偶樂
DOUBLE MUSIC
17 APR
四 月
2015｜FRI 五｜20:00
Hong Kong New Music Ensemble 香港創樂團 HKU Percussion Ensemble 香港大學擊樂團 HKU Gamelan 香港大學嘉美蘭
Grand Hall Lee Shau Kee Lecture Centre The University of Hong Kong 香港大學李兆基會議中心大會堂
Welcome to the Grand Hall. Thank you for coming to the concert. To ensure that everyone enjoys the music, please switch off your mobile phones and any other sound and light emitting devices before the performance. Unauthorized photography, audio and video recordings in the Hall are prohibited. Enjoy the concert and come again. Jointly presented by
香港創樂為藝發局資助團體
Hong Kong New Music is financially supported by the ADC
Supported by
香港創樂為藝發局資助團體
Hong Kong New Music is financially supported by the ADC
Thank you to the following patrons who have sponsored the concert through the Fringebacker campaign:
Margarette Lung Christinenconcerts Anonymous (2)
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PROGRAMME 節目 Hong Kong New Music Ensemble 香港創樂團 HKU Percussion Ensemble 香港大學擊樂團^ HKU Gamelan 香港大學嘉美蘭 I Gusti Ngurah Adi Putra 古斯蒂奧拉．阿迪布特拉
Mo Meng 無名
Kristofer Svensson 基斯杜化．史芬遜
Ír Himinn, Grœnn 汝爾蒼穹（World Premiere 世界首演）
John Cage Lou Harrison 約翰．凱奇 盧．哈里森
Double Music 偶樂
Slamet Abdul Sjukur 斯拉梅．舒庫爾
GAME-Land No. 5, II 第五號戲遊嘉美蘭第二樂章
Fung Dic-lun 馮迪倫
Everlasting Blossoms in the Spring Breeze 散華舞春風（World Premiere 世界首演）#
HKU Gamelan 香港大學嘉美蘭
Heidi Law 羅鐙欣, percussion 敲擊樂 Vicky Shin 冼宏基, percussion 敲擊樂 Louis Siu 邵俊傑, percussion 敲擊樂 Linda Yim 嚴翠珠, piano 鋼琴 John Winzenburg 文盛伯, conductor 指揮
Nicole Cheng 鄭嘉堯, percussion 敲擊樂^ Cheryl Hui 許穎晞, percussion 敲擊樂^ Heidi Law 羅鐙欣, percussion 敲擊樂 Vicky Shin 冼宏基, percussion 敲擊樂
Linda Yim 嚴翠珠, piano 鋼琴
HKU Gamelan 香港大學嘉美蘭 William Lane 凌藝廉, viola 中提琴 John Winzenburg 文盛伯, conductor 指揮
Claude Vivier 克勞德．維威亞
Pulau Dewata 神明的島嶼
Joyce Wai-chung Tang 鄧慧中
Resonance 共．鳴（World Premiere 世界首演）#
Heidi Law 羅鐙欣, percussion 敲擊樂 Vicky Shin 冼宏基, percussion 敲擊樂 Louis Siu 邵俊傑, percussion 敲擊樂 Linda Yim 嚴翠珠, piano 鋼琴 John Winzenburg 文盛伯, conductor 指揮
HKU Gamelan 香港大學嘉美蘭 Loo Sze Wang 盧思泓, sheng 笙 John Winzenburg 文盛伯, conductor 指揮
# Commissioned by HKU Gamelan in 2015 with sponsorship from CASH Music Fund 此作品於2015年由香港大學嘉美蘭委約，費用由香港作曲家及作詞家協會轄下的「CASH音樂基金」贊助
Programme Notes Mo Meng 無名 (2002) I GUSTI NGURAH ADI PUTRA 古斯蒂奧拉．阿迪布特拉 Balinese composer I Gusti Ngurah Adi Putra wrote this work for the HKU Gamelan's performance at the Bona Festival of Music and Art in January 2002. The festival was organised by the composer and featured prominent Balinese gamelan ensembles and dancers performing in an outdoor concert that extended into the early hours of the morning. The festival commemorated HKU Gamelan's first trip to Bali, where the gamelan members studied with local musicians and dancers. The work has become a favourite of the ensemble and is performed tonight by HKU alumni, staff, and students. 此曲是由峇里作曲家古斯蒂奧拉．阿迪布特拉創作，為香港大學嘉美蘭2002年1月 赴博納音樂藝術節演出而寫。該藝術節由阿迪布特拉發起，不少傑出的峇里嘉美蘭 和舞者參與演出，音樂會在室外舉辦，從晚上一直演奏到清晨。該次演出為香港大 學嘉美蘭首次到訪峇里，與當地音樂家和舞蹈家作學術研究和交流，別具紀念價 值。此作亦為樂團最受歡迎的作品之一，今晚將由香港大學的校友、教師和學生合 作演出。 （Deborah Waugh
中文翻譯：香港大學翻譯系三年級學生何韞彤）
Ír Himinn, Grœnn 汝爾蒼穹 (2014) KRISTOFER SVENSSON (1990 - ) 基斯杜化．史芬遜 The title is in Old Norse and means roughly ‘you, the sky – green’. It refers to the green colour of the sky in connection with great storms. Every time I think of this piece the idea of a thunderbolt or vajra enters my mind. The gamelan instruments played in this piece were built according to my own design by the Sundanese instrument builder Asep ‘Dede’ Ahum in West Java. These instruments are neither tuned to a Western nor Indonesian scale, but a completely original scale I discovered. The piano is tuned to this scale as well, and is further modified by having slats of bamboo and pieces of rubber inserted between its strings to make a more lush and natural sound. 此曲曲名是古挪威語，大概是「你、天空 – 綠」的意思。樂曲講述天色轉綠時與風 暴的連繫。每次當我想起這首歌，腦海中便浮現雷電交加的意象。樂曲中使用的敲 擊樂器是我特別設計、由一位在西爪哇的巽他樂器師傅Asep ‘Dede’ Ahum製造。這 些樂器並非以西方或印尼音樂的音階調音，而是依循一組完全原創的音階。演奏用 的鋼琴也是按這組音階調音，並把竹條板和橡膠塊置於弦線之間，以製造出更加原 始和貼近大自然的聲音。
