The Glamorous Voice — The Music of Eric Whitacre by CU Chorus 中大合唱團

校長獻辭

Message from the Vice-Chancellor 中大合唱團的週年音樂會是我校的一項優秀傳統，每年都教校內熱愛音樂的老師和同學引領以待。對一些資深校友來說，四十年前合唱團的首度演出，更是使人懷念不已。數十年來合唱團不斷發展，在精彩的音樂會與海外演出之餘，更致力於校園中推動同學對音樂的認識和欣賞，鼓勵了不少同學學習、進修正統音樂，並以之為終身職志。我們的校友中不少現時已是獨當一面的作曲家、演奏家，他們也是出身於合唱團的。合唱團作為音樂家的搖籃是世界性的傳統，我們也引以為傲。我想在這裡向中大合唱團多年來的團員和指揮致意，也感謝校內音樂系的師長和校外的樂壇前輩。他們的共同努力，為合唱團開拓境界，和爭取寶貴的演出經驗。今天晚上的盛會是同學向支持你們的社會大眾匯報成績的好機會，也彰顯了香港中文大學推動本港文化活動的決心。我謹祝中大合唱團前程無限，並在校園內外續獻好歌。

香港中文大學校長沈祖堯

It is my great pleasure to write in the house programme of the annual performance of the CU Chorus, one of the glorious traditions at The Chinese University of Hong Kong. Some of us will still recall, with affections and nostalgia, the first performances of the Chorus which started some forty years ago. And over these years the Chorus has grown from strength to strength, having given brilliant concerts, toured foreign lands, and, most importantly, helped build up and sustained a love for fine music on our campus, and inspired many of our students to a serious musical pursuit. Many of our alumni who are now eminent musicians were members of the Chorus before. This is a record that is in line with the most illustrious choral societies in the world, and one that we can all be justly proud of. I would like to take the opportunity here to pay my respect to successive generations of conductors and singers of the CU Chorus, and the many professional musicians who, whether academics of our own Music Department or experts from outside, have given their contribution and support in the nurture and development of the Chorus, in establishing its repertoire, and in facilitating their public performances. Public concerts like the one we are privileged to witness tonight give members the stage experience they need, tell the community what they have achieved, and generally augment the effort of the University to help enrich the cultural life of Hong Kong. I wish the CU Chorus every success in its future endeavours, and look forward to hearing more good music from them, whether on campus or outside.

Joseph J Y Sung Vice-Chancellor and President The Chinese University of Hong Kong 華麗之聲：韋塔克作品選

韋塔克獻辭

Message from Eric Whitacre 致香港中文大學合唱團仝人

To everyone in the Chinese University of Hong Kong Chorus,

我謹祝願各位與客席指揮韓多普博士的音樂會一切順利。我知道大家都已為每首樂曲投入努力與熱誠，我敢肯定大家都能美滿完成。我也實在想親身見證，祝大家好運！

I would like to wish you all the best of luck for your forthcoming performance with guest conductor, Dr. Paul Hondorp. I have been told about the hard work and dedication that each of you have put in to these pieces, and I’m sure all those involved will perform beautifully. I wish I could be there to see it, good luck!

The Glamorous Voice: The Music of Eric Whitacre

客席指揮獻辭

Message from Guest Conductor 能夠與一眾新相識分享一夜音樂——分享美國傳統歌曲並認識香港新作，是我的莫大榮幸。感謝朱振威指揮的邀請，香港中文大學合唱團的出色準備，以及讓合作得以成真的一眾職員。是次音樂會挑選的韋塔克作品從他學生時代到近期作品皆有。他的音樂已成為美國本土以至海外的熱門作品。顯然易見，韋塔克喜歡採用令人回味的出色文本，也能從微觀（文字著色）及宏觀（氣氛著色）角度為不同出處的每一個文本帶出具體的意像與氣氛。韋塔克總能為他挑選的文本設計出只此一家的獨特聲音景觀。音樂會中他的最早期作品《豪雨》有著對雷暴的強勁描寫，清楚地示範了如何作文字與場景的著色。在《睡》裡面，我們可以聽到韋塔克小心運用他那簽名式的厚重垂直和弦，讓不協和的聲音達到協和的效果，慢慢地把我們帶入夢鄉。在《五首希伯來情歌》，韋塔克為其當時的未婚妻——普利特曼的詩歌譜曲；調式的運用暗示了她的以色列背景，音樂時而精緻，時而生動猶如舞曲。《海豹搖籃曲》某程度上是源於現代電影配樂傳統，正如作曲家自己的形容：「簡單，甜美，迪士尼式」。最後，在《動物餅乾集》，我們能夠從納殊六首短篇詩歌聽到韋塔克開玩笑與令人輕鬆的本領。與之配搭的是豐富（但年青！）的美國合唱音樂傳統中的表表者。在三首美國民歌新編，我們可以聽到不同的講故事方法：《仙蒂》與《納莉．貝利》（後者是科士打創作的民歌，他正是祖藉我的現居地肯塔基！）以興奮與玩味講述男女愛情；愛普歷久嘗新的《雪納朵》，是名乎其實，唱給一個特別地方的「情歌」；來自美國黑人靈歌傳統，哈路倫編曲的《見證》有著豐富的節奏感、故事性以及聲樂力量。謹再次表達我對於能夠參與今晚演出最真誠的喜悅。我在人生中一直幸運地充滿不同的演出機會，來到香港可算是我再次碰上好運，能夠讓我在一個陌生地方發掘其中文化的同時，因著對分享音樂與合唱藝術的熱愛而得到共鳴。韓多普

It is my great honour to be here to share an evening of music with new friends – sharing selected works from the American tradition and learning wonderful new music native to Hong Kong. My thanks to maestro Leon Chu for this invitation, the Chinese University of Hong Kong Chorus for their excellent preparation, and the staff who made this collaboration possible. The works of Eric Whitacre that have been selected for this concert span his young career – with works from his time as an undergraduate student to very recent compositions. His music has become a regular favorite in the United States and abroad. 華麗之聲：韋塔克作品選

It is clear that Whitacre is drawn to evocative and brilliant texts from a wide array of sources, and the specific imagery and mood of each text are approached from both the micro (wordpainting) and macro (mood-painting) level. He has always set his chosen texts in a soundscape that is uniquely of his own development. The earliest work, Cloudburst – with its powerful portrayal of a thunderstorm – demonstrates clear examples of both word- and scene-painting. In Sleep, we hear Whitacre’s careful use of his signature, thick, vertical harmonies, intended not as dissonances but as consonances, as he gently leads us into sleep. In Five Hebrew Love Songs, Whitacre set the poetry his then-fiancée Hila Plitman; the modal references hint at her Israeli heritage, and the music is at times exquisite and at others, lively and dance-like. The origin of The Seal Lullaby is somewhat in the tradition of modern film score music and is, in the composer’s own words, “simple, sweet and Disney-esque.” Finally, in Animal Crackers, we hear Whitacre’s ability to laugh and be light-hearted, through six miniature scenes on the poetry of Ogden Nash. Paired with these works are wonderful examples of the rich (though young!) heritage of American choral music. In the four selections of American folksong arrangements, we will hear contrasts in story telling: the rousing and playful courting of a boy and a girl in both Cindy and Nelly Bly (the latter a folk song by Stephen Foster, who is a native to my homestate of Kentucky!); and James Erb’s timeless arrangement of Shenandoah, which is, in truth, a “love” song about a very special place. From the African American spiritual heritage, Jack Halloran’s enduring setting of Witness is rich in rhythmic vitality, “story-telling” and vocal power. Again, it is my sincere pleasure to be here tonight. I have been fortunate to live a life filled with music-making opportunities, and I count myself fortunate yet again to be here in Hong Kong, learning more about the culture of an unfamiliar place, yet finding common ground in the sharing of music and the choral art. Paul Hondorp 3

中大合唱協會理事會會長獻辭

Message from President, CU Chorus Association CU Chorus is a place where members show a much higher level of enthusiasm and love towards music than any other places I have ever known of. To me, “chorus” means “to make a chord by us.” A chord is where notes of different pitches blend in synergy to produce a harmony; the same applies to people in CU Chorus. We all come from different faculties of CUHK, ranging from Fine Arts to Law to Chinese Medicine; but we come together for one single purpose – to make and share good music.

對於合唱，我相信台上的每一位團員都抱著認真的態度。合唱的精髓，在於一個「合」字。中大合唱團確實是一羣志同道合的人士所聚之處︰團員們來自不同學院，雖然背景是如此不同，但因為對合唱都有一份熱誠，就能合作無間。「合」的本義，在於對合唱藝術的熱愛，也在於團員間彼此相愛。為了我們喜愛的合唱，我們背誦長長的樂譜，以將樂曲更嫻熟地呈現；我們學習陌生的語言，將好音樂原汁原味地與觀眾分享；我們勤奮地出席排練及分部排練，努力默默耕耘，為的是與團員互相礪砥，一同進步。我們相信，若對合唱藝術的愛不夠深，這無盡的路不可能一直走下去。我們更沒有忘記，合唱除了講求自律，亦同時講求合作性；在音樂上我們努力的唱和，在台下我們亦一直互相扶持，互相提醒。長路雖然艱辛，但同行有一班志同道合的夥伴，背後有一眾音樂愛好者的支持；我們不能放棄，我們不會放棄。

We all love choral music. To present the music in a fluent manner, we are happy to memorise every single score, so that we can directly communicate with the audience. We learn new languages to share with you the musical treasures from cultures around the world. We work hard in rehearsals every week to improve ourselves. In view of all these, I would like to thank all the members for devoting their time and effort. Without a determined attitude towards choral music, this long journey to success would have been impossible. On our way through all the preparations, the sweat and tears have irrigated our friendship, strengthening our bond with one another, and made us realise that we are complimentary to each other as parts of a whole. Nonetheless, knowing that we have a critical audience is always a driving force behind our hard work, and it is a great joy to share with you our happiness and satisfaction from singing in the Chorus.

經過前人近四十年的耕耘，中大合唱團在今天揭開了嶄新的一頁。中大合唱團已註冊成為慈善團體，繼續秉承前輩的熱誠，為推廣合唱藝術、普及音樂教育出一分綿力。我們感謝過往給予我們支持的人，包括對我們不離不棄的捐助者、給予我們演出交流機會的友好樂團，以及懷著期待進場的所有觀眾。正因為有受眾，分享才變得有意義；正因為有你們的支持，中大合唱團才能走出不一樣的精彩。

After nearly 40 years of thrive and strive, the CU Chorus has entered a new era. Having registered as a charitable organisation, we continue our predecessors’ efforts in promoting choral art and relevant music education. May I hereby express my deepest gratitude to everyone who has helped us in the past and at present, including our ever-supportive patrons in terms of financial and spiritual support, our friends all over the world for granting us chances of performance and widening our horizons, and our audience tonight, coming with love and expectation. Without any of you, there is no point in sharing; CU Chorus shines on stage only because of your kind presence.

