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MIGRATION IN HONG KONG

SHEUNG WAN CIVIC CENTRE LECTURE HALL 03/01/2017 8:00 p.m.

Presented by:


場地規則 各位觀眾, 為了令⼤大家對今次演出留下美好印象,請切勿在場內錄⾳音、︑錄影或攝影,亦請勿吸 煙或飲食。︒在節⽬目開始前,請關掉⼿手提電話、︑其他響鬧及發光的裝置。︒多謝各 位合作。︒ House Rules Dear Patrons, In order to make this performance a pleasant experience for the artists and other members of the audience, please refrain from recording, filming or taking photographs, as well as smoking, eating or drinking in the auditorium. Please also ensure that your mobile phones and any other sound and light emitting devices are switched off before the performance. Thank you for your kind cooperation. 演出長約1⼩小時10分鐘,不設中場休息。︒ The programme will last approximately 1 hours 10 minutes without an interval. 節⽬目如有更改,恕不另⾏行通告。︒ Programmes are subject to change without prior notice.



Programme J.S. BACH

Sonata for solo violin No.1 in G minor BWV 1001, Adagio

Karlheinz STOCKHAUSEN In Freundschaft (1977) Hong Kong Première Chin Ting Patrick CHAN

Shape of Wind (2014) World Première

Kristoffer TO

Another Life (2016) World Première

Chin Ting Patrick CHAN

Fractals (2016) World Première

Chun Ting Rupert PANG

Notturno con Fuoco (2016) World Première



Programme Notes Johann Sebastian BACH (1685-1750) Title: Sonata for solo violin No.1 in G minor BWV 1001, Adagio Instrumentation: violin Year: 1720 Duration: 5’ Bach begins his Sonatas and Partitas for Solo Violin (BWV 1001-6) with a warm, resonant four-voiced G-minor chord. This initial sonority, with its two open strings, has become iconic not only for the G-minor sonata and for Bach’s solo violin works, but also for violin music in general. Bach accomplishes in excluding all accompaniment instruments from these solo violin works, especially given the universal nature of the continuo part in early 18th-century textures. In excluding accompaniment, Bach was confronted with the challenging task (no less for the performer) of including the basso continuo within the violin part itself. In doing so, Bach had to treat the violin as a polyphonic instrument, one capable of playing full, multi-voice textures and of suggesting multiple, independent voices simultaneously. In movements like the Adagio from the G-minor Sonata, Bach accomplishes this by placing a continuously unfolding rhapsodic improvisation over a supporting bass line with standard thoroughbass motions or patterns. This is indicative of a common compositional practice during Bach’s time and that is outlined in Bach’s favourite thoroughbass treatise, Friedrich Erhard Niedt’s Musicalische Handleitung (1700), namely that composition is the art of realizing and elaborating upon an underlying thoroughbass line. Bach’s truly polyphonic approach to the violin is made further apparent in the autograph score, where Bach gives each note in the violin multiple-stops a separate stem and often even a different rhythmic value. Karlheinz STOCKHAUSEN (1928–2007) Title: In Freundschaft Instrumentation: clarinet Year: 1977 Duration: 13’ Originally composed for clarinet, In Freundschaft (In Friendship) was conceived as a piece for any melodic instrument. It is one of Stockhausen’s most studied works among soloists. According to Stockhausen, the title does not only mean that the piece is dedicated to Suzanne Stephens in friendship, but also that many other friendships among musicians have developed through this music. In Freundschaft has three layers in total: upper, middle, and lower. The middle layer is a trill in the middle register that is interjected, functioning as a bridge between the upper and lower layers. These musical layers should also be elucidated by the directions of playing the instruments: to one side, to the other side, and in front of the body. The composer himself mentioned the piece should be played from memory.


Chin Ting Patrick CHAN (b.1986) Title: Shape of Wind Instrumentation: violin Year: 2014 Duration: 7’30 The wind is not an object like water. It is the movement of air, just like current is the movement of water. This movement of air is an ever-evolving phenomenon that can transform air into different forms and shapes. It can carry elements like water, sand or bigger objects to battle gravity. In Shape of Wind, the wind carries sound. 