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About the Composer 作曲家介紹： Kristofer Svensson studied the gamelan in West Java in 2013 and 2014 and performed in various festivals around the island, including the Braga Festival in Bandung where he played shakuhachi (an instrument he has been studying with kinko-ryu- master Gunnar Jinmei Linder) with the kecapi musician Ade Svensson’s World Music Ensemble. Svensson’s music has been performed by orchestras such as the Swedish Wind Ensemble and Musica Vitae, and performers such as Hugo Ticciati, Mats Persson, and Kristine Scholz at concerts and festivals in Sweden and Lithuania. He is currently studying the guqin under Yung Hak-chi as well as pursuing a M.Phil. degree in composition at the University of Hong Kong. 2013至2014年間，基斯杜化•史芬遜遠赴印尼爪哇島研究嘉美蘭，在島上參與多場音樂節演出。其 中在萬隆舉行的布拉加節中，他與印尼琴樂手埃德•舒柏曼合作，彈奏sakuhachi－－一種他正從金 梅•林達學習的樂器。史芬遜的樂曲曾經由瑞典管樂團和Musica Vitae演繹，亦曾在瑞典和立陶宛的 音樂和節日中，由烏戈•狄茲亞堤、馬特斯•佩爾森和基斯汀•肖爾茨奏出。目前他從容克智學習 古琴，同時在香港大學修讀哲學碩士課程。 （Kristofer Svensson
中文翻譯：何韞彤）
Double Music 偶樂 (1941) JOHN CAGE (1912 - 1992) 約翰．凱奇
LOU HARRISON (1917 - 2003)
盧．哈里森
Double Music , co-written by John Cage and Lou Harrison, is one of those rare cases of collaborative works in classical music. Cage and Harrison, two of the most inventive minds in American contemporary music, met each other in San Francisco when both were working there as musicians with dance companies. The two shared the common interest in Asian music and percussion music, for which at the time the repertoire was quite limited. In 1941 they decided to write a percussion quartet, Double Music , wherein each would write the music for only two of the players. Harrison later remembered the process: "We agreed to use a specified number of rhythmic motives, which could be put together in any combination. Then we shaped the full length of the piece in half notes. We wrote separately and then put it together and never changed a note. We didn't need to." The instruments in Double Music are primarily metallic, and they make a web of both delicately and forcefully clanging sounds, a bizarre kind of non-pitched gamelan sonority. Since its premiere, Double Music has gained the status as one of the most influential pieces in American music history, both for indicating Cage's early development of ‘indeterminacy’, and as one of the very first leading repertory pieces for percussion ensemble. 約翰．凱奇及盧．哈里森合寫的《偶樂》是古典音樂史上罕有的集體創作。兩位美 國現代音樂界屢屢打破常規的作曲大師凱奇和哈里森在三藩市認識，當時二人皆在 當地的舞蹈團任樂手。兩人同樣對東方音樂及敲擊樂有濃烈興趣，後者的曲目在當 時並不常見。1941年兩人決定合寫一首敲擊樂四重奏：《偶樂》由兩位作曲家各人 負責譜寫其中兩個分部。哈里森後來憶述創作過程：
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「我們同意使用某些可任意組合的特定節奏形態，然後我們以二分音符去區劃 整首樂曲的時間佈局。我們各自寫作，然後將成果湊合，沒改變一個音符、也 沒有需要。」 《偶樂》裡所用的主要為金屬樂器，各種鳴響交織，細緻而富力量，猶如沒有了音 高的嘉美蘭的奇異聲響。《偶樂》預示了凱奇後來發展的「機遇音樂」，也成為敲 擊樂曲目中的重要作品，因此自首演以來，即成為了美國音樂史上其中一首極具影 響力的大作。 （Charles Kwong 鄺展維）
GAME-land No. 5 第五號戲遊嘉美蘭 (2012) SLAMET ABDUL SJUKUR (1935 - 2015) 斯拉梅．舒庫爾 II. La riviere (the River) 第二樂章「河流」 Widely acclaimed as the founding father of contemporary music in Indonesia, Slamet Abdul Sjukur was one of the most influential figures in the Indonesian music scene as a prominent composer, teacher, scholar, and music critic. A native Javanese, Sjukur received his early musical training in Indonesia and later studied with Olivier Messiaen and Henri Dutilleux in Paris. His music pays respect to his traditional Indonesian roots and also European contemporary styles. Sjukur’s GAME-land series, as the title reveals, embraces ‘gamelan’ as it’s subject and at the same time manifests Sjukur’s numerological approach in composition, what is analogical to a chess game. Previous works