請細心欣賞中大合唱團演出。

Please enjoy.

中大合唱協會二零一二年度理事會會長張偉文

Cheung Wai Man President (2012), CU Chorus Association

The Glamorous Voice: The Music of Eric Whitacre

香港中文大學合唱團團長獻辭

Message from Chairman, The Chinese University of Hong Kong Chorus 對我來說，我在合唱團裏還是一個新人，對於這個團的很多事情我還是在了解中。不過，唯一最清楚的就是中大合唱團的人都是一班合唱的「發燒友」。在最初的試音中，我們的音樂總監兼指揮朱振威先生很嚴肅問我們每一位試音者，是否願意為合唱付出——這個付出是需要用行動來證明的。對，每個星期一夜晚，有些本科生的同學會一下課就趕著去排練，另外一些校友都要在工作後回到中大練習；大家為了的是什麼？就是因為對著音樂、合唱的熱情！我起初來到這個團的時候也因他們的熱情而驚訝。合唱是一項團體的藝術。大家沒有選擇其他獨唱活動而選擇了合唱，就是因為就只有合唱才能緊密地跟他人合作，一起鑽研歌唱技巧，跟每一位成員一起完成一首樂曲。在日積月累的努力下，一起欣賞大家的成果，相信感覺只有參與其中才能完全體會。當然，我們表演的目的更是去分享我們的成果，一起享受合唱的美以及每首樂曲帶給我們的一言一語。我十分感謝朱指揮的努力，你不單止是我們的指揮，更是我們的精神領袖，是你不停鼓勵我們要挑戰自己，為夢想而努力，不只是空口說對合唱有熱誠，而是要用行動去證明。我更要多謝每一位團員的付出及努力，沒有大家，音樂會是不能成功進行。另外，我也要特別感謝幹事會及理事會的成員，籌備整個音樂會及平日排練的工作辛苦了。經過接近一個學年的籌備及排練，終於能在今晚跟大家分享我們對合唱音樂的熱誠，為各位帶來一場精彩的音樂會，請大家細心欣賞。香港中文大學合唱團二零一二至二零一三年度團長文浩然

It has taken some time for me, as a new member in CU Chorus, to understand how the choir works. However, the most important thing I know about this choir is the passion towards music and choral singing. I remember that back in the audition, our Music Director and conductor Leon Chu asked each of us seriously if we are willing to commit to singing in the choir. The choir rehearses regularly every Monday evening, and being in every rehearsal after a long day of school or work is an act showing our passion. When I just joined this choir, frankly, I was a little frightened by all that dedication.

華麗之聲：韋塔克作品選

Choral singing is a group art. We chose to join a choir instead of singing solo, because in the choir we can share our achievements and growth together. Of course, as a performing group, it is our purpose to share our efforts with all audiences, to share the beauty of choral singing and every message in every song. Here may I express my thanks to our Music Director Leon Chu. You are not only our conductor but also our spiritual leader. You keep encouraging us, challenging us to strive for a higher goal. It is in response that we take action to show what we have committed in the audition. I would also like to thank every choir member – the show would not be a success without any of you. Additionally, I am grateful and thankful to the CU Chorus committee and the Association for organising this concert, every rehearsal and working on all the daily operation matters of the choir. Finally, I hope you will enjoy our performance tonight! Man Ho Yin Holdon Chairman (2012–2013), The Chinese University of Hong Kong Chorus

The Glamorous Voice: The Music of Eric Whitacre

音樂總監獻辭

Message from Music Director 又到每年一次要感謝一年來給予協助的各方好友，儘管比以往都來得晚一點。感謝各位作曲家的厚愛。除了韋塔克的全力支持，更要感謝鄧樂妍的新曲、陳能濟與冉天豪在我們演繹上的指導，讓我們可以滿有信心的把各位作曲家的意念呈現在觀眾面前。感謝韓多普博士的鼎力支持，遠道從美國飛到香港指導我們中大合唱團以及帶領今晚的演出。我與韓多普相識於四年前的一次音樂節，當時聽他的講學已覺他的厲害！想不到輾轉之間竟然能讓中大合唱團與他同台演出，實在榮幸。感謝各位團友及客席樂手的努力準備。今年因為租訂演出場地不斷碰壁，打亂了開學定下的排練計劃。可是大家仍然咬緊牙關，四月先做出了一場叫好叫座的校園音樂會，如今再完成這場周年音樂會，實在感激大家不辭勞苦，為一場又一場的演出衝鋒陷陣。（今次叫座與否大家舉目即見，只於叫好與否，留待看官定奪。）感謝合唱團理事會、職員、幹事會及各位義工的幫助，沒有你們處理那些舞台以外的事情，這次音樂會絕不可能完成。中大合唱協會有限公司在去年九月成立，今年一月成為慈善團體。當中也得靠各位團友的無私奉獻才得以完成，為的，就是讓中大合唱團有一個更堅實的平台，向更多更大的目標邁進。感謝 EMO 的禾叔，多得你的協助，我們每星期才能多擠半小時練習。最後，當然要感謝各位觀眾。沒有你們的參與，這場音樂會就變得毫無意義。我們愛唱歌，是因為愛分享：我們精挑曲目，努力排練，都只是為了與在座各位分享我們所愛的合唱藝術。一切努力，源自一個簡單願望：讓更多人欣賞到美好的合唱音樂，僅此而已。希望大家喜歡今晚的演出。謝謝各位！香港中文大學合唱團音樂總監兼指揮朱振威

This is a time to thank dearest friends and supporters of the CU Chorus which happens every year. Although the date is a bit later than usual. I would like to thank the supports from the composers. We are grateful for Eric Whitacre’s abundant support, for Tang Lokyin’s new work and for the performance advices from Chan Ning-chi and Jan Tien-hao. We are confident to present these composers’ works to their fullest and in their original intent. I am also grateful for Dr. Paul Hondorp’s support. He comes a 華麗之聲：韋塔克作品選

long way from the States to direct this performance. We know each other in a music festival four years ago and I was stunned by his brilliant lecture. It is our great honour to have your tutelage and direction on CU Chorus. I would also like to thank every chorus member and guest musician for their efforts. We had some difficult time in finding a suitable venue, and there are changes upon changes to the original rehearsal plan from the beginning of the school year. Your hard work is paying off, however, with a very successful campus concert in April singing to a packed chapel, and, above all, tonight’s concert. Thanks to all the CU Chorus Association directors, staff, CU Chorus committee members and all volunteers. From paperworks to backstage works, without any of you the concert would not have worked. The CU Chorus Association was established in September 2011 and registered as a charitable organisation this January. We made the efforts to lay a better foundation for the chorus to aim higher and further. Thank you, EMO’s officer Uncle Wo who let us squeeze in an extra half-hour for rehearsal every week. And finally, thank you all who come to this concert. Without you this concert would have meant nothing. We love singing because we love sharing. We carefully select the music, adamantly practise to share what we love. These originate from a simple wish: to let more people enjoy choral music. I wish you a very enjoyable evening. Leon Chu Music Director and Conductor, The Chinese University of Hong Kong Chorus 7

曲目及演出者 Programme and Performers

二零一二年六月六日（星期三）晚上八時

6 June 2012 (Wednesday) 8:00p.m. 香港演藝學院賽馬會演藝劇院 The Hong Kong Jockey Club Amphitheatre, HKAPA

演出長約兩小時，包括一節中場休息

Running time: approximately 2 hours, including 1 intermission

Programme 曲目 Chan Ning-chi: Two Ancient Poems *

陳能濟：《古詞二首》*

Tang Lok-yin: Frozen Tears I *

鄧樂妍：《霜雪》*

Jan Tien-hao: “Wind, Snow, Love, Star” Suite *

冉天豪：《風雪戀星》組曲*

Eric Whitacre: The Seal Lullaby

韋塔克：《海豹搖籃曲》

Eric Whitacre: Cloudburst

韋塔克：《豪雨》

– Intermission –

－中場休息－

Eric Whitacre: Sleep

韋塔克：《睡》

Eric Whitacre: Animal Crackers Vol.1 & 2

韋塔克：《動物餅乾集－第一及第二冊》

Eric Whitacre: Five Hebrew Love Songs

韋塔克：《五首希伯來情歌》

James Erb (arr.): Shenandoah

愛普（編曲）：《雪納朵》

Jack Halloran (arr.): Nelly Bly

哈路倫（編曲）：《納莉．貝利》

Jack Halloran (arr.): Witness

哈路倫（編曲）：《見證》

Mack Wilberg (arr.): Cindy

威伯格（編曲）：《仙蒂》

場地規則 House Rules 請勿飲食 No eating and drinking 請勿拍照、錄音或錄影

No photography, recording and filming 請關掉手提電話及其他電子裝置

Please turn off your mobile phone and other electronic devices

Performers 演出者香港中文大學合唱團 The Chinese University of Hong Kong 指揮 Conductors：韓多普 Paul Hondorp、朱振威 Leon Chu* 鋼琴 Piano: 黃歷琛 Alexander Wong、黃穎兒 Solomon Wong、謝嘉盈 Ally Tse 小提琴 Violin：許銘竣 Andrew Hsu 木琴及敲擊 Xylophone and Percussion：陳江平 Ken Chan 敲擊 Percussion：郭幸瑜 Icarus Kwok、胡喬立 Woody Wu、黃穎兒 Solomon Wong 欲知更多合唱團資訊，請瀏覽：

演奏期間請保持安靜

Please keep noise to a minimum during the performance 請留待整首樂曲完結後才報以掌聲鼓勵

Please reserve your applause until the end of the entire work 如不欲保留場刊，請於完場後放回場地入口以便回收

If you don’t wish to take this printed programme home, please return it to the admission point for recycling

