compositions were performed. From 1990, he was a regular guest of the festival as a tutor. In subsequent years, the composer’s reputation continued to increase within the international contemporary music scene and Hosokawa received numerous commissions. From 1989 to 1998, the composer was the artistic director and organiser of the annual Akiyoshidai International Contemporary Music Seminar and Festival in Yamagushi which he had co-founded. Since 2001, he has additionally been the artistic director of the Japanese Takefu International Music Festival in Fukuj. He was appointed permanent guest professor at the Tokyo College of Music in 2004. Hosokawa has received numerous awards and prizes: Among them the first prize in the composition competition for the 100th anniversary of the Berliner Philharmoniker (1982), the Arion Music Prize (1984), the Kyoto Music Prize (1988) and the Rheingau Music Prize (1998). From 1998 to 2007 he was Composer in Residence at the Tokyo Symphony Orchestra. Hosokawa was appointed member of the Akademie der Künste in Berlin in 2001. In 2006/07 and 2008/09, he undertook a period of research at the Institute for Advanced Study [Wissenschaftskolleg] in Berlin. He was Composer in Residence at the Biennale di Venezia (1995, 2001), the Tokyo Symphony Orchestra (1998-2007), the International Music Festival of Lucerne (2000), musica viva in Munich (2001), Musica nova Helsinki (2003), Warsaw Autumn (2005, 2007) and others. ANDY SCOTT As a successful composer for over two decades, Andy Scott has gained a reputation for the quality and impact of his works. Since winning a British Composer Award in 2006, Andy has established himself as a composer constantly in demand, writing for leading instrumentalists and ensembles. His compositions feature on approximately forty CD recordings and are published by Astute Music. Self taught as a composer, Andy’s distinctive compositional voice speaks with a unique and effective mix of jazz, world music and contemporary classical elements. With an equal commitment to the three strands of his creative work, Andy integrates composition with his various performance projects and education activities.


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MEET THE PERFORMERS JUDY HO 何靜⽂文 HARP 豎琴 Born in Hong Kong, Judy is one of the most sought-after harpists of her generation. She studied for her master's degree at the Guildhall School of Music and Drama. Under the guidance of Imogen Barford, she graduated with distinction, and was later awarded an Artist Fellowship. Her early harp training began at the age of twelve with Ann Huang at the Hong Kong Music Office and later gained her Bachelor in Music (Hons) at the Chinese University of Hong Kong with Amy Tam. She also held a visiting position at the Hong Kong Academy of Performing Arts under the guidance of Dan Yu. Judy currently enjoys a diverse career and performed across Europe and Asia as soloist, chamber, orchestral player and cross-arts collaborator. Her duo with saxophonist Tim Sun was recently interviewed and broadcasted by the RTHK Radio 4. She has worked with orchestras such as the Hong Kong Philharmonic Orchestra, Macao Orchestra and Shenzhen Symphony Orchestra. She has appeared as soloist and chamber musicians in many concert venues since her return to Hong Kong, this includes the Chinese University, Baptist University, St John’s Cathedral, local churches etc. She has played in various renowned festivals and Orchestral Academy including the Salzburg Festival, Schleswig Hostein Festival, Asian Youth Orchestra, Oslo Chamber Music Festival, Young Euro Classic, City of London Festival, Menton Festival, Taiwan International Harp Festival, Singapore Harp Festival, 1st Asia Harp Festival etc. Jointed with her sister Jennifer, she formed the Symmetry Harp Duo in 2013. Within two years, they have given numerous recitals in London and Hong Kong, where their debut concert in London was interviewed by SingTao Daily newspaper. Their appearance in the 2015 Taiwan International Harp Festival also won high acclaims with their new arrangements. With the generous support of Tanza Trust, Symmetry Duo is delighted to commission and premier renowned composer Paul Patterson's new duo piece at the World Harp Congress 2017 in Hong Kong. Apart from performing, Judy is also enthusiastic in teaching. She has led workshops for young children at the Wigmore Hall Chamber Tots Series. She has also given children’s concert in which she incorporates story-telling into classical music. She taught in the Macau Conservatory (Junior), Hong Kong Music Office, Hong Kong Harp Chamber and there music institutions and secondary schools. Recently, she was invited to judge the 3rd Hong Kong Harp Competition and the Hong Kong Young Performing Art Festival 2015. Her students have won in competitions and gained very good acclaims, she was recently awarded as An Outstanding Teacher by the China Artist Association HKSAR Secretariat and the Hong Kong Arts and Cultural Foundation. For more information, please visit: www.judyhochingman.com 何靜⽂文⽣生於⾹香港,是本地其中⼀一位最矚⺫⽬目的年輕豎琴⼿手。她⼗十⼆二歲起於⾳音統處開始接觸豎琴,師從⻩黄⼠士倫,及後隨 譚懷理於中⽂文⼤大學取得⾳音樂系榮譽學⼠士學位。何⽒氏亦於演藝學院隨著名國際豎琴⼿手于丹學習。她於倫敦著名⾳音樂學 院市政廳⾳音樂及戲劇學院以⼀一級榮譽修畢⾳音樂碩⼠士,師從 Imogen Barford,去年更獲頒為該校的藝術院⼠士。 何⽒氏的表演活躍於歐洲和亞洲各地,演出的項⺫⽬目亦很多元化,包括獨奏、室樂、樂團演出以及多媒體創作等。最近, 她和⾊色⼠士⾵風好⼿手孫穎麟的⼆二重奏獲得⾹香港電台第四台訪問及錄⾳音。回港後,她經常以獨⾸首及合奏⾝身份演出,包括中 ⽂文⼤大學、浸會⼤大學、聖約翰座堂等。她曾與多個著名樂團和團體合作,包括⾹香港管弦樂團、澳⾨門交響樂團、深圳交 響樂團,⼜又出席不同的藝術節,其中包括著名的奧地利莎⼠士堡藝術節、德國史尼斯-荷爾斯泰因省(SchleswigHolstein)藝術節、亞洲⻘青年管弦樂團、挪威室樂節、歐洲⻘青年古典⾳音樂節、倫敦城市藝術節、法國蒙頓藝術節、 台灣國際豎琴節、新加坡豎琴節、亞洲豎琴節等等。 何⽒氏聯同豎琴⼿手妹妹何樂⽂文於⼆二零⼀一三年組成了 Symmetry Duo,在兩年間已在倫敦和⾹香港兩地合奏演出多場傳統 豎琴以及愛爾蘭豎琴的⾳音樂會,備受好評。她們於倫敦的⾸首演更獲得星島⽇日報的報導。她們於今年五⽉月獲邀為台灣 第⼀一屆國際豎琴節擔任表演嘉賓,演岀她們特別為豎琴節改編的作品,並獲⼤大會⼀一致讚賞。Symmetry Duo 近⽇日成 功獲得坦莎基⾦金的贊助,於⼆二零⼀一七年的世界豎琴⼤大會為作曲家 Paul Patterson 的⼆二重奏作⾸首演。 除了表演,何⽒氏也⼗十分熱衷於教學。在倫敦其間曾在著名⾳音樂廳《威格摩爾⾳音樂廳》(Wigmore Hall) 演出及舉辦為 ⼩小孩⽽而設的室樂⼯工作坊;⼜又曾以《⾳音樂講故事》形式舉辦了專為孩⼦子的⾳音樂會。她曾任教於在澳⾨門演藝學院、⾹香港 ⾳音统處、⾹香港豎琴堡、國際基督教⾳音樂學校及其他⾳音樂中⼼心。她回港後獲邀擔任第三屆⾹香港豎琴⽐比賽以及⾹香港國際 ⻘青少年表演藝術節的豎琴評判。她的學⽣生屢次在⾳音樂⽐比賽中勝出,她最近被《中國美術家協會⾹香港總部》及《⾹香港 ⽂文化藝術基⾦金會》授予《優秀教師》獎座。www.judyhochingman.com