in the GAME-land series include very diverse instrumentations ranging from large gamelan ensemble to brass sextet. GAME-land No. 5 , commissioned by the Institut Français d'Indonésie to celebrate the 150th anniversary of Debussy’s birth, is Sjukur’s masterful crystalisation of gamelan music into the minimal scope of a solo performer. Besides the second movement for solo piano, which will be performed tonight, the pianist in the other movements also plays traditional Javanese gongs and a metal slit drum, and uses their voice and hands to produce sounds prescribed in detail by the composer. The different sections found in a traditional Javanese gamelan performance now diverge into discrete sonic constellations that constitute the movements of this work. 斯拉梅．舒庫爾被譽為印尼現代音樂之父，以作曲家、教授、學者及樂評人多重身 份活躍於印尼音樂界，地位舉足輕重。生於爪哇，舒庫爾於印尼開始接受音樂訓 練，後赴巴黎隨梅湘及杜替耶學習。他的音樂結合了印尼傳統及歐洲現代技法，他 的《戲遊嘉美蘭》系列以嘉美蘭為主題，同時顯示出舒庫爾以數字規律衍生、猶如 棋局遊戲的作曲技法，系列中的作品有為嘉美蘭及銅管樂六重奏等不同組合而寫。 《第五號戲遊嘉美蘭》由印尼法文學院委約，為德布西誕辰150周年而寫，舒庫爾 在此作中將嘉美蘭音樂凝聚成一首獨奏音樂。作品除了在今晚演出、只用鋼琴獨奏
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的第二樂章，在其他樂章中鋼琴家還會演奏傳統爪哇銅鑼、金屬鼓、並以兩手及聲 線奏出舒庫爾仔細譜寫的樂聲。傳統嘉美蘭合奏音樂裡常聽到的不同聲部，在此作 分離成各種音群，各自構成不同樂章。 （Charles Kwong 鄺展維）
Everlasting Blossoms in the Spring Breeze (2015) 散華舞春風 FUNG DIC-LUN (1988 - ) 馮迪倫 - for viola and Balinese gamelan gong kebyar 為中提琴及峇里嘉美蘭而作
Kebyar literally means ‘the process of flowering’ in Balinese. This characteristic style features sudden bursts of tempo, dynamics, and moods. In this composition, the gamelan parts capture this traditional essence. The melodic materials are based on a Cantonese tune ‘babantau ’, using the fanwan jiahua (‘slowing down and adding flower’ elongation and elaboration) techniques. The blossoms in the title poetically depict the hybrid of the Balinese ‘kebyar ’ style and the Chinese ‘jiahua ’ technique. Everlasting Blossoms in the Spring Breeze was commissioned by HKU Gamelan in 2015 with sponsorship from CASH Music Fund. 「Kebyar」在峇里語中意指「花綻放的過程」。此盛狀透過嘉美蘭音樂中無時無刻 的突變速度、音量及氛圍表達出來。在這作品中仍然保留著這點傳統的味道。至於 旋律素材是以「放慢加花」手法來重構廣東音樂《八板頭》。題中的「散華」正正 是指峇里的「kebyar」及中樂的「加花」手法，充分表達出這兩個不同文化裏的華 彩雙雙盛放的過程。 此作品於2015年由香港大學嘉美蘭委約，費用由香港作曲家及作詞家協會轄下的 「CASH音樂基金」贊助。 About the Composer 作曲家介紹： Fung Dic-lun is currently a Ph.D. candidate (music composition) under the supervision of Prof. Chan Hing-yan at the University of Hong Kong. Fung has achieved several international awards, including 2nd prize in Sayat Nova International Composition Competition (2014), honourable mention in the Atlas Ensemble Composition Competition (2014), 3 rd runner-up in the 10th Luxembourg Sinfonietta International Composition Prize (2013), 3rd prize in the 9th Italy Percussion Competition for Composition (2011), etc. His works are heard in both international and local concerts, including Croatia, the Netherlands, Germany, South Korea, and Indonesia. Fung has also been invited to present new works for EXPO Milano 2015 and St. Petersburg International New Music Festival ’reMusik’. 馮迪倫現於香港大學隨陳慶恩教授研修作曲。馮氏曾獲多項國際獎項：薩亞諾娃國際作曲比賽第二 獎(2014)、阿特拉斯樂隊作曲比賽榮譽獎(2014)、第十屆盧森堡小交響樂團第四獎(2013)、第九屆意 大利敲擊作曲比賽第三獎(2011)。其作品曾於國際及本土音樂會上演出，包括克羅地亞、荷蘭、德 國、南韓及印尼等地。馮氏亦獲邀為2015年米蘭世博及聖彼得堡國際新音樂節譜寫新曲。 （Fung Dic-lun 馮迪倫）
偶 樂 ｜5
Pulau Dewata 神明的島嶼 (1977) CLAUDE VIVIER (1948 - 1983) 克勞德．維威亞 Canadian composer Claude Vivier is widely known for his visionary works that featured texts in an invented language, modal melodies harmonised by a complex overtone series, and shimmering orchestration. Vivier’s visit to Bali in 1976 proved pivotal both artistically and personally, and Pulau Dewata is among the works resulting from the Balinese influence. Dedicated to the McGill Percussion Ensemble, the score of Pulau Dewata does not specify instrumentation, permitting any combination of instruments that suits the ensemble. Vivier describes the work as follows: “Pulau Dewata , whose title means ‘Island of the Gods’ in Indonesian, is a tribute piece to the wonderful Balinese people. The whole piece is merely a melody whose rhythmic language is sometimes drawn from the Balinese rhythmic line. A tribute with memories of this island. The ending of the piece is in fact an exact quotation of the ‘panjit prana ’, the offering dance of the Legong. I wanted a simple piece: monochrome, a short piece above all full of joy, alternating single melodies—‘intervalised’—and complementary melodies in the Balinese style. It is a child’s music.” - Claude Vivier 廣被譽為加拿大迄今最偉大的作曲家，克勞德．維威亞的作品以其前瞻性、獨特語 言、調式旋律、複雜的泛音系列及閃爍的配器技法所見稱。1976年的峇里島之旅 對維威亞有著深刻影響，而《神明的島嶼》是其中一首因此而產生的作品。題獻給 麥基爾敲擊樂隊，《神明的島嶼》沒有指定樂器，樂曲允許任何合適的自由組合演 出。維威亞如此形容樂曲： 「Pulau Dewata 在印尼語中是『神之島』的意思，此曲是向了不起的峇里人的 致敬。 整首樂曲以一條旋律寫成，線條的節奏部份取材自峇里島。這首致敬之作充滿 在島上的回憶，樂曲結尾引用了峇里傳統黎弓舞中獻祭舞蹈的樂曲。 我想寫一首簡單的樂曲：單色，簡短而充滿了喜悅、相互交錯並化為音程的旋 律及和峇里風格的伴奏旋律。這是孩子的音樂。」 - 克勞德．維威亞 （Charles Kwong 鄺展維）
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Resonance 共．鳴 (2015) JOYCE WAI-CHUNG TANG 鄧慧中 - for sheng and Balinese gamelan gong kebyar 寫給笙及峇里嘉美蘭
Resonance , defined as the ‘reinforcement or prolongation of sound by reflection from a surface or by the synchronous vibration of a neighboring object’, figuratively describes the relationship in this piece between the sheng and the Balinese gamelan gong kebyar . Specially written for Loo Sze-wang and the HKU Gamelan, this work is a musical interplay and dialogue between the solo sheng and the gamelan, in which musical materials are shared between them. This piece also inherits some features of traditional gamelan music, including ostinatos, interlocking patterns, and cyclical structure. Resonance was commissioned by HKU Gamelan in 2015 with sponsorship from CASH Music Fund and Hong Kong New Music Ensemble. 「共鳴」一詞指兩物之間因共振而發聲的現象，意指兩物產生交互作用。在作 品《共．鳴》中，此交互作用乃形容笙和嘉美蘭樂器在樂曲中的互動關係。此作品 特別為笙演奏家盧思泓及香港大學嘉美蘭而寫，當中有不少給獨奏者和嘉美蘭樂團 之間的互動音樂素材。本作品亦承傳傳統印尼嘉美蘭音樂的特色，包括不斷重覆的 片段、連鎖樂句和循環結構等特點。 此作品於2015年由香港大學嘉美蘭委約，費用由香港作曲家及作詞家協會轄下的 「CASH音樂基金」及香港創樂團贊助。 About the Composer 作曲家介紹： Joyce Wai-chung Tang’s works have been described by Ablaze Records as “incisive and brilliant... a fresh compositional voice”, and have been premiered and performed worldwide. Her works span orchestral, chamber, solo, vocal, choral, electro-acoustic, and theatre genres. Tang has attracted commissions from organizations and performing groups including the Hong Kong Arts Festival, Hong Kong Sinfonietta, Hong Kong New Music Ensemble, City Chamber Orchestra of Hong Kong, Korean Traditional Performing Arts Foundation, Hong Kong Bach Choir, Hong Kong Composers’ Guild, HKU Gamelan, Collegium Musicum Hong Kong, Contemporary Musiking, Shakespeare4All Hong Kong, and AFTEC. She was also a featured composer in the 2010 Hell Hot! New Music Festival in Hong Kong, and the 2012 Manhattan-Hong Kong Music Festival. Her works are also featured on several CDs, including the Orchestral Masters Series Vol. 1 and Millennial Masters Series Vol. 2 on Ablaze Records, and ICMC CD on October Music. Joyce Tang received her master's degrees in composition and electro-acoustic music from Hong Kong Baptist University. She also received a Ph.D. in musicology from The University of Hong Kong. She currently teaches at the University of Hong Kong and Hong Kong Baptist University. 鄧慧中的作品類型廣泛，包括管弦樂、室樂、獨奏、聲樂、合唱、電聲及劇場音樂等，並獲美國 Ablaze Records形容為「敏銳和卓越……清新的作品」，曾在世界各地發表及廣播。 鄧氏曾獲香港藝術節、香港小交響樂團、 香港創樂團、香港城市室樂團、韓國傳統表演藝術基金 會、香港巴赫合唱團、香港作曲家聯會、Collegium Musicum Hong Kong、現在音樂、香港小莎翁 及誇啦啦藝術集匯等藝團及機構委約作曲。她亦為2010年度好熱音樂節及2012曼克頓香港音樂節 的主要作曲家之一。她的作品分別獲Ablaze Records 收錄於《Millennial Masters Series Vol. 2》及 《Orchestral Masters Vol. 1》唱片和見於由October Music 發行的國際電聲音樂會議唱片。 鄧慧中為香港浸會大學文學碩士（作曲）及哲學碩士（電子音樂），並獲香港大學哲學博士學位，主 修音樂學 。她現任教於香港大學及香港浸會大學。 （Joyce Wai-chung Tang 鄧慧中）