For more news and information, please visit: http://www.cuchorus.org.hk 13

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

香港中文大學合唱團

The Chinese University of Hong Kong Chorus 「…唱來熱情充沛，正是年輕人的精神可貴之處。」－李歐梵《明報》經過近四十年努力不懈追求卓越，香港中文大學合唱團（中大合唱團）已經成為香港其中一隊最具實力的大學合唱團。植根香港，放眼國際，在香港舞台耕耘之外，多年來已踏遍華南地區以至東南亞諸國。中大合唱團一直致力以高水準的演出，充滿創意的節目，向普羅大眾推廣與分享合唱藝術。中大合唱團於 1972 年由一班中大學生自發成立，早期由學生擔任指揮。九十年代起設立固定音樂總監兼指揮一職，歷任總監有伍德榮、葉長盛及現任朱振威。從參加學聯之夜歌唱比賽到每年主辦一場周年公演，現在中大合唱團每年演出活動已擴展至包括主辦周年音樂會、免費校園音樂會、海外交流演出、聖誕演出、指揮工作坊、公益外展演出不等。中大合唱團曾推出多個廣受歡迎的主題節目，內容多元化，不少外國作曲家及作品也藉著中大合唱團演出而引進香港樂壇。近年主題有推介世界各地特色作品的《聲音地圖》（ 2008）、演繹古今中外特色情歌的《愛．無處不在》（ 2009）、回歸合唱根本，展示不同風格聖樂作品的《爾名為聖》（ 2010）及全面介紹台灣最新合唱面貌的《台灣風情》（ 2011）。中大合唱團演出除了對本地合唱團開拓曲目發揮影響力，更藉著網絡將影響伸至全球－－ 2009年以色列《新消息報》專題報道，中大合唱團的一段 YouTube錄影在當時於世界各地猶太人間流傳，引發巨大迴響。從成立之始，推動香港合唱創作就是中大合唱團的使命之一。合唱團不斷邀請香港作曲家如胡銘堯、楊嘉輝、蘇梓安、鄧樂妍譜出新曲，現時維持一年一部作品的速度，為建立屬於香港的獨特合唱之聲而努力。 2008及 2009年，中大合唱團先後應邀出訪上海師範大學及彰化大葉大學舉行示範講座，向當地大學生介紹香港粵語合唱創作，大獲好評。多年來曾與中大合唱團合作的本地及海外藝人不計其數，近期例子有本地敲擊演奏家邵俊傑、作曲家楊嘉輝、台灣指揮家杜黑、古育仲、及美國指揮家韓多普等。自七十年代起，中大合唱團持續與中國內地及東南亞各地合唱團作音樂交流，至今曾到訪城市包括北京、上海、台北、台南、馬尼拉、曼谷、新加坡、新山等。除交流活動，合唱團也多次應邀以客席演出者身份參與外地演出，如 2006年澳門國際音樂節及 2010年暹羅愛樂樂團馬勒第三交響曲泰國首演。為了打下更堅實的基礎，持續發展永不止息的藝術追求， 2012 年 1月合唱團以慈善團體有限公司形式成立「中大合唱協會」作為管治實體。透過藝術、管理、行政三部份的分工，讓源自中大、立足中大的中大合唱團，能夠在中大本科生、研究生及校友三方面的同心協力下，繼續翻過一座又一座的藝術高峰。 10

“CU Chorus were splendid in their collaboration with Siam Philharmonic in our ongoing complete Mahler Cycle. They sang like angels — just as the composer intended!” – Somtow Sucharitkul, Music Director of Siam Philharmonic After nearly 40 years’ pursuit of excellence, The Chinese University of Hong Kong Chorus (CU Chorus) has become one of the best local university choirs. Rooted in Hong Kong with a global view, CU Chorus has performed not only at the local stage, but also in various cities in southern China and southeast Asia. With its high quality performances and innovative programmes, CU Chorus is dedicated to promoting and sharing the choral art with the public. CU Chorus was founded in 1972 by a group of CUHK students. In the early days, the role of conductor was served by students. In the 1990s, the post Music Director and Conductor was established, and has been served chronologically by Dennis Ng, Yeh Cheung-shing, and currently Leon Chu. From a group that took part in joint-university singing contest by the Hong Kong Federation of Students, to one that organized annual performances, nowadays CU Chorus has developed its range of performances to include annual concerts, free campus concerts, overseas interflow performances, Christmas caroling, conducting workshops and charity outreach performances. The Glamorous Voice: The Music of Eric Whitacre

CU Chorus presented a number of popular programmes with diverse themes, through which many foreign composers and their works were introduced to the Hong Kong music scene. Performances in recent years include: The Sound of Atlas (2008) with characteristic choral pieces from around the world; Love is All Around (2009) with featured love songs throughout the ages; Hallowed be Thy Name (2010) with a showcase of sacred music - the root of choral music - in various styles; and the most recent Formosan Panorama (2011) with the newest outlook in Taiwanese choral music. In addition to having an influence on local choirs in expanding their repertoire, CU Chorus’ performances also made an impact through the internet: a YouTube video of CU Chorus received coverage in an Israeli newspaper, Yedioth Ahronoth, for its wide circulation among Jewish communities worldwide, to great resonance. Since its establishment, one of CU Chorus’ missions is to promote local choral compositions. CU Chorus has regularly commissioned Hong Kong composers such as Dennis Wu, Samson Young, Andy So and Tang Lok-yin for new pieces. At the pace of one new piece per year,CU Chorus strives to help develop a choral voice unique to Hong Kong. In 2008 and 2009, CU Chorus was invited for demonstrative talks in Shanghai Normal University and Da-yeh University respectively, introducing Hong Kong Cantonese choral compositions to mainland and Taiwanese students, receiving much acclaim. 華麗之聲：韋塔克作品選

Over the years, CU Chorus has collaborated with numerous local and overseas artists. Recent examples include local percussionist Louis Siu, Taiwanese conductors Dirk Duhei and Johnny Ku, and American conductor Paul Hondorp. Since the 1970s, CU Chorus has consistently engaged in interflow activities with choirs in mainland China and southeast Asia; cities visited include Beijing, Shanghai, Taipei, Tainan, Manila, Bangkok, Singapore and Johor Bahru. Beside interflow activities, CU Chorus was also invited to various guest performances overseas, including the 20th Macau International Music Festival in 2006, and the Thailand premiere of Mahler’s 3rd Symphony by Siam Philharmonic Orchestra in 2010. To lay a better foundation for its never-ending artistic pursuit, CU Chorus established charitable organization status with “CU Chorus Association” (a limited company) in January 2012. The new governing body, with its finer division of labour in artistic, management and administrative aspects, could facilitate the collaboration of CUHK undergraduates, postgraduates and alumni in their efforts to boost CU Chorus – a group coming from and basing in CUHK – to ever-greater artistic heights.

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

音樂總監兼指揮：朱振威

Music Director and Conductor: Leon Chu 朱振威 2006年起出任香港中文大學合唱團音樂總監，先後帶領合唱團踏足香港、中國大陸、台灣及馬來西亞舞台。今天，這一支主要由熱心學生組成的隊伍已成為香港最佳大學合唱團之一，在朱氏的領導下，合唱團更藉由一系列演出錄影得到國際媒體注意。朱氏以指揮、敲擊樂手、音樂及文化評論人身份活躍本地藝壇。 2003年從香港中文大學畢業後，他先後應邀成為多個合唱團與樂團的指揮。作為樂評人，他的文章散見於各主要中文報章包括《明報》、《信報財經新聞》、《香港經濟日報》，也為雜誌如《 HiFi 音響》、《 Art Plus》、《美樂集》及台灣《謬斯客》撰寫文章。 2008年他應邀為商業電台雷霆 881及香港公開大學合辦之《一人一大學》「音樂無國界」節目擔任主持。朱氏曾隨蔡立德學習敲擊樂及隨林俊學習聲樂，也先後受業於挪威指揮家漢肯、保加利亞指揮家帕羅薇琪及匈牙利指揮家嘉保豪勒龍，深造指揮技巧。

Since 2006, Leon Chu has been leading The Chinese University of Hong Kong Chorus and bringing the chorus to stages across Hong Kong, China, Taiwan and Malaysia. The chorus is now one of the best university choruses made up primarily by devoted undergraduates. Under his leadership, the chorus catches attention of international press with a series of live concert footage. Chu is a conductor, percussionist and critic of music and culture at large. After his graduation from The Chinese University of Hong Kong in 2003, he has been appointed conductor of several choirs and ensembles. Chu is an active critic, having his writings published for all major Chinese newspapers including Mingpao Daily, Hong Kong Economic Journal and Hong Kong Economic Time and his regular contributions to Hifi Review, Art Plus, Fine Music and Muzik of Taiwan. He was the guest speaker of a series on music appreciation on Commercial Radio 1 in 2008. After studying percussion with Choy Lap-tak and vocal with Albert Lim, Mr. Chu has also studied conducting under Norwegian conductor Kåre Hanken, Theodora Pavlovitch of Bulgaria and Gábor Hollerung of Hungary.

The Glamorous Voice: The Music of Eric Whitacre

合唱團及演出者介紹 Chorus Profile & Performers’ Biographies

助理指揮：張偉文

Assistant Conductor: Cheung Wai Man 張偉文於香港中文大學主修食品及營養科學，副修音樂，先後師隨女高音梁頌儀及男高音柯大衛學習聲樂。就讀大學期間，張氏已同時參加中大合唱團及崇基學院合唱團。畢業後投身教育工作，仍活躍於合唱界，以合唱歌手身份隨香港雅詠團、香港歌劇社合唱團、香港聖樂團，以至海外藝團如曼谷歌劇院等團體演出。近年，張氏對合唱之興趣更伸展至合唱指揮，曾隨美國指揮家 David Francis Urrows及保加利亞指揮家 Theodora Pavlovitch學藝。曾擔任中大合唱團幹事會總務及男高音聲部長。

Raymond Cheung studied Food and Nutritional Sciences in The Chinese University of Hong Kong; he also minored in Music and studied vocal music under soprano Jovita Leung and tenor David Quah. During his time in the university, Cheung was a member of both the CU Chorus and Chung Chi Choir. While devoting himself to education after graduation, Cheung remains a very active musician. He has performed as a choral singer with Hong Kong Chamber Choir, Chorus of the Opera Society of Hong Kong, Hong Kong Oratorio Society, and other organisations including overseas groups such as Bangkok Opera. In recent years, Cheung extends his interest to choral conducting. He studied under American conductor David Francis Urrows and Bulgarian conductor Theodora Pavlovitch. As a previous member of CU Chorus Executive Committee and one of the current tenor part-leaders.