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HOJUNG KIM ⾦金祜廷 CELLO ⼤大提琴 Cellist Hojung Kim has been appreciated as an outstanding cellist in Korea who grants audiences with very warm, beautiful and in-depth music through continuous practice and studies. Having performed as the principal cellist in the Korean Symphony and Seoul Philharmonic Orchestra after returning to Korea from Germany in 2000. She is currently a professor at the Kyungpook National University in Korea. Hojung graduated from Yewon School, Seoul Arts High School and Seoul National University studying the cello. After finishing her studies in Korea, she went on to study further in Salzburg at the Universitat Mozarteum, Austria at 1993, graduating with “Mozarteum in Salzburg mit ausgezeichnetem Erfolg”. She also received her ‘Diplom’ from Köln Musikhochschule, Germany, and successfully completed solo and chamber music courses (Köln Musikhochschule Konzertexamen) with outstanding grades. She studied the cello with Dankwart Gahl (Winner of the Austrian Ministry of Education Graduation Prize) and Maria Kliegel (Rostropovich Music Competition Grand Prize winner), and chamber music with the Hagen Quartet and Alban Berg Quartet. From early ages, her musical talents were distinguished since she won a number of music competitions both in and out of Korea: she won many competitions including those hosted by Monthly Music, Incheon Philharmonic Orchestra, the Hankook Ilbo, Seoul Arts High School and the Donga Ilbo. Moreover, she started gaining international recognition as a professional cellist during her studying abroad: a top prize winner in Hohnen competition in Cologne, Germany, and went to the semifinals in Geneva International Music Competition, Switzerland. She was a member of Seoul Metropolitan Youth Orchestra, “Jeunesses Musicales” World Orchestra, Salzburger Kammerphilharmonie, Hessischer Rundfunk Orchestra, Kölner Kammer Orchestra, Korean Symphony Orchestra (the principal cellist), and Seoul Philharmonic Orchestra (the acting principal cellist). As a soloist, she has played a number of cello concertos with Young Concert, J.M Debut Solo Concert, Jeonju “Yaeru” Concert, Burgermeisterhaus, Seoul Philharmonic Orchestra, Incheon Philharmonic Orchestra, Seoul Metropolitan Youth Orchestra, Seoul Arts High School Orchestra, Seoul Musicians’ Academy Orchestra, Jeonju Philharmonic Orchestra (Soloist at 1998 Seoul Arts Center Symphony Festival), Busan Philharmonic Orchestra (selected as a soloist at 2005 Seoul Arts Center Symphony Festival through audition), Pohang Philharmonic Orchestra, Gangnam Symphony Orchestra, Mellomania Chamber Orchestra, and Ardor Philharmonic Orchestra. Hojung has performed approximately 30 - 40 concerts for various genres every year including her solo concerts at Sejong Center and Seoul Arts Center. Recently she was invited to have a concert and to teach students in the Colorado Mesa University, USA. Also she has released a CD entitled “Cello and Organ Music for Meditation – Homage to Martyrs of Tokwon” recorded at the Church of St. Benedict Waegwan Abbey (May, 2012) and led an orchestra of 100 cellos successfully as a music director at the Seoul Arts Center (June, 2015). SUNNY YUEN 原樂天 OCARINA 陶笛 Sunny Yuen is the founder of the Music O’Region Center, the largest ocarina center in Hong Kong. He is also the president of Hong Kong Ocarina Exchange Association, the Hong Kong representative and vice president of Asia Ocarina Association, and honorary director at various major ocarina association in places including Taiwan, South Korea, and China. He is also a professional ocarina instructor at China Nationalities Orchestra Society. Sunny founded the Hong Kong Children’s Band in 2010, which is the first ocarina band in Hong Kong. For more information, please visit: http://sunnyuen.wixsite.com/hkocarina/ 原樂天是陶笛交流協會創會主席,同時為專業陶笛教育中⼼心 Music O'Region Center 創辦⼈人、亞洲陶笛協會副主席 兼⾹香港區代表、中國⺠民族管弦樂學會陶笛考級專業指導教師(中國政府認可資格,全港僅三⼈人),並於⼆二零⼀一零年 成⽴立⾹香港⾸首個陶笛樂團-⾹香港兒童陶笛樂團。http://sunnyuen.wixsite.com/hkocarina/