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Hong Kong New Music Ensemble 香港創樂團 (HKNME)
The Hong Kong New Music Ensemble (HKNME) was founded in 2008 to present contemporary music to Hong Kong audiences. It has been widely praised for its innovative programming and interdisciplinary collaborations with artists from different mediums. The HKNME has collaborated with organisations including Zuni Icosahedron, Guangdong Modern Dance Company, and Osage Gallery, and often has residencies at universities in Hong Kong and greater China. It has toured to Guangzhou, Chengdu, Shanghai, Macau, Kuala Lumpur, Taipei, Singapore, Hobart, and Angkor Wat. In 2012, the HKNME was named a one-year-grantee by the Hong Kong Arts Development Council. In 2013, it was awarded a project grant under the Arts Capacity Development Funding Scheme of the Home Affairs Bureau for organising ‘The Modern Academy’. The group’s sixth season in 2013-2014 included concerts dedicated to Ligeti, Reich, Romitelli, and Chinese composers, and appearances at the Hong Kong Arts Festival. The HKNME has been Resident Company at the Hong Kong Academy for Performing Arts since 2014, and its 2014-15 season includes concert presentations as part of New Vision Arts Festival, Freespace Fest, Le French May, and Hong Kong Arts Festival. 香港創樂團（HKNME）成立於2008年，旨在為香港觀眾帶來高水平的現代音樂演出。自成立以 來，樂團極具創意的節目製作，以及與來自不同界別藝術家的跨媒介合作計劃受到廣泛讚賞。 香港創樂團曾與進念．二十面體、廣東現代舞團、奧沙畫廊等團體合作，亦曾於香港及中國內 地的大學內任駐校樂團。樂團曾到廣州、成都、上海、澳門、吉隆坡、台北、新加坡、澳洲荷 伯特、柬埔寨吳哥窟等地演出。 2012年，香港創樂團成為藝發局一年資助團體。2013年，樂團獲民政事務局「藝能發展資助計 劃」的項目計劃資助，籌辦「現代學院」。 2013至2014年度，香港創樂團第六樂季的節目包括演奏利蓋蒂、萊許、羅米泰利，以及一眾中 國當代作曲家作品的專場，並在香港藝術節中演出。2014年起，香港創樂團為香港演藝學院駐 校藝團；2014-2015樂季節目包括於新視野藝術節、自由野、法國五月及香港藝術節的演出。 www.hknme.org 8｜D o u b l e M u s i c
HKNME Artists John Winzenburg 文盛伯｜Conductor 指揮 John Winzenburg is an Associate Professor of Music at Hong Kong Baptist University, where he has conducted the Cantoría Hong Kong and the HKBU Choir since 2008. Winzenburg and the Cantoría earned a Gold Medal at the Czech 2010 Festival of Songs Olomouc, and they presented a Weekend Concert at the Concert Hall, National Centre for Performing Arts in Beijing in 2012. Winzenburg also appears regularly in vocal and instrumental performances with the Hong Kong New Music Ensemble. Winzenburg has recently been active as clinician, presenter, and adjudicator at international choral events in Argentina, Korea, the U.S., and Singapore. Winzenburg has premiered a number of noteworthy works, including the U.S. premiere of Karura by Japanese composer Akira Nishimura with renowned oboist Thomas Indermühle, Aurora by Joyce Wai-chung Tang (available on the Ablaze Records Millenium Masters series), the cantata Anesti by James Boznos, and new compositions for Indonesian gamelan, percussion, and piano with the HKU Gamelan. Scholastically, Winzenburg’s international publications include Perspectives of New Music, Palgrave Macmillan, The University of Michigan Press, Twentieth-Century China, Asian Music, CHIME, and the Journal of the Central Conservatory of Music . Winzenburg is the editor of the new Edition Peters anthology Half Moon Rising: Choral Music from Mainland China, Hong Kong, Singapore and Taiwan. 文盛伯博士現任香港浸會大學副教授，自2008年起擔任浸大室樂合唱團及浸大合唱團指揮。 文氏帶領浸大室樂合唱團在2010年捷克「歐洛慕奇歌唱音樂節」贏得室樂合唱團組別金獎， 並於2012年在北京國家大劇院的周末音樂會「中外合唱新聲」中獻唱。文氏經常與香港創樂 團演出聲樂和器樂作品，並在阿根廷、韓國、美國、新加坡擔任工作坊講者、主持人、國際合 唱賽事評委等工作。文氏曾與著名雙簧管演奏家湯馬士．英德繆勒合作，指揮日本作曲家西村 朗在美國首演作品《迦樓羅》。文氏指揮的首演作品還包括鄧慧中的《極光》（錄音現於Ablaze Records Millenium Masters series發行）、龐樂思的清唱劇《復生》及一系列香港作曲家為印尼嘉 美蘭音樂、敲擊樂及鋼琴而創作的作品。在學術研究方面，文氏的音樂研究在多個國際會議中 發表及在期刊出版，包括《新音樂視角》、Palgrave Macmillan、密西根大學出版社、《二十世紀 音樂》、《亞洲音樂》、《CHIME》、《中央音樂學院學報》等。文氏是新彼得斯出版社之音樂選 集《Half Moon Rising》的編輯者 。