助理指揮：謝勇存

Assistant Conductor: TseYeong Tswen Jorden 謝勇存自小學時期開始，就熱愛合唱音樂。 1998 年加入中大合唱團，並曾先後擔任聲部長、幹事會和音樂會籌委會等工作。謝氏現為香港中文大學訊息工程學系博士研究生。

Jorden Tse started his interest in choral music since he was a primary school student. He joined the CU Chorus in 1998. He has served as a bass part-leader, a member of the Executive Committee and the Annual Concert Organizing Committee. Currently, Tse is a Doctorate candidate in the Department of Information Engineering, The Chinese University of Hong Kong.

華麗之聲：韋塔克作品選

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

聲樂指導：林俊

Vocal Coach: Albert Lim Chun 林俊畢業於香港演藝學院並獲取榮譽音樂學士，其後考獲獎學金赴皇家音樂學院深造，以優異成績取得演藝研究文憑及證書。在學習期間，他多次成功考獲獎學金，包括英國皇家音樂學院獎學金、威爾斯男合唱團獎學金、香港演藝學院獎學金及埃克森能源公司的獎學金。林屢獲邀請作獨唱演出，其中包括多次應香港巴赫合唱團邀演出，包括巴赫《 D大調聖母讚主頌》、韓德爾《以色列人在埃及》、布拉姆斯《德意志安魂曲》及羅西尼《小莊嚴彌撒曲》等。熱愛歌劇的林俊，曾參與多個大型的製作，例如於威爾第《茶花女》中擔演男爵一角（香港歌劇院）；比才的《卡門》中飾演唐．丹凱羅（香港歌劇院）；浦契尼的《怨女幽魂》中飾演古利爾摩（香港演藝學院），《蝴蝶夫人》中飾演 Yakuside （香港管弦樂團）以及《波希米亞人》中飾演馬些路（英國皇家音樂學院）；莫札特的《費羅嘉的婚禮》中飾演費嘉羅（英國皇家音樂學院）及參演文諾提的《電話》中飾演班等。

2007年 4月，他獲上海歌劇院之邀請，在法國名指揮家米歇爾．普拉松的指揮棒下，飾演歌劇《卡門》中唐．丹凱羅一角。另外，於 2007年 5月底及於 2008年 5月在香港歌劇院製作的《羅密歐與茱麗葉》及《維特》中分別擔演格利哥利奧及約翰。於 2009年 3月在香港演藝學院製作的《卡門》中擔演艾斯卡米諾一角。林俊參予由非凡美樂主辦的本地創作《張保仔傳奇》，擔演孫全謀一角，並完成於上海世博 2010中的首演。於 2011年 1月再獲非凡美樂之邀請飾演歌劇《愛情靈藥》中比爾哥利一角。同年十月，他再獲香港歌劇院之邀請於《中山、逸仙》中演出梅屋莊吉一角。

Lim Chun attained his Postgraduate Diploma in Performance and Postgraduate Certificate in Performance with Distinction at the Royal Collage of Music after completing his Bachelor’s Degree of Music (Honours) at the Hong Kong Academy for Performing Arts. Throughout his studies, Albert has attained a number of scholarships including Royal College of Music (Hong Kong); Welsh Male Choir Scholarships; the Society of APA Scholarships; Guinness Flight’s Music Prizes; Exxon Energy Limited Scholarships. Lim has appeared as guest soloist in concerts with the Hong Kong Bach Choir, the Hong Kong Oratorio Society and the Hong Kong Philharmonic, works including: Johann Sebastian Bach’s Magnificat in D, George Frederic Handel’s Israel in Egypt, Johannes Brahms’s Ein Deutsches Requiem and Gioacchino Rossini’s Petite messe solennelle, etc.

Lim has also performed numerous roles of famous operas such as playing Barone in Verdi’s La Traviata (Opera Hong Kong’s production); Dancairo in Bizet’s Carmen (Opera Hong Kong’s production); Gugliemo in Le Villi by Puccini (HKAPA’s production); Yakuside in Puccini’s Madamme Butterfly by (Hong Kong Philharmonic Orchestra); Marcello in Puccini’s La Bohème (HKAPA’s production) and Ben in Menotti’s The Telephone (HKAPA’s production). In April 2007, he was invited by the Shanghai Opera House to sing the role of Dancairo in Bizet’s Carmen by the Shanghai Opera House under the baton of Michel Plasson. In the same year, he sang the role of Gregorio from Gounod’s Romeo and Juliette in May and Johann from Massanet’s Werther for Opera Hong Kong in 2008. In March 2009, he was again invited to sing the role of Escamillo in Bizet’s Carmen for the Hong Kong Academy for Performing Arts. He took the role of Sun Chuen Mou from the local-composed Zhang Bao Zai and performed in the première with Musica Viva at Shanghai Expo 2010 during August. He was invited by Music Viva again in 2011, Jan to do the role of Belcore in Donizetti’s L’elisir d’amore. During October the same year, he was again invited by Opera Hong Kong to take the role of Ume in the production of Dr. Sun Yat-sen by Huang Ruo. The Glamorous Voice: The Music of Eric Whitacre

合唱團及演出者介紹 Chorus Profile & Performers’ Biographies

聲樂指導：戚芷君

Vocal Coach: Candy Chik 戚芷君畢業於香港中文大學，先後取得文學士（音樂）學位及哲學碩士（體育及運動科學）學位，及後又於香港演藝學院取得聲樂深造文憑。大學時期曾獲取獎學金，到加拿大參加麥基爾大學的爵士音樂暑期課程。戚氏於中文大學時曾跟隨吳美樂學習鋼琴，於演藝學院時隨孟浩文學習聲樂， 2010 年獲香港歌劇院的「賽馬會歌劇培訓計劃」資助，隨花腔歌唱家饒嵐小姐繼續進修；同時先後隨指揮家 Theodora Pavlovitch、 Fred Sjoberg 和梁頌儀進修合唱指揮。 2003 至 2009 年擔任葉氏兒童合唱團出國組的鋼琴伴奏的近七年期間，戚氏曾多次隨團到 18 個國家演出，並為音樂劇《 Snoopy 》的現場琴師。自 2008 年加入香港歌劇院後，戚氏曾參演多套歌劇，另外亦多次應邀於不同場合演出，當中包括澳門利氏學社 2008研討會。於 2009年 5月，戚氏舉行了首個公開的獨唱會。戚氏現為香港中文大學合唱團聲樂指導、香港歌劇院兒童合唱團導師及多間學校的合唱團指揮及聲樂導師。

華麗之聲：韋塔克作品選

Candy Chik graduated from the Hong Kong Academy for Performing Arts (Advanced Diploma in Voice) after acquiring degrees of Master of Philosophy (Sports Science and Physical Education) and BA (Music) from the Chinese University of Hong Kong. She studied piano with Mary Wu in CUHK, and voice with Brian Montgomery in HKAPA. She has studied in the summer jazz programme at McGill University on a university’s scholarship and in 2009, furthered her vocal training with coloratura soprano Lan Rao, sponsored by the HK Jockey Club Choral Training Programme and the Opera Hong Kong. She has also studied choral conducting with renowned European conductors Theodora Pavlovitch and Fred Sjoberg, and locally with Jovita Leung. Chik has joined the OHK since 2008 and has sung in a number of operatic and choral productions. Her vocal appearances also include the Symposium 2008 (Macau Ricci Institute) and various local events. As an accompanist, she had performed with the Yip’s Children’s Choir in 18 countries in seven years; and was the keyboardist in the musical Snoopy in 2008, and also accompanied for the vocal training courses at HKU SPACE. With passion for children and music education, she is currently a vocal coach at CUHK Chorus, pianist at the Opera Hong Kong Children Chorus, and a vocal teacher and choral conductor in various schools.

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

The Glamorous Voice: The Music of Eric Whitacre

合唱團及演出者介紹 Chorus Profile & Performers’ Biographies

鋼琴伴奏：黃歷琛

Pianist: Alexander Wong 黃氏為香港中文大學音樂系現屆畢業生，隨吳美樂學習鋼琴及黃健羭學習管風琴；亦擔任崇基合唱團、雅謌合唱團及聖公會聖三一堂兒童合唱團鋼琴伴奏。來年畢業後將赴美國伊士曼音樂學院修讀碩士課程，主修鋼琴伴奏及室內樂。

Alexander Wong is currently a final-year Music student in The Chinese University of Hong Kong, studying piano with Mary Wu and organ with Wong Kin Yu. He is also an accompanist of Chung Chi Choir, Cantacore Society and Holy Trinity Church children choir. After graduation in CUHK, he will continue his master degree study in Eastman School of music, major in piano accompanying and chamber music.

鋼琴伴奏：黃穎兒

Pianist: Solomon Wong 現為自由音樂人。黃氏於香港大學經濟及工商管理學院畢業後，一直從事與音樂表演、行政及教育等有關工作，此外，黃氏亦涉足專業錄音室的工作，例如曾參與廣告及動畫配樂、製作音樂與音響效果及編曲等等。他亦負責為客戶製作及出版商業 CD及 DVD。他於 2001年至 2007年期間擔任深水埗兒童合唱團駐團鋼琴家，多次參與合唱團的公開演出。現為泛亞交響樂團小提琴手，經常參與大型音樂會演奏，擁有豐富的演出經驗。黃氏在音樂行政方面經驗熟練，現為香港精英室樂團行政總監，負責樂團營運、演出、團員招募及宣傳推廣等工作。黃氏現時致力培育音樂人才，分別在多所學校教授中、小提琴，並擔任順德聯誼總會李兆基中學管弦樂團指揮，栽培及訓練樂團演出。他同時擔任德信中學弦樂團及賽馬會中學弦樂團指揮，設計課程及訓練樂團演出。

Solomon Wong is currently a freelance musician. Since his graduation from the Faculty of Business and Economics of The University of Hong Kong, Wong has worked in fields related to music performance, administration and education. He also works in a professional recording studio, involving in works such as making music for advertisements and animations, creating sound effects and arranging songs. His job includes producing and issuing commercial CDs and DVDs for his clients. Wong was the resident pianist of Shum Shui Po Children’s Choir from 2001 to 2007, participating in the choir’s many performances. As a current violinist of Pan Asia Symphony Orchestra, Wong 華麗之聲：韋塔克作品選

often takes part in large concerts, further enriching his performing experiences. Wong is well-versed in music-related administrative management. He is currently the administrative director of Hong Kong Elite Chamber Orchestra, in charge of the group’s operation, performance organisation, member recruitment and promotion. Wong currently devotes himself to nurturing young musicians. He teaches violin and viola in many schools, and serves as the conductor of Shun Tak Fraternal Association Lee Shau Kee College Symphony Orchestra, training and cultivating the students towards better orchestral performance. Additionally, Wong is the conductor of Tak Sun Secondary School String Orchestra and Jockey Club Government Secondary School String Orchestra, designing courses for the groups and training them for performances. 17