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MASANORI OISHI ⼤大⽯石将紀 SAXOPHONE ⾊色⼠士⾵風 Receiving his undergraduate and master’s degrees from the Tokyo National University of Fine Arts and Music (now Tokyo Unversity of the Arts), Oishi went to France to study at the Conservatoire National Supérieur de Musique de Paris in 2001. He graduated with top honours (mention très bien) in saxophone, chamber music, and free improvisation. The same year he advanced to the school’s 3rd level Chamber Music Course (Classe de Musique de Chambre, 3e cycle de perfectionnement), completing it in 2007. From 2002 to 2004 he studied on a research grant from Japan’s Agency for Cultural Affairs in their Program of Overseas Study for Upcoming Artists. Before returning to Japan in 2008, Oishi played not only in France, but in various countries in Europe, Africa and Asia. His participation in the Tokyo Opera City Cultural Foundation-sponsored recital series B→C 100 garnered him high acclaim. Subsequently, he appeared in such events as the Tokyo Opera City Cultural Foundation Composium, the Suntory Foundation for Art’ Summer Festival, and the Takefu International Music Festival. He also appeared in 2008 in a dance collaboration at the late Pina Bausch’s dance festival in Germany (Internationale Tanzmesse NRW). He has worked extensively, focusing on contemporary and classical music, but also playing concerts, on television and radio, in addition to recording music for commercials. He has released a solo album "No man's land Masanori Oishi plays JacobTV" in 2015. Moreover, he has released two albums with the Blue Aurora Saxophone Quartet, of which he is a member. His contemporary music group, Tokyo Gen’On Project received the 13th Saji Keizo Prize. He is a lecturer at Tokyo National University of fine Arts and Music, Senzoku Gakuen College of Music, and Toho College of Music. For more information, please visit: www.moishi.com ⼤大⽯石将紀⼀一九九九年畢業於東京藝⼤大、⼆二零零⼀一年同研究所碩⼠士課程畢業之後赴法,就讀法國巴黎國⽴立⾼高等⾳音樂院。 ⼆二零零四年另於阿姆斯特丹⾳音樂院短期留學三個⽉月。⼆二零零四年六⽉月均以最優秀成績畢業於國⽴立巴黎⾼高等⾳音樂院⾊色 ⼠士⾵風科、室內樂科、以及⼆二零零六年畢業於即興演奏科。同年他繼續鑽研同研究所之室內樂課程 (⾊色⼠士⾵風四重奏), 並於⼆二零零七年畢業。⼤大⽯石将紀師從 Claude Delangle、平野公崇、須川展也、彦坂眞⼀一郎、富岡和男、Arno Bornkamp。 ⼆二零零⼆二⾄至⼆二零零四年間⼤大⽯石将紀受任為⽇日本⽂文化廳之派遣藝術家海外研究員。另外也受助於明治安⽥田⽣生命 Quality of Life ⽂文化財團、梅耶財團等獎學⾦金之補助。留法期間他獲得⼆二零零四年 U.F.A.M 國際⼤大賽⾊色⼠士⾵風部⾨門⾸首 席⼀一等獎、⼆二零零六年 AVANT-SCÈNES ⼤大賽第⼀一名、⼆二零零七年 FNAPEC 室內樂⼤大賽 Selmer 獎等法國國內⼤大賽 之榮譽。 此後⼤大⽯石将紀開始致⼒力於發表新⼀一代作曲家從古典到現代⾳音樂之作品。並以即興演奏為中⼼心,開始在歐洲各國、亞 洲、⽇日本展開演奏活動。⼆二零零⼋八年春季學成歸國。同年三⽉月他參加由 OperaCity ⽂文化財團主辦的獨奏會系列,演 出題名為「B→C100」獨奏會,受到朝⽇日新聞⽩白⽯石美雪⽒氏「總⽽而⾔言之⾮非常厲害」之絕讚。另外也受到⾳音樂之友、 ON★STAGE各⼤大報紙⾼高度評價。後於⼆二零零⼋八年參加⽇日本⽂文化廳主辦之藝術季「Legende par Legende」,演出 運⽤用電⼦子設備及影像所構成之獨奏會「OSMOSE SAXOPHONE」。另外他受邀演奏於已故現代舞蹈巨匠 Pina Bausch 於德國舉辦之 NRW 國際舞蹈年會。⽽而後他受邀製作錄影 NHK-BS 電視台之古典俱樂部之特集「Garden of Love ⼤大⽯石将紀 StagioConcert」,⼆二零⼀一⼀一年他與平野公崇等⼈人組成「The Blue Aurora」⾊色⼠士⾵風四重奏團,⾸首張 CD「THE FIRST BLUE」發賣的同時,於⽇日本五個縣舉辦發賣紀念⾳音樂會,現正積極廣泛的參加⾳音樂活動。⼤大⽯石将 紀現為東邦⾳音樂⼤大學、⼤大學院、洗⾜足學園⾳音樂⼤大學及國⽴立東京藝術⼤大學之講師。www.m-oishi.com MARTIN CHOW 周健峰 RECORDER ⽊木笛 Martin Chow graduated from the University of Hong Kong majoring in music. He obtained the Postgraduate Diploma in Education from Hong Kong Institute of Education, ATCL in recorder recital and Master of Arts in Music from Hong Kong Baptist University.

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ROD YU 余啟智 PIANO 鋼琴 Rod Yu is a conductor and pianist who takes up different roles in orchestral, opera, chamber music and vocal piano accompanying. As an active pianist, he was invited to perform with the Collegium Musicum Hong Kong, Guildhall New Music Ensemble, Hong Kong New Music Ensemble and HKBDA Wind Orchestra. He has also performed in international music festivals in the Netherlands, United Kingdom, Canada, Austriaand Hong Kong. His performance included Cecilia Heejeong Kim’s My Arirang, How Much I am Missing You (2013), Joyce Tang’s Reflections on Arirang (2013), Nigel Clarke’s The Flavour of Tears (2013), Luis Serrano Alarcón’sThree Sketches (2014) and Brett Dean’s Wolf-Lieder (2006) that has been broadcasted in the BBC Radio 3 in London. Rod completed his Master’s Degree with Distinction with the support of Leverhulme Trust at the Guildhall School of Music and Drama and Bachelor’s Degree at the Hong Kong Baptist University, studied under Caroline Palmer, Graham Johnson, Gordon Back, Pamela Lidiard and Norman Lee. He has also trained as a conducting student of Sian Edwards - former English National Opera Music Director in London. He has received the Scotiabank scholarship to be the Art of Song Fellow during the 2013 Toronto Summer Music Festival, where he received intensive coaching from Elly Ameling, Julius Drake and Michael McMahon. Rod Yu was trained as a lieder coach by Konrad Jarnot and Christoph Berner during the 2014 InternationaleSommerakademie in Universität Mozarteum Salzburg. WINNIE NG 吳慕蓮 FLUTE ⻑⾧長笛 Winnie Ng graduated from the Hong Kong Baptist University with a degree in music (honours) majoring in composition and flute/piccolo performance. She has extensive orchestral and chamber performance experience. Since an early age, she has developed a passion for music. She taught herself the violin and piano during her primary education and formally commenced her flute studies at Rosaryhill School. She took lessons with Linda Stuckey, the flute and piccolo player at the Hong Kong Philharmonic Orchestra and passed the ABRSM Grade 8 exam in flute with a distinction. Over the recent years, she attained the highest-level FTCL and LTCL (with distinction) recital diploma qualifications of Trinity College London. Her composition entry in the "New Generation" competition was performed by a professional percussion band Jenga Percussion Ensemble and broadcast live on RTHK Radio 4. Winnie is a regular performer. She performed at the "Behind the music" charity concert in March this year conducted by Mr. Tsang-hei Chiu who is a famous pop songs producer in HK and the Millennium Youth Orchestra (MYO), organised by Lifeline Express. This month, she performed with the MYO and the Hong Kong Children's Musical Theatre (CMT) at the "Winter Melon Tale" musical. After her performance at the Hong Kong Maritime Museum last month with the Blow and Bows Quartet as the leading flutist, composer and music director, she will perform again with the quartet at the museum on 25 September. Translation by Paddy Law 吳慕蓮畢業於⾹香港浸會⼤大學⾳音樂系榮譽學⼠士,主修作曲、⻑⾧長笛/短笛演奏, 擁有豐富樂團和室樂⼩小組演奏經驗。⾃自⼩小 醉⼼心⾳音樂,⼩小學期間⾃自學⼩小提琴與鋼琴,在玫瑰崗中學正式學習⻑⾧長笛。近年考獲英國聖三⼀一⾳音樂學院最⾼高級別 FTCL 和 LTCL ⻑⾧長笛演奏級⽂文憑並考取優異成績以及英國皇家⾳音樂學院獲取⻑⾧長笛⼋八級優異成績,師承⾹香港管弦樂團⻑⾧長 笛、短笛演奏家 Linda Stuckey。她在 “New Generation” 作曲參賽作品曾於⾹香港電台第四台由專業敲擊樂隊 Jenga Percussion Ensemble 作現場演奏播出及錄⾳音。除了參與三⽉月健康快⾞車主辦《Behind the music》趙增熹 ×MYO慈善演唱會和⼋八⽉月《⼤大冬⽠瓜》⾳音樂劇演出外,最近七⽉月以主⾳音⻑⾧長笛樂⼿手、編曲和⾳音樂總監⾝身份參與《Blow & Bows Quartet》在中環海事博物館室樂演出,下次表演⽇日期為九⽉月廿五⽇日。 ALFRED NG 吳鈞浩 VIOLIN ⼩小提琴 ‘Thrillingly beautiful vibrato.’ – Shanghai Concert Hall Alfred Ng graduated from the Trinity College of Music under the tutelage of Gillian Findlay and has appeared as a soloist recently at the Shanghai Concert Hall and as a chamber musician at venues namely the Leeds Town Hall, Tianjin Grand Theatre and the Shanghai Concert Hall and has performed with the Royal College Sinfonia, Trinity College Symphony Orchestra, Trinity College Sinfonia and the University of London Symphony Orchestra.