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William Lane 凌藝廉｜Viola 中提琴 William Lane performs as a soloist, orchestral player, and chamber musician all over Australasia, Asia, Europe, and North America. Lane studied under Jan Sedivka (Australia), Bruno Giuranna (Italy), and Garth Knox (France), as well as in Germany at the International Ensemble Modern Akademie, and in Switzerland at the Lucerne Festival Academy under Pierre Boulez. Lane has taught at universities in Australia, the U.S., the U.K., Mexico, Ireland, and China. Lane was Principal Viola of Ensemble Resonanz, a member of the Hong Kong Philharmonic Orchestra, and guest violist of Ensemble Modern, City Chamber Orchestra of Hong Kong, and the Lucerne Festival Strings. Lane is currently a member of the Anonymous Quartet (Hong Kong) and is Founder / Artistic Director of the Hong Kong New Music Ensemble, China’s premiere new music group resident at the Hong Kong Academy for Performing Arts. He was awarded the 2013 Award for Young Artist (Music) from the Hong Kong Arts Development Council. 凌藝廉以獨奏家、樂團成員、室樂音樂家身份於澳大拉西亞、亞洲、歐洲、北美洲各地演出， 師承珍．薛迪卡夫（澳洲）、布魯諾．招納蘭（意大利）、加夫．諾斯（法國），並曾於德國 現代室樂團國際學院及在布列茲主持的瑞士琉森音樂節學院學習。凌氏曾在澳洲、美國、英 國、墨西哥、愛爾蘭、中國等地的大學任教。凌氏曾為德國鳴聲弦樂團的首席中提琴手、香港 管弦樂團成員，以及德國現代室樂團、香港城市室樂團、琉森節日弦樂團的客席中提琴手；現 為香港無名四重奏成員，以及首個駐香港演藝學院的本地新音樂團體香港創樂團的創辦人兼藝 術總監。2013年，凌氏獲香港藝術發展局頒發藝術新秀獎（音樂）。
Heidi Law 羅鎧欣｜Percussion 敲擊樂 Heidi Law is a percussionist whose repertoire spans many musical genres. Law has performed with a variety of arts groups in Hong Kong. Her performances include Oliver Coates x Heidi Law: 21, Andy Akiho at Freespace Fest 2014; Hong Kong New Music Ensemble at Le French May Concert Liquid Architecture; Electric Company: An Orchestra of Laptops, Stockhausen Microphone I for Goethe-Institut 50th Anniversary; Rhapsodia by Chung Chi Wind Orchestra as marimba soloist; The Passage Beyond Musical Concert at Guangzhou by Actor’s Family; Macao International Music Festival Lam Bun-Ching and Friends Chamber Music Concerts by Hong Kong New Music Ensemble; and the drama production Three Children by the NYC Cast. In 2013, with support of the Hong Kong Arts Development Council Grant for Emerging Artists, Law presented More than a Concert: Give Yourself – YOU as Creative Director, writer, singer, and percussionist to a full-house audience and enthusiastic response.
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Born in Hong Kong, Law entered the Chinese University of Hong Kong in 2005. She graduated with a Bachelor of Arts (Music) degree having studied with Sophia Woo in 2008. In the same year, Law was awarded scholarships for graduate study in percussion performance at Shepherd School of Music, Rice University. 中文大學音樂學士及萊斯大學音樂碩士，主修敲擊樂演奏。與香港創樂團合作演出包括自由 野；法國五月《流動建築》﹔澳門國際音樂節等。2013年羅氏獲藝術發展局新苗計劃資助，舉 辦多媒體音樂會 More than a Concert :《把自己還給自己》並擔任創作總監、文字創作、敲擊樂 及演唱，反應熱烈，全院滿座。
Loo Sze-wang 盧思泓｜Sheng 笙 Prize-winning Loo Sze-wang is the foremost sheng (Chinese mouth-organ) player of his generation in Hong Kong and has been active in music festivals worldwide. Loo premiered the sheng concerto Mirror de Macao by Dr. Lam Bun-ching at ISCM 2009 and several sheng concertos by Prof. Chan Hing-yan with the Hong Kong Sinfonietta under the baton of Yip Wing-sie. Loo was the Artist-inresidence of Cornell University in New York and the Chinese University of Hong Kong, and Artist Associate of the Hong Kong Sinfonietta in 2009, 2011, and 2012 respectively. 盧思泓是著名笙演奏家，曾獲獎無數，足跡遍及世界各地著名的音樂節。 盧氏曾於ISCM2009首演由著名作曲家林品晶女士創作的笙協奏曲《濠鏡笙 歌》；亦曾多次與指揮家葉詠詩帶領的香港小交響樂團合作，首演作曲家陳 慶恩教授的笙協奏曲。盧氏分別於2009、2011及2012年於美國紐約康乃爾大 學擔任駐校藝術家、香港中文大學音樂系駐校音樂家及香港小交響樂團駐團 藝術家。