Written for and dedicated to violinist Yu-Fang Chen, the pitch relationships in this piece reflect an interpretation of Yu-Fang’s name mapped to both the tempered and quarter-tone scales. The gestures are inspired by the shape of wind as elements are carried by the wind to create visuals like a tornado, a typhoon or a sand storm. This piece depicts the movement of wind sonically and gesturally. PC Kristoffer TO (b.1990) Title: Another Life Instrumentation: violin Year: 2016 Duration: 9’ The process of composing always feels like the start of a long walk in unknown territory for me. The starting point here was in fact from my Trio for flute, clarinet and violin composed back in 2015, where the flute was amplified with the exact set-up as tonight; and my impressions from Cornwall and Tai Long Wan in the Southern District of Hong Kong Island, China. The sounds that we hear are inextricably linked to the strong winds and surroundings of the said locations. I want to recapture these moments and to create Another Life for nature. This work is written for and dedicated to Yu-fang Chen. KT Chin Ting Patrick CHAN (b.1986) Title: Fractals Instrumentation: violin and clarinet Year: 2016 Duration: 12’ Chaos Theory I - Cantor Set - Expanding Symmetry I - Canon - Expanding Symmetry II - Chaos Theory II The term “fractal” was first used by mathematician Benoît Mandelbrot in 1975. It was based on the Latin term frāctus, meaning “broken” or “fractured.” Mathematically driven by recursion, a fractal is a never-ending pattern. It can evolve into complex patterns that are self-similar across all scales in an ongoing feedback loop. It serves as the basis for chaos theory, which examines the behaviour of dynamic systems that are highly sensitive to initial conditions, causing a response popularly known as the butterfly effect. Fractals are also widely observed in nature in forms such as clouds,


trees, mountains, seashells, etc. It is the imageries of such spectacular fractal designs and the theories behind them that inspired this composition. PC Chun Ting Rupert PANG (b.1983) Title: Notturno con Fuoco Instrumentation: violin and clarinet Year: 2016 Duration: 11’ In the title, the composer intentionally brought "Notturno" and "con fuoco" together to represent two contrasting musical ideas. They develop individually and occasionally become one. High pitches emerge and disappear along with the changes in bowing positions by the violin. The clarinet produces outbursts beneath with a variety of multiphonics. Materials recur and evolve in an extremely economic manner to create a simple but rich soundscape. RP 


Composers Karlheinz STOCKHAUSEN Stockhausen composed 376 individually performable works. From 1977 to 2003 he composed the cycle of operas LICHT (LIGHT), The Seven Days of the Week, which comprises about 29 hours of music. All of the seven parts of this music-theatre work have had their staged world premières: DONNERSTAG (THURSDAY) in 1981, SAMSTAG (SATURDAY) in 1984, and MONTAG (MONDAY) in 1988, all three produced by the Teatro alla Scala in Milan; DIENSTAG (TUESDAY) in 1993 and FREITAG (FRIDAY) in 1996, both at the Leipzig Opera, SONNTAG (SUNDAY) in 2011, at the Cologne Opera. With MITTWOCH (WEDNESDAY), the Birmingham Opera Company presented the last day of the LICHT heptalogy on Wednesday, August 22nd 2012. After LICHT, Stockhausen intended to compose the hours of the day, the minute and the second. He began the cycle KLANG (SOUND), The 24 Hours of the Day, and until his death in December 2007, he composed the 1st Hour HIMMELFAHRT (ASCENSION) to the 21st Hour PARADIES (PARADISE). Stockhausen started composing in the early 1950s. Already the first compositions of "Point Music" such as KREUZSPIEL (CROSS-PLAY) in 1951, SPIEL (PLAY) for orchestra in 1952, and KONTRA-PUNKTE (COUNTER-POINTS) in 1952/53, brought Stockhausen international fame. Fundamental achievements in music since 1950 are indelibly imprinted through his compositions: The "Serial Music", the "Point Music", the "Electronic Music", the "New Percussion Music", the "Variable Music", the "New Piano Music", the "Space Music", "Statistical Music", "Aleatoric Music", "Live Electronic Music"; new syntheses of "Music and Speech", of a "Musical Theatre", of a "Ritual Music", "Scenic Music"; the "Group Composition", polyphonic "Process Composition", " Moment Composition", "Formula Composition" to "MultiFormula Composition"; the integration of "found objects" (national anthems, folklore of all countries, short-wave events, "sound scenes", etc.) into a "World Music" and a "Universal Music"; the synthesis of European, African, Latin American and Asian music into a "Telemusic"; the vertical " Octophonic Music”. For more information, please visit: http://www.karlheinzstockhausen.org


Chin Ting Patrick CHAN The music of 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 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 the University of Missouri–Kansas City (D.M.A.), Bowling Green State University (M.M.) and San José State University (B.M.). 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: http://www.chintingchan.com


Kristoffer TO Born in Hong Kong, 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 MA in Composition under Dr Thomas Simaku, kindly supported with funding from the Schools Competition Act Settlement Trust.
 