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During his London years, he has performed at the Ealing Festival of Music, the St. Botolph without Aldgate and St. George's Church Beckenham and the St. John’s Church Harrow. Recently, he has been commissioned by the St. John’s Church Harrow for his solo and chamber recital at Harrow, London. Born in Hong Kong and raised in London, Alfred started studying the piano at the age of ten and has given recitals in London, Shanghai, Guangzhou, Jiangmen and Hong Kong. For more information, please visit: http://alfhoho.wix.com/alfredngviolin/ RYAN HO 賀肇元 VIOLIN ⼩小堤琴 Ryan Ho is an active professional violinist, chamber musician, conductor and music educator. He was the founder and currently serving as Music Director or L’artista Music Academy in Hong Kong. Ryan began violin and piano studies at age six. He studied at the Royal Academy of Music (Junior Department) in London from 1994-2000, and was the winner of the J.A. Violin Competition, North London Violin Competition and the Frederick Phelps Award. Ryan went on to study at the Guildhall School of Music and Drama with Professor Simon Fischer, graduated with a Master’s degree and Postgraduate Diploma in Violin Performance, having completed his Bachelor’s degree in Music from the University of Southampton. In 2005, Ryan was selected to participate at the Aspen Music Festival and School in the U.S. where he studied with Professor Masao Kawasaki. In 2006, Ryan was invited by the late Claudio Abbado to perform in the Gustav Mahler Jugendorchester in Vienna. Throughout his career, Ryan has performed in numerous masterclasses with such figures as Sally Thomas, Mateja Marinkovic, Clarence Myerscough, Mauricio Fuks and Rainer Küchl (Concertmaster of the Vienna Philharmonic). For more information, please visit: www.lartistamusic.com/en/ryan-ho/ MATTHEW LI 李碩昀 VIOLA 中提琴 Matthew Li is currently studying viola performance at New England Conservatory in Boston. He took part in many concerts as a chamber musician and has recently completed a chamber recital, performing Brahms and Dvorak piano quartets in Boston. Matthew was the viola principal of the Hong Kong Children Symphony Orchestra before studying at NEC. He has won the second prize of the Hong Kong Strings Scholarship for stringed instruments. KEVIN LAM 林⼼心宇 CELLO ⼤大堤琴 Kevin Lam graduated from Diocesan Boys' School (Class of 2016). He started playing the piano when he was four, and is currently a student of Ms. Maria Ho, and a music theory student of Dr. Edward Ho. Kevin received the FTCL Certificate by Trinity College for Piano at the age of 14. Kevin started playing Cello at the age of six, and was taught by Ms. Christy Wong and currently by Mr. William Tsui. He also participated in a masterclass by Mr. Chu Yi-bing, professor of Central Conservatory of Music in 2014 and a masterclass by Mr. Walther Schulz, ex-cello principal of the Wiener Symphoniker in 2015 Summer. Kevin received the FTCL Certificate by Trinity College for Cello at the age of 15. Kevin has been the scholarship holder of the Most Outstanding Cellist award in Diocesan Boys' School for 2 consecutive years. Kevin will be pursuing his music degree in the Royal Academy of Music in Autumn 2016, majoring in cello performance. HONG KONG SAXOPHONE ASSOCIATION ⾹香港⾊色⼠士⾵風協會 Calvin Kan, Dennis Tse, Calvin Tam, Stanley Fok, Luke Pang, Cheng Yiu Fai, Anson Ngan, Martin Leung, Chelsea Ngai 簡嘉豪、謝育麟、譚榮冕、霍俊堯、彭凱⽂文、張耀輝、顏顯聰、梁兆峰、危袓瑩 TSUNG TSIN CHRISTIAN ACADEMY RECORDER ENSEMBLE 基督教崇真中學⽊木笛隊 S Siu Wing Lam, Yu Hoi Kei, Cheng Wan Sin Dora, Ho Tsz Tsin A Poon Ching Tong Athena, Sin Sin, Wong Tsz Wo T Lam Wai Sum, Leung Chin Lok, Lam Chiu Yin, Lai Yi Ting B Pang Wah Ching, Chong Hiu Ki Nicole, Tang Pok

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蕭穎嵐、余凱淇、鄭韻蒨、何梓仟 潘靜桐、單倩、⺩王籽⽲禾 林煒棽、梁展樂、林釗賢、賴依亭 彭華靖、莊澆棋、鄧璞


PROGRAMME NOTES - CLASSICS TO MODERNS Crosswind (2013) for flute and alto saxophone

CHIN TING (PATRICK) CHAN

Hong Kong Première Commissioned by and written for the Tower Duo (Erin Helgeson Torres, flute; Michael Rene Torres, alto saxophone), Crosswind is a piece full of interactivity and energy. Both parts feature intricate gestures and timbral varieties that not only stimulate conversations, but also create a complex overall texture. While the two players sometimes complement each other, they are occasionally in conflict, each fighting for being the lead. To explore this idea of conflict and harmony, this piece alternates between materials that are vertically harmonious and vertically inharmonious, thus forming a progression of tension and release, as well as a collective sonority that is constantly developing, and often unexpected. PC Masonry Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風 Winnie Ng, flute 吳慕蓮 ⻑⾧長笛

The unsungs (2014) for string quartet

CHARLES KWONG

The unsungs was written as a part of the mega-project “24 Hour Pop Song” in Freespace Fest 2014 - a 24hour marathon of continuous performances by various artists doing their own interpretation/distortion on one single cantopop tune. I was teamed with the Romer String Quartet in the occasion to create this string quartet work. From the original cantopop tune, I extracted its entire harmonic progression, stretched it into a timespan that is 3 times longer, and polished/altered it by an abundance of suspensions, non-chord melodic tones, voice-extension and tritone substitution etc. The tonal quality of the harmonic progression is thus diluted and transforms into a harmonic palette to deliver various kinds of string-quartet textures. To further decontextualise the original cantopop tune, I juxtapose it with sections of highly dissonance-charged nontonal textures, to represent the instrumental intro, interlude, and outro in the original cantopop tune. After all the these devices of compositional distortions and modifications, the original simplistic and straightforward cantopop tune is hardly audible as its original form, and to certain extent, it is entirely unsung. However, what is unsung actually determines the structural design and emotional direction of the entire work. That is to say, from melodies to be sung and be heard, the tune becomes the “telos” of a musical work, to be read and be felt. Therefore I gave the title “the unsungs” to this piece, because it is entirely about what is unsung in the work. The original cantopop tune was Eason Chan’s ⼈人來⼈人往, translated “People Come People Go”.