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

The Glamorous Voice: The Music of Eric Whitacre

合唱團及演出者介紹 Chorus Profile & Performers’ Biographies

客席指揮：韓多普

Guest Conductor: Paul Hondorp 韓多普現為西肯塔基大學合唱活動總監及音樂系副教授，負責指揮三隊大學合唱團以及任教指揮及指導畢業論文。生於加利福尼亞州，韓多普博士於密西根州立大學獲音樂藝術博士學位，師隨史密夫、列德及拉爾。加入西肯塔基大學之前他於社區大學及高中任教。他曾在加利福尼亞州、賓夕凡尼亞州及密西根州的教會擔任詩班指揮，現任鮑靈格林第一基督教會音樂總監。韓多普博士曾多次為美國合唱指揮協會及音樂教育工作者全國會議於阿拉巴馬州、阿肯色州、加利福尼亞州、賓夕凡尼州、肯塔基州、印第安那州及田納西州擔任音樂節評委、講師及客席指揮。最近曾為新加坡合唱資源中心及台北國際合唱音樂節擔任講師。 2008年 5月，他率領西肯塔基大學合唱團出訪意大利北部，當中包括應邀於博羅納 Musica Ateneo音樂節演出。韓多普最近應邀出任 ACDA南部分部大專及大學曲目發展主席，也為肯塔基州分部擔任相同工作。他同時出任全國大學合唱組織州代表及創會成員。韓多普博士曾獲KMEA第三區 2004至 2005年度大專／大學教師殊榮。作為一位抒情男高音，韓多普博士曾於六個夏季與俄勒岡巴赫音樂節合唱團演出，也在謝菲爾德的巴郡合唱節任導師。曾擔任獨唱演出包括韓德爾《彌賽亞》、《參孫》，莫扎特《安魂曲》，以及於艾斯特歌劇《無比敵》之世界首演飾演星巴克一角。

David Rayl. Prior to his arrival at WKU, Dr. Hondorp taught at the community college and high school level. He directed church choirs in California, Pennsylvania and Michigan, and is currently Director of Music at First Christian Church of Bowling Green. Dr. Hondorp has served as an adjudicator, clinician and guest conductor for festivals of the American Choral Directors Association (ACDA) and the Music Educators National Conference (MENC) in Alabama, Arkansas, California, Pennsylvania, Kentucky, Indiana and Tennessee. Recent engagements include guest clinicianships with the Singapore Choral Resource Center and the Taipei International Choral Festival. In May of 2008, he led the WKU Chorale on a tour of Northern Italy, which included an invited performance in the Musica Ateneo Festival in Bologna. Dr. Hondorp has recently accepted appointments as the Repertoire and Standards Chair for College/University for the Southern Division of ACDA, and served in that capacity for the state of Kentucky. He also serves as state representative and founding member of the National Collegiate Choral Organization. Dr. Hondorp was named College/University Teacher of the Year for 2004-2005 for KMEA District Three.

韓多普博士現與妻兒定居鮑靈格林。

Paul Hondorp is Director of Choral Activities and Associate Professor of Music at Western Kentucky University, where he directs three university ensembles, teaches conducting and graduate literature. A California native, Dr. Hondorp received his DMA in Choral Conducting from Michigan State University, where he studied under Charles K. Smith, Jonathan Reed and 華麗之聲：韋塔克作品選

A lyric tenor, Dr. Hondorp performed with Oregon Bach Festival Chorus for six summers, and served on the faculty of the Berkshire Choral Festival in Sheffield, Massachusetts. Solo performances include concert work in Handel’s Messiah and Samson, Mozart’s Requiem and Starbuck in the world premiere of Gary Eister’s opera Moby Dick. Dr. Hondorp lives in Bowling Green with his wife and children. 19

合唱團及演出者介紹

Chorus Profile & Performers’ Biographies

首席陳慕融、樂團副首席于苑青、第二小提琴首席 Baird Dodge、樂師 Nathan Cole 及 Ni Mei，以及已退休之第二小提琴首席 Tom Hall。此外，許氏亦隨團跟世界多名指揮大師合作，如張弦、范瑞登、沙朗倫、安震恆、拉克利夫及史坦茲等。許氏亦被選為團中 MusiCorps之一員，與團員組成弦樂五重奏，到芝加哥多個中小學及公園作示範演出，向學生及觀眾講解弦樂器及其演奏方法。

Andrew Hsu began his piano study at the age of six and violin study at ten. He studied violin under violin educator Lau Yat Ying. He participated in various performing groups in Hong Kong, including Hong Kong Youth Symphony Orchestra, Hong Kong New Philharmonia and Pan Asia Symphony Orchestra, and was appointed as the concertmaster of Hong Kong Youth Symphony Orchestra. He performed in the Recital Hall, Hong Kong City Hall as his debut solo violin recital in Hong Kong in 2008.

小提琴：許銘竣

Violin: Andrew Hsu 許銘竣六歲開始學習鋼琴，十歲開始學習小提琴。曾師隨小提琴教育家劉一瀛，亦參與香港多個樂團之演出。許氏曾為香港青年交響樂團、香港新愛樂交響樂團及泛亞交響樂團之成員，並曾出任香港青年交響樂團之樂團首席。 2008年，許氏於香港大會堂高座演奏廳舉辦其首次在港個人演奏會。許氏於 2004 年赴美留學，入讀伊利諾大學厄巴納 – 香檳分校音樂系，主修小提琴演奏，分別於 2007年及 2009年取得學士（高等榮譽）及碩士學位，並曾獲頒發獎學金。許氏跟隨 Sherban Lupu 修習小提琴演奏，又跟隨太平洋四重奏的成員修習室內樂。在校期間，許氏活躍於校內多個表演團體，為校內愛樂樂團、交響樂團及艾尼斯高合奏團之成員，亦曾擔任愛樂樂團之首席。此外，亦參與多個校外樂團之演出，如尚佩恩–厄班維交響樂團及丹維爾交響樂團等。畢業後，許氏加入芝加哥交響樂團附屬之訓練樂團團芝加哥市民樂團。受訓期間，許氏曾跟隨芝加哥交響樂團多位樂師修習，如樂團

Mr. Hsu began his study in the School of Music of University of Illinois at Urbana-Champaign (USA) in 2004, majoring in violin performance, and graduated with Bachelor of Music (with High Honors) and Master of Music degrees in 2007 and 2009 respectively. He was awarded tuition waiver during his studies. He studied violin performance under Sherban Lupu, and chamber music under members of the Pacifica Quartet. He participated in various performing groups in school. He was a member of the school Philharmonic Orchestra, Symphony Orchestra, and Enescu Ensemble, and was appointed as the concertmaster of the Philharmonic Orchestra. In addition, he performed in various orchestras outside school, including Champaign-Urbana Symphony Orchestra and Danville Symphony Orchestra. After graduation, Mr. Hsu joined Civic Orchestra of Chicago, the training orchestra of Chicago Symphony Orchestra. During his years in Civic Orchestra, he studied and received coachings with several musicians from Chicago Symphony Orchestra, including concertmaster Robert Chen, assistant concertmaster Yuan-Qing Yu, second violin principal Baird Dodge, violinists Nathan Cole and Ni Mei, and retired second violin principal Tom Hall. In addition, Hsu performed in the orchestra under several world-class conductors such as Xian Zhang, Jaap van Zweden, Esa-Pekka Salonen, Peter Oundjian, Larry Rachleff and Markus Stenz. Mr. Hsu was also selected in Civic Orchestra as a member of MusiCorps programme, in which he formed a string quintet with fellow members from Civic Orchestra and performed in various elementary schools, high schools and parks in Chicago, and introducing different string instruments and explaining their performing methods to the students and audience.

The Glamorous Voice: The Music of Eric Whitacre

合唱團及演出者介紹 Chorus Profile & Performers’ Biographies

木琴及敲擊：陳江平

Xylophone and Percussion: Ken Chan 一名多元化敲擊樂手，其專長包括西洋敲擊、流行鼓、步操鼓及拉丁鼓樂。陳氏曾隨董德亮和蔡立德學習敲擊，以及隨徐世興學習爵士鼓， 2005 年考獲倫敦聖三一音樂學院 ATCL 敲擊樂優異級文憑， 2006 年赴美國洛杉磯音樂人學院之敲擊樂系 (Musicians Institute – Percussion Institute of Technology) 深造。在美國期間，陳氏隨爵士搖滾大師 Gary Garbatini 、拉丁鼓樂大師 Chuck Silverman、敲擊技術大師 Bruce Becker 及步操敲擊大師 Chris Rodriquez 學習。陳氏之樂團經驗豐富，曾參與之樂團包括 DCA世界賽決賽隊伍洛杉磯 SoCal Dream 鼓號樂團、香港節日管樂團、澳門樂團、泛亞交響樂團、香港愛樂團及香港新愛樂交響樂團等， 2010 年更與香港節日管樂團合作演奏爵士鼓協奏曲。他於 2004年起與多位敲擊愛好者組成了敲擊樂組合「激樂團」，一直活躍演出至現在。 2009 年陳氏成立了擊能量音樂中心，全身投入於敲擊樂教學。現時陳氏主力於該中心教授敲擊樂，亦任教於音樂事務處及多間中小學之敲擊樂班。

Ken Chan is a versatile percussion player with specialties including concert percussion, drumset, marching percussion and Latin percussion. He studied percussion with Tung Tak-leong and Choy Lap-tak and drumset with Simon Chui. In 2005, he obtained the ATCL diploma in percussion with distinction from London Trinity College. In 2006, he furthered his percussion studies at the Musicians Institute in Los Angeles, USA. He then studied with jazz-rock master Gary Garbatini, Latin drumming master Chuck Silverman, hand technique master Bruce Becker and marching percussion master Chris Rodriquez. Mr. Chan has participated in numerous orchestras including the Los Angeles SoCal Dream Drum and Bugle Corps (DCA Championship finalist), Hong Kong Festival Wind Orchestra, Orquestra de Macau, Pan Asia Symphony Orchestra, Hong Kong SAR Orchestra and Hong Kong New Philharmonia. He was invited to perform a drumset concerto with Hong Kong Festival Wind Orchestra in 2010. In 2004, he formed GIG Percussion Ensemble that actively performs till this day. In 2009, he established the PercussionSpirit Music Centre and devoted himself into percussion teaching career. Beside teaching in his music centre, Mr. Chan also teaches in Music Office and various primary and secondary schools. 華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

陳能濟 Chan Ning-chi (b.1940)

古詞二首 Two Ancient Poems * 《天淨沙》枯藤老樹昏鴉小橋流水人家古道西風瘦馬夕陽西下斷腸人在天涯馬致遠

《黃鶴樓》昔人已乘黃鶴去此地空餘黃鶴樓黃鶴一去不復返白雲千載空悠悠晴川歷歷漢陽樹芳草萋萋鸚鵡州日暮鄉關何處是煙波江上使人愁

Tianjingsha Dried vines, old trees, evening crows, A tiny bridge, a running stream and an ordinary home; On an ancient road, autumn wind blows by a scrawny horse. While sun sets at the west, A heart-torn wanderer stands at earth’s far end.