Recent years saw premieres of In the Distance for ISCM World Music Days in March 2016; Untitled for the Zodiac Music Academy & Festival (Artistic Director: Kliment Krylovskiy) in July 2015; Gamma in November 2013, performed by Octandre Ensemble in London. 


Over the years, To’s music has been performed by prestigious ensembles and musicians such as AMGA Ensemble, Kreutzer Quartet, Ricochet Ensemble, Berkeley Ensemble, Octandre Ensemble, Quatuor Diotima, Callie Brennan, Zachariah Reff, Gabrielle Yuen, Marielle le Monnier, James Whittle and Giacomo Pozzuto. 


To had studied with renowned composers such as Alain Bancquart, Michael Jarrell, Isabel Mundry, Igor Shcherbakov, Sviatoslav Krutykov, Nicola LeFanu, Michael Berkeley and Sally Beamish. To's cello piece In the Distance has gained Diploma of Merit in the 16th Edition of the Tournoi International de Musique (Italy). Moreover he was also 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: http://www.kristofferto.com


Chun-ting Rupert PANG Pang is a Hong Kong composer whose music has been performed by various foremost musicians and ensembles including Thierry Miroglio, Hong Kong Philharmonic Orchestra, Arditti Quartet, Ensemble Linea, Israel Contemporary Players, Quatuor Makrokosmos and Ensemble Ascolta. After graduating from the Hong Kong Academy for Performing Arts, he furthered his studies at New England Conservatory and University at Buffalo, State University of New York under the support of various scholarships. His primary teachers include Dr. David Felder, Prof. Malcolm Peyton and Prof. Law Wing-fai. Pang has received additional training from renowned composers including Chaya Czernowin, Brian Ferneyhough, Jukka Tiensuu and Augusta Read Thomas during his residencies at Dian Red Kechil International Young Composers Residency, Royaumont Voix Nouvelles, Sävellyspaja and Composers Conference at Wellesley College. Regarding his musical interest, Pang's recent outputs focus on the production of unstable sounds through the combination of pitch-based and noise-based materials. His current projects include a guitar-contrabass duo for Jake Church and Simon Eastwood and a string quartet for Castle of Our Skins. For more information, please visit: http://soundcloud.com/chuntingpang


Performers Yu-Fang CHEN A native of Taiwan, Dr. Yu-Fang Chen is the Assistant Professor of Music – Violin/ Viola at Washburn University, U.S.A. She received her Doctoral of Musical Arts degrees on both violin and viola from the University of Missouri-Kansas City in 2013. As a sought-after performer and pedagogy, Dr. Chen has been invited to teach and perform at various music festivals, including the Sunflower Music Festival and the Heartland Chamber Music Academy in U.S.A. and the InterHarmony International Music Festival in Italy. Dr. Chen has won numerous awards and competitions and her career as a performing artist is extensive. Her international performing career has taken her to Hong Kong, Malaysia, Singapore, Russia, South Africa, Estonia, German, Finland, France, Italy and the United States, and she continues to perform as a guest musician internationally with various concert artists, chamber ensembles, and orchestras. Her recent engagements as concerto soloists include works by Beethoven, Bach, Mozart, Mendelssohn, Walton, and Tchaikovsky and performances with Kansas City Civic Orchestra, Washburn Symphonic and string Orchestra, and the Philharmonia of Kansas City, etc. Dr. Chen was a member of the Kansas City Symphony, the Wisconsin Chamber Orchestra, the Des Moines Symphony Orchestra and the Academy of Taiwan. She has worked with renowned soloists and conductors, such as Pinchas Zukerman, Yefim Bronfman, Christoph von Dohnanyi, and Seiji Ozawa, just to name a few. In the upcoming season, Dr. Chen and the piano trio she co-founded, Piano Trio Con Spirito, will be the featured artists for the Kansas Music Educations Association Convention, the Ball State University Festival of New Music, the Washburn International Chamber Music Festival, the Pittsburg Chamber Music Festival, and the Ruel Joyce recital series, etc. As an enthusiastic performer of contemporary music, she has commissioned and premiered many compositions by living composers. Her recording of Dr. Chin Ting Chan’s Shape of Wind will be published by ABLAZE Records in the Spring of 2017. For more information, please visit: http://yufangchen.weebly.com