CK

Alfred Ng, violin I 吳鈞浩 ⼩小堤琴 Ryan Ho, violin II 賀肇元 ⼩小堤琴 Matthew Li, viola 李碩昀 中提琴 Kevin Lam, cello 林⼼心宇 ⼤大提琴

Dream of the Butterfly (2011) for string quartet

YIP KIM FUNG

Hong Kong Première I Moderato - II Freely - III Lento - IV Playful - V Ballad Completed in 2011 for String Quartet, this work was inspired by a Chinese allusion which describes a philosopher named Chuang Chou who dreamed vividly that he was a butterfly. Therefore, the materials in this piece mainly develop on Chinese mode. However, what is the difference between dream and reality? Is the reality real? Or is it possible that the dream is actually real but it just has been presented in the form of dreamy feelings? This concludes that Chuang Chou is suggesting blending with nature which is the only way of seeking truth and beauty. The first movement is divided into three sections. The first section is combined with high pitch glissandos and loose rhythmic pattern thereby to depict the scene of dream. The second section mainly reserves the idea from first section however with different approach. The motion of the Butterfly has been described in this section by using the opposite directions in violin and cello. After a long note, the third section starts with humour by using loose rhythmic patterns.

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The second movement is divided into three sections. This movement is projecting dreamlike atmosphere, in the first section, there are many pentatonic arpeggios to achieve certain feelings. In the second section, the mixture of loose rhythmic patterns and glissandos is accompanying the motion of flapping wings by col legno. Eventually, the impression of flying butterfly is depicted by glissandos in the third section. The third movement is divided into two sections. To make a dramatic contrast with the pervious movements, this movement starts with in slow and quiet manner. However, after the sustained high notes, the second half of this movement demonstrates a jumpy motion to round off this movement. The fourth movement is divided into three sections and depicts the scene of garden. The first section demonstrates a vivacious atmosphere by strong rhythm and a series of glissandos. In the second section, as suggested in the tempo marking, the ‘hide and seek’ impression has been demonstrated by vivacious rhythm and abrupt pizzicatos. To round off this movement, the vivacious atmosphere has been recaptured in this section, however by the end of this movement, the role of violin in the first section has been replaced by cello. The finale is divided into two sections. After the soliloquy by violin, we are almost to reach the beauty of what Chuang Chou suggests, the first section starts. In this section, there are familiar elements which were the motives in pervious movements, such as glissandos and rapid col legno figure. In the second half of this movement, high notes, pentatonic arpeggios and loose rhythm are the prominent elements to approach to the climax and round off the piece. YKF Alfred Ng, violin I 吳鈞浩 ⼩小堤琴 Ryan Ho, violin II 賀肇元 ⼩小堤琴 Matthew Li, viola 李碩昀 中提琴 Hojung Kim, cello ⾦金祜廷 ⼤大提琴

Translucent Or Opaque (2012) for string quartet

KRISTOFFER TO

Hong Kong Première I Lento - II Lively - III Andante - IV Vivace - V Allegro Composed in the first half of 2012 for the Kreutzer Quartet, this piece consists of five movements: each the mirror image of the opposite, and hence a central 3rd movement. At first sight, there seem to be a lot of notes on the page but I have been restrict in my palette of materials and processes deliberately. All of the material in the piece comes directly from a four-note-chord. The opening movement closely follows the mirror-image structure. Although it begins with the traditional texture of tune and accompaniment, the intense quality of sound capture the mood instantly. After a pause, it runs into a quick-moving passage which reminds of Ligeti's 2nd quartet. Fourth comes the 'central' idea of the movement. This scherzo-like 2nd movement is vibrant. Based on hexachords, of which it shares same notes with the main material, the movement lasts for half a minute. The 3rd movement is marked Andante, the viola 'solo' is central to the work as a whole. Here, the use of two contrasting voices on viola represents somewhat of the dichotomy 'good and evil' in religion, ethics and philosophy. With cold harmonies provided softly by the other three instruments, the viola's message speaks directly to the audience. Another movement of quick-moving musical machinery. It features a folk-like melody played by 1st violin (with echos from the 2nd violin). The finale Allegro uses all material from the previous movements. KT The first complete performance of Translucent Or Opaque was given by the Kreutzer Quartet (Peter Sheppard Skærved, Mihailo Trandafilovski, Morgan Goff and Neil Heyde) in York, UK on 2nd June 2012. The World Première was given by the Ricochet Quartet (Mykhailo Bilych, Andrii Pavlov, Andri Makjj and Igor Patsovskyy) in Kiev, Ukraine as part of the ‘Orient/Occident 2013’ and the Festival of Contemporary Music ‘KievMusicFest2013’ on 28th September 2013. Alfred Ng, violin I 吳鈞浩 ⼩小堤琴 Ryan Ho, violin II 賀肇元 ⼩小堤琴 Matthew Li, viola 李碩昀 中提琴 Kevin Lam, cello 林⼼心宇 ⼤大提琴

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Cosmo Memory (2016) for recorder

YIP KIM FUNG

The impression of recorder could be folk music or nostalgia; in contrast I would like to express the feelings of zero gravity in the outer space by the flexibility of the recorder. By changing the timbre and hue, the loose and empty feelings can be demonstrated. Outer space is the closet natural approximation to a perfect vacuum and no boundary; however it allows stars, planets and moons to move freely alone their ideal orbits. In this work the feelings of void and stress can be presented by the hollow low register and the bright high register, by changing embouchure and extended techniques, the mysterious microtones can also be projected. The pentatonic matrix will be employed and the dreamy pentatonic with the fixed matrix can make a perfect balance between freedom and rules. In this piece composer wants to depict our impression of the outer space, we fear the void but we enjoy the freedom, we know there is no boundary but we also know there is an unseen rule. This is the piece “Cosmo memory”. YKF The World Première of Cosmo Memory was given by Martin Chow in Hong Kong as part of the Avant Music Night on 28th April 2015. Martin Chow, recorder 周健峰 ⽊木笛