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Vicky Shin 冼宏基｜Percussion 敲擊樂 Highly praised for his remarkable rhythm by La Presse Montreal , conductor and percussionist Vicky Shin has worked with ensembles throughout Asia, North America, and Europe. Graduated from the Schullich School of Music at McGill University in Montreal, his primary teachers include Aiyun Huang and Fabrice Marandola, and he has also studied timpani with Andrei Malashenko, David Kent, and James Boznos. Shin was an invited soloist with the McGill Wind Orchestra and was a member of the McGill Percussion Ensemble, with which he toured to Toronto to participate in the Cool Drummings Festival. As an advocate of world music, Shin has also studied the tabla with Shawn Matavetsky and has attended workshops given by Pandit Sharda Sahai. Shin has also been studying the kanjira and mridangam with Ganesh Kumar in recent years. Shin is currently the associate conductor and percussionist of the Hong Kong New Music Ensemble. 冼宏基的非凡節奏感曾獲加拿大蒙特利爾報章《La Presse》高度讚譽，並曾在亞洲、北美、歐洲 各地參與樂團演出。冼氏畢業於加拿大蒙特利爾麥基爾大學舒爾歷治音樂學院，師從黃皚雲及 Fabrice Marandola，並跟隨 Andrei Malanshenko、David Kent 及龐樂思學習定音鼓。冼氏亦曾聯 同麥基爾管樂團演出定音鼓協奏曲及聯同爾麥基爾敲擊樂團參加多倫多敲擊樂節。 冼氏並有研習印度音樂，曾跟隨Shawn Matavetsky及Pandit Sharda Sahai學習北印度他不拉 鼓，近年亦開始跟隨Ganesh Kumar學習多種南印度手鼓。冼氏現時為香港創樂團副指揮及敲 擊樂手。
Louis Siu 邵俊傑｜Percussion 敲擊樂 Louis Siu is one of the founding members of the Hong Kong New Music Ensemble. In 2015, Siu was selected as an exchange artist for Contemporary Musiking's Sonic Transmission series. Siu served as percussionist in the Macao Orchestra from 2010-2013. In 2012, he appeared in the sold-out performance of the 40th Hong Kong Arts Festival ExxonMobil New Vision Series Louis Siu and Friends Percussion Recital . He has been actively performing with the Hong Kong Philharmonic Orchestra, Hong Kong Sinfonietta, Qatar Philharmonic, Pacific Music Festival, and the San Francisco Symphony Youth Orchestra. 邵俊傑為香港創樂團創團成員之一，2015年樂季為現在音樂（CMHK）聲音 傳遞交流藝術家。 2010年至2013年間於澳門樂團擔任敲擊樂手。2012年於 香港藝術節埃克森美孚新視野系列中的「邵俊傑與友人敲擊音樂會」獻藝。 邵氏活躍於各地的音樂演出，包括香港管弦樂團、香港小交響樂團、卡塔爾 愛樂樂團、日本太平洋音樂節及三藩市交響樂團青年樂團等。
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Linda Yim 嚴翠珠｜Piano 鋼琴 Pianist Linda Yim is a member of the Hong Kong New Music Ensemble. Devoted to promoting modern music in Hong Kong, Yim is an active performer of modern music around town. Yim has performed in New Generation, Musicarama, New Vision Arts Festival, and events hosted by the Hong Kong Composers’ Guild, and regularly does premieres for local and overseas composers. She is also frequently invited to perform in modern music festivals in such places as Shanghai, Malaysia, and Cambodia. Apart from the Hong Kong New Music Ensemble, Yim also has collaborated with other professional new music ensembles, such as Stroma (New Zealand). Graduated from Hong Kong Baptist University, Hong Kong Academy for Performing Arts, Royal College of Music London, and Sydney Conservatorium of Music, Yim is currently teaching at Hong Kong Baptist University, Hong Kong Institute of Education, HKU School of Professional and Continuing Education, and CUHK School of Continuing and Professional Studies. 鋼琴家嚴翠珠現為香港創樂團團員。致力於推動現代音樂，嚴氏活躍於演奏現代音樂，經常參 與各地的現代音樂節演出，並經常為本地及海外作曲家作首演演出。嚴氏先後畢業於香港浸會 大學、香港演藝學院、英國皇家音樂學院及澳洲雪梨音樂學院，現任教於香港浸會大學、香港 教育學院、香港大學專業進修學院及香港中文大學專業進修學院。
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HKU Gamelan 香港大學嘉美蘭 Deborah Waugh, Director The HKU Gamelan was established in 1995 when the Faculty of Arts acquired a complete set of gamelan gong kebyar from Bali. The instruments have since enriched the Department of Music's programme by offering students an opportunity to play in a non-Western ensemble as well as be a source of inspiration for composers. The HKU Gamelan has presented numerous concerts over the years in Hong Kong, Shenzhen, Guangzhou, Shanghai, and Bali. It performs both contemporary and traditional works in concert and outdoor settings, and has developed a strong relationship with Balinese musicians, who often collaborate with the ensemble. The HKU Gamelan has commissioned many works from Hong Kong and overseas composers, including four new works from HKU postgraduate composers. Tonight's concert brings together a wide spectrum of gamelan performers, from HKU students who have been studying the instrument for only a few months (as in Fung Dic-lun's work) to more advanced students (as in Joyce Wai-chung Tang's work). The collaborative and collective process is probably best witnessed in Mo Meng , where current students, staff, and alumni perform this piece together. 