崔顥

Yellow Crane Tower Riding a yellow crane the old man’s gone, Leaving behind an empty Yellow Crane Tower. The yellow crane returns not, Clouds ahead hanging thousand years on. Under a brightening sun the Hanyang trees are seen, Yingwuzhou’s grasses grow in a lush. Homeland is nowhere to be seen in the dusk, Mist on the river awash men with sentiments. Translation: Dennis Wu

陳能濟 1973 起年定居香港，除了音樂創作也從事各類型的音樂活動，早期為業餘香港中樂團指揮之一， 1989年移居台灣，應高雄市國樂團邀請任駐團指揮。 1993年回港先後任香港中樂團助理音樂總監、駐團作曲、助理指揮、研究及發展主任等。此套曲所選的第一首為馬致遠的《天淨沙》，第二首為崔顥的《黃鶴樓》。馬致遠所寫的小令《天淨沙》，是以多個靜態的具體意象之並置來道出斷腸客旅的心境。作曲者將京劇韻白的朗誦方式引入合唱，以此來塑造古樸的聲音圖象，藉以烘托馬致遠曲詞中如畫般的意象。唐朝詩人崔顥登黃鶴樓，感概賦詩。其後，李白來到此地，見崔顥的《黃鶴樓》詩而心折，說：「眼前有景道不得，崔顥題詩在上頭」，無作而去。《黃鶴樓》一曲簡樸優美，頗有戲曲調子的韻味。作曲者以此二曲抒發思鄉之情。此套曲由香港作曲家及作詞家協會贊助創作，由雅謌合唱團於 1993年 12月 19日首演。

Chan Ning-chi moved to Hong Kong in 1973 and has since actively participating in Hong Kong’s music scene. He was one of the conductors of the Hong Kong Chinese Orchestra before the orchestra turned full-time. Migrated to Taiwan in 1989, Chan was invited to be the resident conductor of Kaoshiung Chinese Orchestra. He returned to Hong Kong in 1993 and has

worked with Hong Kong Chinese Orchestra as assistant music director, composer-in-residence, assistant conductor, research and development officer.

Two Ancient Poems, two songs expressing composer’s longing for his homeland, were commissioned by the Composers’ and Authors’ Society of Hong Kong (CASH) and premiered by the Cantacore Society on December 19, 1993. The first of two poems is based on Ma Zhiyuan’s poem Tianjingsha. Ma juxtaposed several concrete and still images to portray the traveller’s homesickness. The composer uses Peking opera style recitative in the chorus to recreate an idyllic tonal image of the past. The second, based on Tang poet Cui Hao’s Yellow Crane Tower, is a memoir of the poet after visiting the renowned tower. The great poet Li Bai visited the same tower and was impressed by Cui’s poem which was mounted and displayed there. Li showed his respect and admiration for Cui’s work by refraining from writing another poem about that place, saying the Cui’s poem simply could not be surpassed. 樂曲介紹摘自《香港聲樂作品集 II – 合唱曲：中國古典詩詞》

Programme notes extracted from Hong Kong Vocal Music Collection II - Choral: Classical Chinese Poetry

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

鄧樂妍 Tang Lok-yin (b.1978)

霜雪Ⅰ Frozen Tears I your heart with me * I(Icarry carry it in my heart) I am never without it (Anywhere I go you go; Whatever is done by only me is your doing) I fear No fate (you are my fate)

我把你心隨身（我用我心盛載）我從不放下（無論我到何處你也同行；無論我獨作何事你也有份兒）我害怕失去命運（你是我的命運）翻譯：朱振威

E.E. Cummings (Adapted by Tang Lok-yin)

鄧樂妍是一位才華橫溢的作曲家，在學期間已從事作曲工作，並獲香港及國外多個職業團體委約。鄧樂妍的作品融滙中、西樂，涉獵器樂、舞蹈及歌劇的音樂創作，經常在歐、美、中、日等地演出，屢次在國際舞台上獲獎。《霜雪 I》是作曲家計劃以康明斯的著名情詩《 I Carry You in My heart》創作的三樂章組曲的首樂章，以原詩第一段及少部份第二段作歌詞，餘下兩樂章仍在構思中。儘管不少人將此詩解讀為甜言蜜語，也因此常常成為婚禮獻詩的文本，作曲家卻從另一方向將此詩從新詮釋成一首悲歌。

Tang’s compositions often blend Chinese and Western music and are performed around the world. Tang is a winner of many international prizes and awards.

Frozen Tears I is the first of the planned three-movement suite based on E. E. Cumming’s love poem I Carry You in My Heart. The first movement is based on the first stanza and part of the second stanza. The composer takes a drastic approach and reinterpret the poem into an elegy.

此作品於 2012年由香港中文大學合唱團委約，費用由「 CASH音樂基金」贊助。

The first of four sections begins in a calm alto note D and the note develops slowly into gestures for soprano, repeating “I carry.” With intensifying dynamics and rhythmic activities, the tension is heightened with movements based on the D dorian mode and climaxed at a shout “I carry you heart with me.” The male singers join in the second section. The wavering texture in free counterpoint of four voices develops around the words “I am never without it,” with a special emphasis on “never.” The chorale-like third section starts in D minor. Based on the same words, the music transforms into a proclamation and reaches the climax. Starting from the D# of soprano, the fourth and final section is cloudy and nervous, with “I fear, no fate” repeatedly sung. At the moment “anywhere I go, whatever is done only me is your doing,” the low murmur returns to D dorian mode with repeating “fear” and “fate” (the bass will respond, “You are my fate”). That is a tug war, a cry of the unconsoled.

Composer Tang Lok-yin has been receiving commissions from groups in Hong Kong and overseas since she was a student. Ranging from instrumental music to music for dance and opera,

Frozen Tears I is commissioned by The Chinese University of Hong Kong Chorus in 2012 with sponsorship from CASH Music Fund.

全曲共分四部份。引子平靜地由女低音以 D音開始，慢慢與女高音發展成音群，呢喃著「 I carry」二字，音樂的張力靠力度與節奏變化內斂地在 D多利安調式裡推進，後以吶喊出「 I carry you heart with me」作結。第二段男聲加入，四聲部以自由對位繼續將首句歌詞發展，然後帶出第二句歌詞「 I am never without it」，且不斷強調「 never」一字。聖詠似的第三段進入 D小調，仍是相同的歌詞，也是全曲高潮，如同向世人作出宣告。第四段以女高音在 D#上以「 go」開始，全音階配襯歌詞「 I fear, no fate」帶出朦朧不安的意境，此時部份歌手輪番低吟「 anywhere I go/what ever is done by only me is your doing」，音樂重返 D多利安調式，唱者反覆在「 fear」與「 fate」（男低音回答「 You are my fate」）之間的角力，誦者，像是心有不甘的哀嚎。

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

冉天豪 Jan Tien-Hao (b. 1973)

《風雪戀星》組曲 * 《我不知道風是在哪一個方向吹》

《雪花的快樂》

我不知道風是在哪一個方向吹—— 我是在夢中，在夢的輕波裏依洄。

我不知道風是在哪一個方向吹—— 我是在夢中，她的負心，我的傷悲。

我不知道風是在哪一個方向吹—— 我是在夢中，她的溫存，我的迷醉。

我不知道風是在哪一個方向吹—— 我是在夢中，在夢的悲哀裏心碎！

我不知道風是在哪一個方向吹—— 我是在夢中，甜美是夢裏的光輝。

我不知道風是在哪一個方向吹—— 我是在夢中，黯淡是夢裏的光輝。

好的歌詞對於作曲者來說，有著極大的引導力量，把文字的感受用音樂的想像呈現，不同的藝術形式，卻可以傳達相同甚至更深刻的感動，這是身為作曲者的樂趣所在。接受台北室內合唱團委託後，某天我在書架上隨意取下徐志摩詩集，很快就決定了譜曲題材，出於直覺幾無猶豫，這種巧合（或是衝動）在事後非常容易理解，這便是徐志摩詩的魅力所在—「熱情、純粹、執著、不滅」。《風雪戀星》乃是擷取徐志摩的四首新詩—〈我不知道風是在那一個方向吹〉、〈雪花的快樂〉、〈我有一個戀愛〉、〈為要尋一個明星〉的集稱，寫於不同時期、不同風格的不同心情，「風、雪、戀、星」正巧是徐志摩新詩中最常出現的四個命題，他正是一個無可救藥的浪漫主義奉行者。我並非徐志摩專家，然而徐氏詩作豐富的文字音樂性以及戲劇張力，讓我可以放心地照著讀詩的直覺譜曲，差不多在第一時間便能夠衍生旋律以及音樂風格，無需思考太多繁複技術，這又是身為作曲者的另一種樂趣。除了〈再別康橋〉與〈偶然〉外，〈我不知道風是在那一個方向吹〉稱得上是徐志摩最為人喜愛的浪漫情詩，帶有旋律感的用字、工整漂亮的段落、以及不同溫度的情緒起伏，對於作曲家來說堪稱結構完美的歌詞，由鋼琴緩緩吹起風的漣漪，其上承載綿長的人聲旋律線，讓夢中的傷感更顯真實。 24

假如我是一朵雪花，翩翩的在半空裡瀟灑，我一定認清我的方向。飛颺，飛颺，飛颺，這地面上有我的方向。不去那冷漠的幽谷，不去那淒清的山麓，也不上荒街去惆悵。飛颺，飛颺，飛颺，你看我有我的方向！