——— Intermission ——— March from Galimathias Musicum

HIROSHI AOSHIMA

提起 Galimathias Musicum 通常會想起莫扎特⼗十歲在歐洲巡迴表演時所編寫多達⼗十七個樂章的同名作品。⻘青島廣 志的 Galimathias Musicum 也充滿著莫扎特⾵風格的古典時期味道。Galimathias 意即不合情理,故不拘⼩小節外, 玩味也甚濃。此曲有五個樂章,今晚的演出是第四樂章 – 進⾏行曲,樂曲以4/4拍⼦子進⾏行,是⼀一種富有節奏步伐的樂 曲,此樂章開⾸首作曲家標明需要著重地、清晰地演奏,中段轉為甜美,最後漸強的尾聲以四部⽊木笛整⿑齊地結束樂曲, 感覺⾮非常完滿。 Tsung Tsin Christian Academy Recorder Ensemble 基督教崇真中學⽊木笛隊

Dance on the Moon River

ERIKSON TING

⽉月河於此並⾮非柯德莉夏萍的浪漫名曲。⽉月之河 – 滿⽉月的倒影放於海上 – 每⽉月⼀一次的美麗時刻,⾃自古有不少⼈人歌頌, 作者想像於這⽉月河上跳的會是甚麼樣的舞?作者以巴洛克時期的法國序曲、⼩小步舞曲、華爾茲等作藍本寫了這⾸首異 ⾊色舞曲,也是為學⽣生⽽而寫的仿協奏曲。 Erikson Ting, conductor 丁龑霆 指揮 Tsung Tsin Christian Academy Recorder Ensemble 基督教崇真中學⽊木笛隊

Caprices pour violoncelle, No.1 ‘’Forher’’

UZONG CHOE

Hong Kong Première The series of caprices for violoncello is one of my recent projects for solo instruments. Since 2003 I have been writing the preludes for piano, and the etudes for violin will be set to work soon. What I consider the most crucial in writing for solo instruments is to see an instrument as a living being, through which I can meet a performer, a being completely different than me. The caprice No. 1 mostly consists of double-, triple-, quadruple stoppings and quarter notes that can be freely interpreted. Almost every side of playing techniques as well as musical expressions is not determined, including tempo and articulations. They are put at a performer’s disposal. UC Hojung Kim, cello ⾦金祜廷 ⼤大堤琴

In the Distance (2013) for cello

KRISTOFFER TO

Hong Kong Première I - Interlude - II - Interlude - III The gestation period for this cello piece was somewhat lengthy. The first sketches are dated back to January 2013 and the last movement was completed shortly after the summer of that year. It is essentially a three-movement work separated by two short interludes. All movements of In the Distance show a vast contrast in mood. The overall feeling of the piece is intended to have written with a lot of freedom. Whilst the rhythm appears precise it is intended to have a spontaneous nature that floats across the suggested tempo and pulse. Movement I starts with a four-note figure C – Db – G#(A♭) – A. This is extremely memorable as it is not any ordinary theme; thus far the cellist has already touched upon different playing

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methods (arco, pizzicato), and called for sul ponticello, glissando and harmonics. The whole piece is based on this rather mysterious four-note figure. Movement II starts with an arco note low C (a reference to the opening of the work) but here it is different: it is accompanied by left hand pizzicato. Soon after, fast unmeasured semiquavers took over this for the rest of the movement. The fast passage work is interrupted several times, giving a rhapsodic feeling. The last movement is a further development of the theme. A variety of extended techniques are used in this work: playing as high as possible on certain strings on the cello, ‘rattling effect’, different types of pizzicato (secco, laissez vibrer tie), strumming (pizz. alla chitarra) and ricochet effect. I wanted to push the technical limits of the cello, and explore boundaries and writing at the very edge of the playable. In the Distance has gained Diploma of Merit in the 16th Edition of the Tournoi International de Musique (Italy). KT Movement I was performed by James Whittle in York, UK at the Chimera Lunchtime Concert on 14th June 2013. The World Première of In the Distance was given by Hojung Kim in Tongyeong, Korea as part of the ISCM World Music Days 2016, Tongyeong International Music Festival, on 30th March 2016. Hojung Kim, cello ⾦金祜廷 ⼤大堤琴

天 · 地 · ⼈人 (2016) for ocarina

ANTHONY CHENG

Hong Kong Première “天 · 地 · ⼈人” 創作於⼆二零⼀一六年春天,為著名陶笛演奏家原樂天先⽣生⽽而寫的⼀一⾸首陶笛獨奏的委約樂曲。此作品既揉 合了電⼦子⾳音樂、⾮非洲敲擊樂及各種⾃自然⽣生態環境的聲⾳音取樣,並以傳統及前衞的⾳音樂⾵風格去表達⼈人與⼟土地之間的微 妙關係,在藝術創作的層⾯面上作了⼀一次全新的詮釋。樂曲主要探索有關⼈人類與各⽣生靈,在⼤大地之上孕育⽣生命,繁衍 不息。⽣生命的熱情,既有男⼥女之愛,亦有⼈人與⼟土地之情。 AC The World Première of 天 · 地 · ⼈人 was given by Sunny Yuen in Taiwan as part of the 2016 The 4th Asia Ocarina Festival on 17th July 2016. Sunny Yuen, ocarina 原樂天 陶笛

Cello Suite No.3 BWV 1009

J.S. BACH

Prélude - Allemande - Courante - Sarabande - Bourrée I - Bourrée II - Gigue Bach begins his brilliant C Major Suite with a simple descending scale, a strong statement of positive energy. From those very 1st opening notes we feel a sense of excitement and anticipation. One of the most distinctive and appealing features of the cello as an instrument is its rich deep bass qualities, epitomized by the purity and substance of the open low C string. The 3rd Suite as a whole takes full advantage of this glorious resonance, beginning with the opening motive of the Prelude, a simple 2 octave descending scale with a closing broken triad culminating on an open C arrival. From here Bach takes us on a flowing, driving, directional, and sometimes breathless journey of continuous 16th note figures, passing through multiple key areas, utilizing pedal tones, and bringing us to a remarkable climax of chords, rests, and harmonic triumph. That opening scale remains a strong and prevalent motivic feature throughout the movement. Bach takes basic scale-wise motion and uses it creatively and convincingly, giving us a sort of sixteenth note scalefigure sense of grounding. He manipulates those scale figures, fragmenting them and rearranging them, maintaining our interest at all times. We hear arpeggiated groupings interspersed amongst scale passages, clarifying harmony and providing rich resonance. About halfway through the movement, a passage of sixteenth note arpeggiated figures - characterized by a deep and pure open G string pedal tone, rich harmonic motion, and satisfying dissonances and resolutions - establishes great musical excitement and defines a sort of structural heart of the movement; this section feels like a mid-point diversion on a long hike in the mountains. This material then gets back on track with a passage of alternating scale and arpeggio figures, through which exceptional intensity and harmonic energy gradually build through sequential writing. Then we experience a fabulous display of harmonically rich quadruple-stop quarter note chords alternating with 2-beat rests; here Bach uses unexpected silence –