香港大學嘉美蘭於1995年成立，當時文學院從峇里得來一套完整的剛克伯牙嘉美蘭。這套嘉美 蘭從此豐富了音樂系的課程，讓學生有機會嘗試西樂以外的其他合奏音樂，同時也成為作曲家 的靈感泉源。多年來，香港大學嘉美蘭的足跡遍佈香港、深圳、廣州、上海和峇里等地，在露 天和室內音樂會的舞台上，演奏過不少傳統及當代的樂曲，亦與峇里樂手緊密合作。嘉美蘭曾 委約香港及海外作曲家創作多首樂曲，包括出自香港大學研究生的四套新作。 今晚的音樂會匯聚不同背景的嘉美蘭樂手，其中包括只習樂數月的學生（演奏馮廸倫的作 品），亦包括較為資深的學生（演奏鄧慧中的作品）。而《無名》一曲將會由學生、教師和校 友進行大合奏，完全體現音樂中的合作精神。 （中文翻譯：何韞彤）
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Members 成員 Mo Meng 無名 Chan Ka-wai Rinoa Chan Nga-man Celia Cheuk Hiu-shan Angel Cheung Wai-nga Katherine Fung Yat-sing Gan Pui-shan Shandy Fei Hung Lau Yun-hang Vanessa Law Chi-yan Christy Lim Ann-vee Anvy John Lok Ng Wing-lun Johnny Pang Wai-yee Gloria Sin Ka-man Jennifer Joyce Wai-chung Tang Deborah Waugh Wong Ho-lam Lillian Wong Wing-sum Leaper Yiu
Everlasting Blossoms in the Spring Breeze 散華舞春風 Brierley Abigail Victoria Chan Hiu-tung Kristen 陳曉彤 Chan San Edward 陳燊 Cheng Nicole Kar-yiu 鄭嘉堯 Cheung Tsz-ching Donna 鄭芷晴 Fung Dic-lun 馮迪倫 Heng Sue-chin Grace 王淑君 Ip Pui-ching Vanessa 葉沛晴 Kwan Cheuk-shing Aaron 關卓城 Lam Sin-man Cammy 林倩文 Law Pui-yan Iris 羅佩欣 Lee Chun-hin Hilary 李俊軒 Lee Yin-huan 李尹歡 Lim Ann-vee Anvy 林安慧 Kristofer Svensson 基斯杜化．史芬遜 Deborah Waugh Raymond Wong 黃允明 Wong Tik-fung Jeff 王迪峰 Wong Wing-kwan Jessie 黃詠筠 Yang Mingda 楊明達 Yim Ka-wai Michelle 嚴家卉 Yip Fu Faustina 葉芾 Zheng Nuo Norah 鄭諾
陳家慧 陳雅雯 卓曉珊 張惠雅 馮日陞 顏培珊 洪飛鳴 劉潤衡 羅芷欣 林安慧 駱俊聰 伍泳麟 彭惠怡 冼嘉敏 鄧慧中 黃浩琳 黃永森 饒烈魄
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Resonance 共．鳴 2 Chan Hiu-tung Kristen Chan Lok-yee Joyce Cheng Nicole Kar-yiu Choi Yan-ying Daphne Eunice Damulo Ho Fei-wan Hui Wing-hei Cheryl Ip Pui-ching Vanessa Lam Sin-man Cammy Law Pui-yan Iris Lee Chun-hin Hilary Leung Si-wai Silvia Lim Ann-vee Anvy Lo Siu-ki Martin Mak Pui-man Kristofer Svensson Tong Shu-nga Eunice Tsang Hoi-lam Shanice Deborah Waugh Raymond Wong Wong Yi-tung Suzanne Yang Mingda Yip Fu Faustina
陳曉彤 陳樂兒 鄭嘉堯 蔡欣盈 何飛雲 許穎晞 葉沛晴 林倩文 羅佩欣 李俊軒 梁詩瑋 林安慧 羅肇麒 麥佩文 基斯杜化．史芬遜 唐舒雅 曾愷琳 黃允明 黃伊彤 楊明達 葉芾
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HKU Percussion Ensemble 香港大學擊樂團 Deborah Waugh, Director The HKU Percussion Ensemble was established by Deborah Waugh in 2009 for a performance with University Artist Lung Heung-wing. The ensemble provides an opportunity for students to explore the diverse world of sound and rhythm, as well as expand their repertoire and performance skills. It also enables close collaboration with HKU composers, who can try out their ideas with the group. This collaborative process resulted in Fung Dic-lun's work, A Mid-Autumn's Daydream , for percussion quartet and gamelan, premiered at the 30th anniversary of the Music Department concert in 2012. In tonight's performance, ten percussion ensemble members are seated in the gamelan while Nicole Cheng and Cheryl Hui have joined forces with HKNME percussionists Vicky Shin and Heidi Law to perform John Cage and Lou Harrison's landmark quartet, Double Music . 香港大學擊樂團由Deborah Waugh於2009年為學院藝術家龍向榮博士的音樂會而創立，為學生提 供機會，在聲音和節奏的廣闊領域中探索，同時接觸更多曲目和增進演奏技巧。樂團亦與作曲 系學生緊密合作，為他們提供實驗新作的平台。此合作模式就曾促成了馮廸倫為敲擊樂四重奏 和嘉美蘭所寫、於2012年香港大學音樂系三十周年音樂會首演的作品《秋聲夢迴》。 是晚音樂會中，十位擊樂團員將參與嘉美蘭的演出，而團員鄭嘉堯和許穎晞亦將和香港創樂團 成員冼宏基和羅鎧欣合作演出約翰．凱奇（John Cage）和盧•哈里森（Lou Harrison）的著名敲 擊樂四重奏作品《偶樂》。 （中文翻譯：何韞彤）
Members 成員 Cheng Nicole Kar-yiu Cheung Wai-nga Katherine Choi Yan-ying Daphne Hui Wing-hei Cheryl Lee Chun-hin Hilary
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鄭嘉堯 張惠雅 蔡欣盈 許穎晞 李俊軒
Lo Siu-ki Martin Ng Wing-lun Johnny Raymond Wong Wong Yi-tung Suzanne Yim Ka-wai Michelle
羅肇麒 伍泳麟 黃允明 黃伊彤 嚴家卉