在半空裡娟娟的飛舞，認明了那清幽的住處，等著她來花園裡探望。飛颺，飛颺，飛颺！啊，她身上有硃砂梅的清香！那時我憑藉我的身輕，盈盈的，沾住了她的衣襟，貼近她柔波似的心胸。消溶，消溶，消溶，溶入了她柔波似的心胸！

〈雪花的快樂〉在這四首歌曲中猶如甜點般，分量雖輕卻甜在心裡，第一人稱的雪花從天上落下，伴著圓舞曲的節奏隨風搖擺，瀟灑地穿過幽谷、來到花園、最後消溶在佳人柔波似的心胸，我刻意更動原詩結構並加強字詞重複，讓雪花短暫的歷程更具場景層次，不斷出現的「飛颺」音型道盡自由自在的快樂。〈我有一個戀愛〉並非表面看來的情詩，其戀愛的對象其實是「天上的明星」（呼應了另一首〈為要尋一個明星〉的命題），徐志摩的熱情在此詩中透露難得的清澈平靜，像是一幅筆觸乾淨的山水畫，我在譜曲的過程中很自然地融入東方禪意，乾淨簡單的鋼琴和弦進行，讓人聲自然流瀉，渲染出晶瑩剔透的色彩。〈為要尋一個明星〉是此組曲中最具戲劇張力的一首，徐志摩極具畫面感的文字鋪陳，強烈的「追尋明星」動機充分展現其唐吉訶德式的浪漫騎士本色。三大段戲劇場景相當接近歌劇詠嘆調的結構，從一開始黑暗中的獨行騎士、絕地逢生的幻境、最後開展到宇宙觀的飛蛾撲火，在自由曲式與旋律開展上，讓我有創作音樂劇般的想像空間。合唱編曲是我音樂創作生涯的開始，這次《風雪戀星》組曲竟是我首次的合唱創作曲，我想這也是某種不經思考的浪漫直覺吧。 The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

“Wind, Snow, Love, Star” Suite 《我有一個戀愛》

《為要尋一個明星》

我有一個戀愛，我愛天上的明星，我愛它們的晶瑩，人間沒有這異樣的神明。

我有一個破碎的魂靈，像一堆破碎的的水晶，散布在荒野的枯草裡，飽啜你一瞬瞬的殷勤。

我騎著一匹柺腿的瞎馬，向著黑夜裡加鞭，向著黑夜裡加鞭，我騎著一匹柺腿的瞎馬。

在冷峭的暮冬的黃昏，在寂寞的灰色的清晨，在海上，在風雨後的山頂，永遠有一顆萬顆的明星。

人生的冰激與柔情，我也曾嘗味，我也曾容忍，有時階砌下蟋蟀的秋吟，引起我心傷逼迫我淚零。

衝入這黑綿綿的昏夜，為要尋一顆明星，為要尋一顆明星，我衝入這黑茫茫的荒野。

山澗邊小草花的知心，高樓上小孩童的歡欣，旅行人的燈亮與南針，萬萬里外閃耀的精靈。

我坦露我的坦白的胸襟，獻愛與一天的明星，任憑人生是幻是真，地球存在或是消泯，太空中永遠有不昧的明星。

累壞了，累壞了我胯下的牲口，那明星還不出現，那明星還不出現，累壞了，累壞了馬鞍上的身手。

容許我的不躊躇的注視，容許我的熱情的獻致，容許我保持這顯示的神奇，這現在與此地，這不可比擬的一切間隔的毀滅！我更不問我的希望，我的惆悵，未來與過去只是渺茫的幻想，更不向人間訪問幸福的進門，只求每時分給我不死的印痕：變一顆埃塵，一顆無形的埃塵，追隨著造化的車輪，進行！進行！徐志摩

這回天上透出了水晶似的光明，荒野裡倒著一隻牲口，黑夜裡躺著一具屍首，這回天上透出了水晶似的光明......

*** 冉天豪 1973年生於台北，畢業於國立政治大學英語系，現為全職音樂創作者。 2001年開始投入中文音樂劇作曲與監製，至今已完成七部原創作品與三部改編作品。 1994年開始從事合唱編曲，至今已有超過六十首作品發表，現為台北愛樂合唱團特約編曲。曾任福爾摩沙合唱團、台北男聲合唱團、 T42 Singers駐團編曲， 2002年獲台灣重唱大賽最佳編曲獎。 2003年開始從事管弦樂團編曲。音樂創作之外，亦不定期撰寫專欄與樂評。

Good text inspires good music. It is always tempting for composer to write music to present the imagery of the text. After accepting a commission from Taipei Chamber Singers, I took an anthology of Xu Zhimo from the shelf one day and I immediately decided to write music for this set of poems. Retrospectively, this coincidence or impulse can be easily reconciled with the charm of Xu’s writings – passionate, pure, adamant and inextinguishable.

poems: I Know Not From Where the Wind Blows, The Happiness of Snow Flakes, I Am in Love and To Seek a Shinning Star, which he wrote in different times and with different styles and sentiments. Incidentally, “wind”, “snow”, “love”, “star” are also the four elements appearing most often in Xu’s poems and are central to his expression of deeply-rooted romanticism. While I am not an expert on Xu Zhimo, intuitively I could follow the rich lyrical quality and dramatic tension in his poems; the melodies and styles come to me almost instantly. It is joyful to be a composer without the need to think too much on crafting the music with complex compositional techniques.

I Know Not From Where the Wind Blows is the most popular romantic poem that follows the famous Farewell Again to Cambridge and Chance. The chiming use of words, elegant structure and wavering emotion are among the elements to make it perfect for a composer to write music on. A light breeze from the piano leads up and supports a long melody for the voice; the melancholy slips quietly from dream to reality.

The title Wind, Snow, Love, Star is taken from four of Xu’s 華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

I Know Not From Where the Wind Blows

The Happiness of Snow Flakes

I know not from where The wind blows –– I am dreaming, Floating on the wave of dream.

I know not from where The wind blows –– I am dreaming, My heart broken by her betrayal.

If I am a piece of snow flake, Dancing in the sky, I have to know my direction. Flying, flying, flying, The land has marked me the direction.

I know not from where The wind blows –– I am dreaming, Addicted to her tenderness.

I know not from where The wind blows –– I am dreaming, My heart broken by the sorrow of the dream!

I know not from where The wind blows –– I am dreaming, Sweetness is the glory in the dream.

I know not from where The wind blows –– I am dreaming, Darkness is the glory in the dream.

I won’t go to the cold valley, I won’t go to the lonely mountains, I won’t worry on the empty street. Flying, flying, flying, You see, I’m on my direction! Flying in the sky, I recognise the beautiful home, I await her visit to the garden. Flying, flying, flying! Alas, the fragrance from her body! Now with my lightness, I attach myself to her clothes, Closely to her chest. Melting, melting, melting, Let me melt into her soft breast.

The Happiness of Snow Flakes is like a tiny piece of dessert, light and sweet. The snow flakes, the “I” in the poem, fly through the valley, garden and melt on the chest of a lady. I have repeated the words to make the short-lived snow flakes fly against a scenic depth, and let the snow fly in joyful freedom.

room for imagination like a musical.

I Am in Love is not a love poem; the poet’s lover is the star up in the sky (and connect thematically to To Seek a Shinning Star). Xu’s passion appears here in a rare calmness, like a clean picture of landscape. Naturally I have made this with a dash of zen; simple chords in the piano accompanies a natural flow of human voice above, creating a picture made of crystalline tone colours.

***

Among all four songs in the suite, the most dramatic one is To Seek a Shinning Star. The cinematic lyrics portray a Quixotic quest of “seeking the shinning star.” The three dramatic scenes are structured like operatic arias, starting with a lone rider in the dark, then shifts to a wonderland of last-minute miracles, and at last expanding into a cosmic self-sacrificing pursuit. The free structure and melody development provide me with vast 26

I started my professional career of music-writing by choral arrangement. Incidentally, this suite led me to the path of choral composition. I think it is a romance of spontaneous intuition.

Born in 1973 in Taipei. Jan graduated from the Department of English, National Chengchi University, and is currently a professional music writer. Since 2001, Jan has participated in composing and producing Chinese musicals. To date he has completed 7 original works and three adaptations. Jan has been arranging choral pieces since 1994, and has published over 60 works. He was the resident arranger for the Formosa Singers, Taipei Male Choir, and T42 Singers. Currently he serves as a special arranger for the Taipei Philharmonic Chorus. Jan was awarded Best Arranger in the 2002 Taiwan International Contemporary A Cappella Festival. In 2003, Jan started arranging music for symphonic orchestra as well. Aside from writing music, he also writes as a columnist and a music critic. The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

I Am in Love I am in love, I love the stars in the sky, I love their glitter, There is no such exceptional deity in the mortal world.

I have a broken soul, Like a crystal shattered, Scattered on wilted grasses in wilderness, Fed greedily on your complaisance.

In the dusk of the cold winter, In the lonely and grey dawn, Over the sea, or the peak after tempest, There are always thousands of bright stars.

Cold passion and tenderness, I tasted, I endured, Autumn Crickets’ moans on the stairway Bring out my sadness and my tears.

Confidant of flowers by the stream, Delight of children up in the tower, Wanderer’s torch and compass, the fairy shines over thousands of miles.

I lay bare my chest with honesty, Dedicate my love to the celestial stars, Be life an illusion or reality, Whether earth exists or vanishes, Forever shine the stars in deep universe.

To Seek a Shinning Star I am riding a blind, lame horse, Charging into the dark, Charging into the dark, I am riding a blind, lame horse. I rush into this murky night, To seek a shinning star, To seek a shinning star, I rush into this gloomy wilderness. Exhausted, so exhausted is my mount, The shinning star is still not there, The shinning star is still not there, Exhausted, so exhausted on the saddle.

Allow me to unhesitatingly gaze, Allow me to passionately dedicate, Allow me to keep this wonder of appearance, Now, and here, The incredible dissolution of all partitions. I ask not of my hope nor my worry, Future and past are but distant illusion. I ask not of man the portal to happiness, I beg only to leave undying mark every moment: Turn me into a dust! A formless dust, Rolling on the wheel of beings, Onward! Onward! Translation: Dennis Wu

A crystalline beam shines through suddenly, In the wilderness lies a horse, In the darkness lies a corpse, A crystalline beam shines through suddenly...