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those dramatic rests between the chords – to create a brilliantly conceived climax. We finally arrive at a confident closing with double trills and a recap of that opening scale motive. The allemande represents a departure from the allemande style set in the 1st two Suites – it opens with 3 upbeat notes (not the usual single sixteenth note pickup), and it is characterized by a snappy 16th/32nd note rhythm that creates a bouncy, lively character (unlike the flowing, somewhat more patient progression of the aforementioned allemandes). Of particular note is this movement’s opening motivic material, which essentially follows the descending C major scale shape that defines the start of the prelude, albeit in a different rhythmic pattern. As we will see, the idea of the descending C major scale is a unifying element in the piece as a whole. As with the first 2 movements, here we have a melodically descending start, this time a C Major arpeggio (instead of a scale) covering 2 full octaves. This courante is characterized by continuous eighth note motion throughout, every so often interrupted by connective sixteenth note figures. A particularly interesting feature, and one that allows for a moment of slightly “scrubby” playing, are the two energetic and driving string crossing sections near ends of both halves – very spirited and uplifting! Overall, the movement has an almost “moto perpetuo” feel – a nearly constant sense of drive and a very bold directional flow. The sarabande opens with rich, inviting, and very pure chords, perfectly showcasing the natural warmth and resonance of the cello. As we hear in so many sarabandes (including five of the six in these Suites), the rhythmic structure is such that we frequently experience a clear emphasis on beat 2 of the measure (the meter is ¾, as expected). We feel this rhythmic pattern from the first measure: beat one is a 4-voiced C Major chord, its value a quarter note, and beat two is a dotted eighth-sixteenth rhythm, pitches D-C, where the C moves to an A on the 16th note and ultimately resolves on beat 3 to an implied G Major (dominant) chord. The dotted rhythm, taken together with the rich dissonance on beat 2, creates a clear sense of weight and focus on that beat. This sense of 2nd beat emphasis occurs in at least 14 of the 24 measures that make up the movement (I say at least, since second beat emphasis is not always defined by clear rhythmic stress; at times, implied harmonies create stress on certain beats of certain measures). The first Bourrée of the 3rd Suite is immediately recognizable, has frequently been arranged to include accompaniment, and appears in all sorts of instrumental sheet music solo albums, not only those for the cello (think Suzuki Method). Contributing to its overwhelming popularity, this bourrée is a delightful piece, highly energetic, tuneful, and instantly appealing. At the start we hear a zippy 2-eighth-note upbeat figure, leading scale-wise to a quarter note G on the downbeat of the 1st full bar and setting the tone for a rhythmic pattern that unifies the movement: the continual quarter note-double eighth note alternation, interspersed with flowing measures of continuous eighth notes. The articulation is pointed and clearly etched; the musical lines are direct and forward in feeling. The bouncy, lively, and positive feel of the movement work together to give it an unmistakable dance vibe. In contrast, the 2nd Bourrée, in c minor, is somewhat hushed, sad and troubled in character. Rhythmically, this bourrée is very similar to the 1st (eighth and quarter note juxtaposition, for example), but articulations are smoothed out, and the sections feel like beautifully continuous long phrases. This 2nd bourrée is a direct minor key complement to the 1st, balancing the movement perfectly. The C Major Suite gigue is particularly lively and energetic, full of positive spirit and excitement. Its meter is 3/8 (a compound meter with one pulse per bar), and is rhythmically characterized by alternating eighth and sixteenth note figures (often an eighth followed by four sixteenths). It is filled with conversational elements – melodic and rhythmic figures that bounce between the upper and lower cello registers. Of particular note and creating great excitement is the passage, occurring once in each half of the movement, of sixteenth notes in which a melodic line on one string alternates with repeated soundings of the adjacent open string. This passages builds in intensity, leading to an eight bar phrase (in minor) of double stops, 16th and 8th note figurations played together with open string pedal tones. One feels the high energy, English/Irish/ Scottish common jig-like dance feel when listening to this particularly evocative sequence of phrases. Hojung Kim, cello ⾦金祜廷 ⼤大堤琴


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PROGRAMME NOTES - RHYTHMIC 2nd ANNIVERSARY GALA Garden of Love (2002) for saxophone

JACOB TER VELDHUIS

The Garden of Love for oboe and boombox (soundtracks), based on a poem by William Blake, was composed for Bart Schneemann in March 2002. In 2003 I arranged the oboe part for soprano sax. As in all my boombox pieces, speech is the ready made source of inspiration: melody and rhythm of the spoken word was analysed and written down. Then I made the sound track. The oboe or soprano sax plays the same musical lines along with the soundtrack in a kind of dialogue. JacobTV Masanori Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風

The Garden Of Love by William Blake (1757-1827) I went to the Garden of Love. And saw what I never had seen: A chapel was built in the midst, Where I used to play on the green. And the gates of this chapel were shut, And Thou shalt not  writ over the door; So I turn’d to the Garden of Love, That so many sweet flowers bore.   And I saw it was filled with graves, And tomb-stones where flowers should be: And priests in black gowns, were walking their rounds, And binding with briars, my joys and desires. Drift (2016) for saxophone and harp

CHIN TING (PATRICK) CHAN

World Première I Moderato - II Adagio - III Andante - IV Allegretto - V Meno mosso Drift is written for the Rhythmic (躍韻) 2nd Anniversary Gala in the summer of 2016 in Hong Kong, performed by saxophonist Masanori Oishi and harpist Judy, Ching Man Ho. The piece is divided into five short movements, each capturing an impression of the drifting motion: drifting on downstream water, drifting away in the air, drifting in a steady tempo, drifting in irregular motions, drifting in unexpected currents, etc. The subject of what is drifted away is left to the imagination of the listeners. PC Masanori Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風 Judy Ho, harp 何靜⽂文 豎琴

Danse sacrée et danse profane for harp

CLAUDE DEBUSSY

In 1904 Pleyel, the famous Parisian firm of instrument manufacturers, approached Debussy with a commission for a new test piece for chromatic harp, intended for use in the diploma examinations at the Brussels Conservatoire. Pleyel had introduced and patented the chromatic harp in 1897. Unlike the conventional concert harp, which is tuned according to the notes of the diatonic major scale, and has seven foot pedals, each of which corresponds to a single scale degree and its chromatic alterations (i.e. natural, sharp, and flat), Pleyel's instrument had no pedals. Instead, a separate string was provided for each chromatic note throughout its range. Debussy's response to Pleyel's request was to compose his Danse sacrée et danse profane, which eventually took a place among the best-known and most frequently performed works for harp in the concert repertory. The harp parts are surprisingly conventional, and actually not especially difficult to play, though the exotic, coruscating passagework and rich chordal effects might suggest otherwise.