陳⽟玉芳 旅美⼩小提琴、︑中提琴家陳⽟玉芳於⼆二零零五年畢業於台灣國⽴立臺北藝術⼤大學管弦 與擊樂研究所,同年獲得最⾼高獎助學⾦金進入美國密蘇⾥里⼤大學堪薩斯城分校攻讀 ⾳音樂藝術博⼠士學位,師承 Benny Kim 及 Scott Lee 教授。︒於⼆二零⼀一三年取得⼩小提 琴及中提琴雙博⼠士學位 。︒ 陳⽟玉芳曾任職於威斯康⾟辛室內樂團、︑德梅因交響樂團、︑以及榮獲葛萊美獎的堪 薩斯城交響樂團,現為美國華盛本⼤大學專任⼩小提琴及中提琴助理教授,並且多 次獲邀任教於歐、︑美國際⾳音樂節。︒ 陳⽟玉芳近年來致⼒力於推廣古今中外經典室內樂作品以及現代⾳音樂,並且多次委 託創作及演出現今活躍於國際舞台青年作曲家之作品。︒除了教學以外,陳⽟玉芳 活躍於獨奏、︑室內樂、︑以及樂團等形式的演出,其演出⾜足跡遍及歐、︑美、︑亞、︑ 非各⼤大洲。︒
 http://yufangchen.weebly.com



Pei-Lun TSAI A versatile clarinetist, Dr. Pei-Lun Tsai has performed widely as a soloist and chamber musician throughout the United States, Canada, China, Korea, Europe and her native Taiwan. In 2014-2015, Tsai was an artist in residence at Karlheinz Stockhausen Foundation. During 2011 to 2014, Dr. Tsai was also an artist in residence at the Banff Music Centre, Canada. Lately, she was invited to give lectures in Beijing Central Conservatory of Music, Shanghai Conservatory of Music, and Thailand International Composition Festival (TICF). In 2014, she was also invited to perform in Seoul International Computer Music Festival, also as a guest clarinetist to present a lecture performance in ICA Mid-American Clarinet Festival. In 2015 Fall, Tsai will release her second recording, Schoenberg: Pierrot Lunaire Op.21. Also, the commissioned work of Mirage for flute, clarinet and percussion (2013) has been selected for inclusion in ABLAZE Records' Millennial Masters CD recording series, which will release in 2016. 


In 2011, Dr. Tsai served as an adjunct clarinet instructor and chamber music instructor at University of Missouri-Kansas City. Also, she was a clarinet instructor at University of Missouri Kansas City-Community Academy. She holds degrees from the University of Missouri–Kansas City (D.M.A.),Northwestern University (M.M.) and Taipei National University of the Arts (B.M.). Her mentors have included Jane Carl, Steve Cohen, William Chen, Pei-Yun Lin, and Wei-Te Sung. She has had additional studies with Henk Guittart and Suzanne Stephens. 


Currently, Dr. Tsai teaches at Tokyo Chinese School and Christian in Academy Japan. For more information, please visit: http://pei-luntsai.weebly.com