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Almost from the outset, Danse sacrée et danse profane was played more often on the conventional orchestral harp, since the chromatic harp was soon abandoned, mostly because of its unwieldy size and the inordinate amount of time required to tune it before every performance. According to the conductor Ernest Ansermet, the main theme of the first section was inspired by a piano piece by the Portuguese composer Francisco de Lacerda. This has not been proven, however, and it seems more probable that Debussy, with due regard for the antiquity of the harp (one of the oldest instruments in existence), based this slow, modally inflected piece on what he imagined Greco-Roman music must have been like. Another likely source of inspiration may well have been the antique flavour of Erik Satie's Gymnopédies for piano, which Debussy greatly admired, and two of which he orchestrated. The second part is much faster, and takes the form of a waltz in the key of D major. Still, the music is filled with harmonic contradictions, particularly evident in the use of such "primitive" effects as the lowering of the seventh scale degree. Judy Ho, harp 何靜⽂文 豎琴 Rod Yu, piano 余啟智 鋼琴

Le Rossignol S. 250/1 transcribed by Henriette Renié

FRANZ LISZT

Le Rossignol (The Nightingale), written in 1842, is one of Liszt’s most well-known transcriptions, and is from Deux Mélodies Russe, based on two songs by the Russian composer Alabieff. Liszt’s transcription was in turn transcribed for the harp by the legendary harpist and teacher, Henriette Renié. The introductory section of Le Rossignol is a remarkably vivid yet sensitive portrayal of the nightingale’s plaintive call, and leads to the main theme, which is a rather robust and technically impressive, rendition of Alabieff’s song. This is followed by a return to the depiction of the nightingale’s song in a highly effective improvisatory final section. Judy Ho, harp 何靜⽂文 豎琴

——— Intermission ——— Sonata in G minor BWV 1020 transcribed by John Harle

J.S. BACH

This three-movement Sonata was originally written for Violin (or Flute) and Piano. The music is ‘‘attributed’’ to J.S.Bach, and appears in the Catalogue of his works as ‘’B.W.V. 1020, Sonata in G Minor’’, but there is some doubt as to whether Bach himself composed this work. However, it is good music - a light springy three-movement work with a central movement of great intensity - suitable for performance on the Saxophone simply because of the vocal quality of the music. London 1984 JH Masanori Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風 Rod Yu, piano 余啟智 鋼琴

Root Position (2000) for piano

GERALD BARRY

Kristoffer To, piano 杜正謙 鋼琴

Arpeggio (1997) for piano

HOWARD SKEMPTON

The composer writes: ‘This piece requires a light touch. The sounds should ‘’ring’’, as suggested by the open ties (sim. means ‘and so on’). Use of the right pedal as indicated ensures the necessary fullness of harmony.’ Reproduced by permission of Oxford University Press. Kristoffer To, piano 杜正謙 鋼琴

Cantilena (1995) for piano

HOWARD SKEMPTON

Kristoffer To, piano 杜正謙 鋼琴

Tunch (1998) for piano

GRAHAM FITKIN

Tunch contains two contrasting strands of music. The first has a dark obstinate feel and is generally in the bass clef. The second is more plaintive, using simple melody and accompaniment. These two strands alternate throughout, with the ostinato figure rising up the piano at each reappearance to meet its counterpoint. Lunch…a sort of Tea/Lunch meal. GF Kristoffer To, piano 杜正謙 鋼琴

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Haiku (1997) for piano

JONATHAN HARVEY

I wrote more… and found myself in the unusual position of rejecting everything as superfluous, as diminishing the force of the idea. Live with the final E flat, it ‘’contains’’ the other notes. And that there is nothing after it is perhaps shocking: the end defines the meaning. JH Kristoffer To, piano 杜正謙 鋼琴

Sazz (1995) for piano

GRAHAM FITKIN

Kristoffer To, piano 杜正謙 鋼琴

Arc-Song (1999) for saxophone and harp

TOSHIO HOSOKAWA

Hong Kong Première The oboe draws an arc-shaped line of sound as if it was a paintbrush soaked with ink, writing on a sheet of white paper (silence). This sound line emerges from silence and returns to silence. The meaning of making music is to me: constructing an arc of music from here to a different world, to silence. I have dedicated my composition “Arc-Song” to harpist Notburga Puskas. TH The Première of Arc-Song was given by Diethelm Jonas (oboe) and Rurie Yamahata (harp) in Trossingen, Germany on 2nd May 2002. Masanori Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風 Judy Ho, harp 何靜⽂文 豎琴

Sonata for saxophone and harp

ANDY SCOTT

Asian Première This three-movement Sonata was composed for flute & harp, written for the Arabesque Duo (Russell Gillespie & Lauren Scott) and recorded on its debut CD ‘Sonata’ in 2002, the world première being given by Clare Southworth and Lucy Wakeford at St. Johns Smith Square, London in 2003. Subsequently recorded by Clare Southworth and Lauren Scott on The Bad Tempered Flute - the flute music of Andy Scott (Nimbus Alliance NI 6156), the Sonata has proved extremely popular in the flute and harp world, most recently being recorded by the German ‘Queens Duo’ on its CD The Art of Imagination. The composer has worked in conjunction with saxophonist Gillian Blair since 2011, creating an alto saxophone part, which was premièred in the saxophone and harp version at the World Saxophone Congress, St.Andrews, Scotland in July 2012, by the Polaris Duo (Gillian and harpist Elinor Nicholson). Since then the Polaris Duo has performed the work extensively and recently filmed a performance of the Sonata. Masanori Oishi, saxophone ⼤大⽯石将紀 ⾊色⼠士⾵風 Judy Ho, harp 何靜⽂文 豎琴

THANK YOU Alan Chau Justin Peggy Wong Ryan Ho Vickie Tsui Royce Chan Cindy Lo

賀肇元 徐錦華 陳柏豪 盧㯋思

William Lane Oxford University Press Kyungpook National University Hong Kong Saxophone Association Hong Kong Ocarina Exchange Association

凌藝廉 ⽜牛津⼤大學出版社 慶北國⽴立⼤大學 ⾹香港⾊色⼠士⾵風協會 ⾹香港陶笛交流協會

Tsung Tsin Christian Academy Hong Kong Recorder Workshop Consulate General of the Republic of Korea in Hong Kong

基督教崇真中學 ⾹香港⽊木笛⼯工作室 韓國駐⾹香港總領事館

Concert Producer: Kristoffer To, Yip Kim Fung

⾳音樂會監製:杜正謙、葉劍峰

Rhythmic acknowledges with thanks the participation of Hojung Kim, cellist, made possible by Kyungpook National University.

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UPCOMING CONCERTS KA LAP AND FRIENDS II SHATIN TOWN HALL CULTURAL ACTIVITIES HALL 01.09.2016 THURSDAY 8:00PM WONG KA LAP, JOSEPH WU, SALLY LAW, JANICE LUI, CHAN WAI BUN, STEPHEN HUNG, ROD YU

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AN EVENING WITH GABRIELLE YUEN HONG KONG CITY HALL RECITAL HALL 03.09.2016 SATURDAY 8:00PM GABRIELLE YUEN, ROD YU

OUR MUSIC TALENTS SERIES SHEUNG WAN CIVIC CENTRE LECTURE HALL 09.12.2016 FRIDAY 8:00PM SYMMETRY DUO: JUDY HO, JENNIFER HO

CONTACT US

TEL: +(852) 6176 4781 EMAIL: rhythmichk@gmail.com FACEBOOK: www.facebook.com/rhythmichk/

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Profile for rhythmichk

Classics to Moderns house programme  

25/8/2016 Lecture Hall, Sheung Wan Civic Centre, Sheung Wan, Hong Kong

Classics to Moderns house programme  

25/8/2016 Lecture Hall, Sheung Wan Civic Centre, Sheung Wan, Hong Kong

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