蔡佩倫 蔡佩倫,⼀一九八六年出⽣生於⽇日本福岡市,是臺灣單簧管演奏家及室內樂演奏家, 活躍於臺灣、︑⽇日本、︑美國、︑中國各地,並致⼒力於現代⾳音樂演奏及教學相關活動。︒ 蔡佩倫於⼆二零⼀一⼆二年榮獲第⼗〸十八屆「⽇日本沖繩新⼈人演奏會」第⼆二名優秀新⼈人獎。︒ 她⾃自⼆二零⼀一⼀一年起活躍於國際樂壇,在⼆二零⼀一⼀一至⼆二零⼀一三年間,受邀擔任加 拿⼤大班芙藝術中⼼心 (Banff Centre for Arts and Creativity) 駐節藝術家︔;並於⼆二零⼀一 四年受邀至德國科隆史托克豪森基⾦金會 (Stockhausen Foundation) 研究及錄製史 托克豪森的作品。︒她近年來應邀於亞洲作曲聯盟 (Asian Composers League)、︑泰 國國際作曲⾳音樂節 (Thailand International Composition Festival)、︑⾺馬來西亞當代⾳音 樂節 (Malaysian Contemporary Festival)、︑上海及北京⾳音樂院、︑美國國際單簧管⾳音 樂節 (MidAmerican Clarinet Festival)、︑韓國⾸首爾國際電腦⾳音樂節 (Seoul International Computer Music Festival) 等重要⾳音樂活動演出。︒ 蔡佩倫曾師事宋威德教授、︑林佩筠教授。︒⼆二零零八畢業於國⽴立臺北藝術⼤大學⾳音 樂系,師事陳威稜教授。︒⼆二零⼀一⼀一年畢業於美國西北⼤大學 (Northwestern University) ⾳音樂系研究所,師事史帝芬.柯恩 (Steven Cohen) 教授。︒⼆二零⼀一五年 畢業於密蘇⾥里⼤大學堪薩斯分校 (University of Missouri-Kansas City),以全額獎學 ⾦金完成博⼠士學位,師事珍.卡爾 (Jane Carl) 教授。︒除了是專業演奏家,蔡佩倫 也致⼒力於⾳音樂教育推廣。︒在留美期間,她除了攻讀學位,也於密蘇⾥里⼤大學堪薩 斯分校 (University of Missouri-Kansas City) 擔任單簧管助理教師、︑室內樂講師, 並於密蘇⾥里⼤大學社區藝術學院 (UMKC Community Music and Dance Academy) 教 授單簧管。︒她⽬目前旅居⽇日本,並任教於國際基督學院⽇日本分校 (Christian Academy in Japan) 及東京中華學校 (Tokyo Chinese School)。︒ http://pei-luntsai.weebly.com



About Us Rhythmic was established in late 2014 by a group of musicians who are devoted to helping children in need. On one occasion, the group were discussing their prospects when they came across children who lacked opportunities, such as those from poor or low socioeconomic status families and what could be done for them. These musicians tuned in right away and Rhythmic was born. In the future, Rhythmic will continue to hold concerts. The revenue from ticket selling will be considered for donations, and will be used for maintaining voluntary service expenses such as transportation subsidies. We are actively seeking opportunities to broaden our reach; for instances, we have approached different community centres, orphanages, and churches in hopes of collaborating with them to hold free instrumental or music appreciation classes. Through these classes we hope to spread our love for music to these children; also, to find and nurture those who show talent in music. We are currently expanding our volunteer team to provide musical or instrumental training. We welcome any like-minded friends to join us. We believed that music can bring positive change to our children and we firmly believe that every one of them is our future. By raising society’s awareness of these underprivileged children, we could make a brighter future. 躍韻是由⼀一班志向幫助有需要學童的⾳音樂家於⼆二零⼀一四年底成⽴立。︒⼀一次 偶然的機會下,⼀一班年青的⾳音樂家分享⼤大家對未來的展望時,談及到⼀一 些缺乏機會的孩⼦子、︑社經地位較低如低收入家庭等,⼤大家⼀一拍即合,並 決⼼心為他們「做點事」。︒ 在未來,躍韻將繼續舉⾏行不同的⾳音樂會,把售票的收入作為捐款及維持 義⼯工服務的開⽀支。︒我們亦努⼒力與不同的社區中⼼心、︑孤兒院、︑教會等聯繫, 望為有需要的孩⼦子舉辦免費的⾳音樂課或⾳音樂鑒賞班,尤其那些對⾳音樂有 潛質的孩⼦子。︒我們正拓展我們的義⼯工隊伍,為學童提供⾳音樂訓練,亦歡 迎志同道合的朋友加入我們。︒ 我們深信⾳音樂能為孩⼦子帶來美好的改變,更加深信每⼀一個孩⼦子都是未來 的棟樑,引起社會對這些孩⼦子的關注,共同創出更美好的未來。︒



Acknowledgment Ball State University Stockhausen-Stiftung für Musik Prism Creation Limited Kwang Hwa Information and Culture Centre Taipei Economic and Cultural Office Hong Kong Composers’ Guild Hong Kong Academy for Performing Arts Kathinka Pasveer

美國波爾州⽴立⼤大學 史托克豪森基⾦金會 棱創意有限公司 光華新聞⽂文化中⼼心 台北經濟⽂文化辦事處服務組 ⾹香港作曲家聯會 ⾹香港演藝學院

Concert Producer: Kristoffer To

⾳音樂會監製:杜正謙

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

Profile for rhythmichk

Migration in Hong Kong house programme  

3/1/2017 Lecture Hall, Sheung Wan Civic Centre, Sheung Wan, Hong Kong

Migration in Hong Kong house programme  

3/1/2017 Lecture Hall, Sheung Wan Civic Centre, Sheung Wan, Hong Kong

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