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

E R I C W H I TAC R E

T H E

M U S I C

O F

Lyrics and Programme Notes

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

韋塔克是一位擁有世界級地位的作曲家、指揮及講者，在合唱音樂界有廣泛的涉獵。他在內華達州立大學及隨後的茱莉亞音樂學院修畢音樂不久，便開始作曲，並獲得無數作曲獎項，計有巴羅國際作曲比賽，美國合唱指揮協會 ( ACDA) 等；在 2001年，他更成為後者的雷蒙德． C．布落克委約大獎的最年輕得主。自從他的知名度急升，更與不少知名藝團合作，包括倫敦交響樂團及合唱團、香提克利合唱團 (Chanticleer) 及柏林廣播合唱團等。最近，他的大碟《金色光華》更成為了 2012年格林美獎最佳合唱演出獎的得主，進一步顯赫他在合唱音樂界的皇者地位。除了作曲之外，韋塔克亦透過指揮不同合唱團及器樂組合、舉辦工作坊及大師班等，發揮其在現代合唱音樂界的領導能力。作為一個演講家，他也曾在 TED講座，聯合國領袖計劃及其他國際盛事中發揮他的才華。其音樂前衛而走在時代尖端，當中光華和超越的感覺使他的作品成為了現時不少合唱團的常駐曲目。近年，他的「虛擬合唱團」，一個聚集各網上歌唱者的多媒體專案，亦獲各方的肯定和好評。

With vast exploration in the field of choral music, Eric Whitacre has firmly established his worldwide status as a composer, conductor and speaker. Soon after his music studies in University of Nevada and subsequently Julliard School, he began to compose and receive numerous composition awards, such as the Barlow International Composition Competition, American Choral Directors Association (ACDA) and in 2001, he became the youngest recipient of The Raymond C Block Commission given by ACDA. Since then his fame rose stunningly and began to collaborate with various artistic groups, including the London Symphony Orchestra and Chorus, Chanticleer and Rundfunkchor Berlin to name a few. Most recently, his album Light and Gold received the Grammy Award of Best Choral Performance in 2012, further advancing his prestige among the field of choral music. Besides composing, Whitacre is also a fervent leading role in contemporary choral music by conducting different choirs and ensembles, organizing workshops and delivering masterclasses all around the globe. Being an exceptional speaker, he also spoke in TED talk, UN Leaders Programme and other international events which were also highly acclaimed. With his stylish and avant-garde approach, the glamour and ethereal sense in his music placed them in the standard repertoire nowadays. The recent multimedia project by him, “Virtual Choir”, composed of singers from the Internet donating their singing clips with his composition, has also received numerous praise and recognition.

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

韋塔克 Eric Whitacre (b. 1970)

海豹搖籃曲 The Seal Lullaby Hush thee, my baby, the night is behind us, * Oh! And black are the waters that sparkled so green. The moon, o’er the combers, looks downward to find us, At rest in the hollows that rustle between.

噓，寶貝靜下來，黑夜正把我們趕上，漆黑的海水閃著墨綠色光芒。月亮掛在浪頭上，俯視尋找我們，在波濤之間應該好夢正酣。

Where billow meets billow, there soft be thy pillow, Oh weary wee flipperling, curl at thy ease! The storm shall not wake thee, nor shark overtake thee, Asleep in the arms of the slow swinging seas!

海浪碰著海浪，那是你溫軟的枕頭；疲倦的小海豹，舒適地捲伏起來。雷聲不會吵醒你，鯊魚不會騷擾你。安睡在汪洋輕搖的雙臂之中。

Rudyard Kipling

翻譯：朱振威

2004 年春天我幸運地在 ASCAP 音樂劇工作坊中首演我的《失樂

時間慢慢過去，但我一直收不到回音，我也開始失望。難道他們不喜歡？那旋律太複雜？也許他們跟本未有聆聽？最後，我主動聯絡他們，懇求他們給我解釋為甚麼沒有用上這首溫柔小曲。「噢！」那監製說：「我們還是決定開拍《功夫熊貓》。」

園：影子與翅膀》。該工作坊由傳奇作曲家舒華茲（《女巫前傳》、《福音》）一手策劃，他的洞見與創意給我很大的幫忙。我很榮幸他自此成為我最重要的導師與朋友。工作坊後不久我就收到某大製片公司的電話。舒華茲把我推薦給他們，而他們想知道我是否有興趣為他們一部動畫電影創作配樂。我非常興奮，一口答應，隨即出席會議。製片公司的創作監製跟我說他們公司的領導層一直想製作一部史詩式歷險動畫，那是改編自吉卜林的《白海豹》。我一直喜歡動畫（早期的迪士尼電影、《樂一通》、所有彼思製作），我不敢相信我竟然有機會在這偉大傳統之中為這樣棒的題材創作配樂。《白海豹》是一個美麗的故事，吉卜林的經典，深沉而豐富卻又保持赤子之心。吉卜林以母海豹對小海豹輕唱搖籃曲開始他的童話。（卷首的詩作題為《海豹搖籃曲》）。我沉醉在這篇漂亮的文字，一個簡單，很「迪士尼式」的曲調湧進我的腦海。我以最快速度寫下來，然後由內子獨唱我親自伴奏製作了錄音，然後交給了製片公司。 30

我也無可奈何，只能每晚為兒子唱此歌哄他入睡（成功率低於50%）。幾年後，湯尼歌手慷慨地委約我將該曲改編。我感激他們給予此曲新生命。我也特別感激舒華茲，我將此曲題獻給他。他對我的友誼與無價的看顧絕對遠超我能以言語表述。

In the spring of 2004 I was lucky enough to have my show Paradise Lost: Shadows and Wings presented at the ASCAP Musical Theater Workshop. The workshop is the brainchild of legendary composer Stephen Schwartz (Wicked, Godspell), and his insights about the creative process were profoundly helpful. He became a great mentor and friend to the show and, I am honored to say, to me personally. Soon after the workshop I received a call from a major film

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

studio. Stephen had recommended me to them and they wanted to know if I might be interested in writing music for an animated feature. I was incredibly excited, said yes, and took the meeting. The creative executives with whom I met explained that the studio heads had always wanted to make an epic adventure, a classic animated film based on Kipling’s The White Seal. I have always loved animation (the early Disney films; Looney Tunes; everything Pixar makes) and I couldn’t believe that I might get a chance to work in that grand tradition on such great material.

The White Seal is a beautiful story, classic Kipling, dark and rich and not at all condescending to kids. Best of all, Kipling begins his tale with the mother seal singing softly to her young pup. (The opening poem is called The Seal Lullaby). I was struck so deeply by those first beautiful words, and a simple, sweet Disney-esque song just came gushing out of me.

華麗之聲：韋塔克作品選

I wrote it down as quickly as I could, had my wife record it while I accompanies her at the piano, and then dropped it off at the film studio. I didn’t hear anything from them for weeks and weeks, and I began to despair. Did they hate it? Was it too melodically complex? Did they even listen to it? Finally, I called them, begging to know the reason that they had rejected my tender little song. “Oh,” said the exec, “we decided to make Kung Fu Panda instead.” So I didn’t do anything with it, just sang it to my baby son every night to get him to go to sleep. (Success rate: less than 50%.) And a few years later the Towne Singers graciously commissioned this arrangement of it. I’m grateful to them for giving it a new life. And I’m especially grateful to Stephen Schwartz, to whom the piece is dedicated. His friendship and invaluable tutelage has meant more to me than I could ever tell him. 31

歌詞及樂曲介紹

Lyrics and Programme Notes

豪雨 Cloudburst * Laojoslluvia de agua de sombra, ojos de agua de pozo, ojos de agua de sueño.

The rain ... Eyes of shadow-water eyes of well-water eyes of dream-water.

Soles azules, verdes remolinos picos de luz que abren astros como granadas.

Blue suns, green whirlwinds, birdbeaks of light open pomegranate stars.

Dime, tierra quemada, no hay agua? Hay sólo sangre, sólo hay polvo, sólo pisadasde pies desnudos sobre la espina?

But tell me, burnt earth, is there no water? Only blood, only dust, only naked footsteps on the thorns?

La lluvia despierta

The rain awakens ...

Hay que dormir con los ojos abiertos, hay que sonar con las manos, Soñemos sueños activos de rio buscando su cause, sueños de sol soñando sus mundos, hay que soñar en voz alta, hay que cantar hasta que el canto eche raíces, tronco, ramas, pajaros, astros, hay que desenterrar la palabra perdida, recordar que dicen la sangre y la marea, la tierra y el cuerpo, volver al punto de partida.

We must sleep with open eyes, we must dream with our hands, we must dream the dreams of a river seeking its course, of the sun dreaming of its worlds, we must dream aloud, we must sing till the song put forth roots, trunks, branches, birds, stars, we must find the lost word, and remember what the blood, the tides, the earth, and the body say, and return to the point of departure.

Octavio Paz (adapted by Eric Whitacre)

English Translation: Lysander Kemp

1991年一次《去吧，可愛的玫瑰》的演出之後，贊臣博士找我為

After a performance of Go, Lovely Rose in 1991, Dr. Jocelyn K. Jensen approached me about writing a piece for her High School Choir. She is an amazing conductor, legendary for doing crazy things on stage (choralography, lighting, costumes, you name it), and I wanted to write something for her that would really knock the audience out. I had recently been given an exquisite book of poems by Octavio Paz, and around the same time I witnessed an actual (breathtaking) desert cloudburst, and I guess it just all lined up. The finger snapping thing (all of the singers snap their fingers to simulate rain) is an old campfire game that I modified for the work, and the thunder sheets were giant pieces of tin we took from the side of the school.

他的高中合唱團創作新曲。她是一位很棒的指揮家，以演出的「瘋狂」設計見稱（形體動作、燈光、服飾，所有你能說得出的），我就想為她寫一首能夠讓觀眾嘆為觀止的作品。當時我剛收到一本帕斯絕妙的詩集，又剛好在那時候我親眼目擊一場雄偉的沙漠暴雨，我想可以把這想靈感融為一體。那彈指頭（所有歌手都要彈指頭模仿雨聲）是我為此作品從以前的營火會遊戲改成，而那雷鳴器則是我們從學校旁邊找來的一塊巨型鐵皮。這部作品本來長約十分鐘，後來塞伯博士游說我要「精簡一點」。我只好從命，這部作品（現在長約八分半鐘）最終於 1995年出版。

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

雨… 影水之眼，井水之眼，夢水之眼。蔚藍的太陽，翠綠的旋渦，光喙打開石榴似的繁星。告訴我，焦土，是否再無半點潤濕？只剩鮮血、只剩灰燼，只剩荊途上的赤足印記？雨水正要甦醒... 我們要開眼入睡，我們要親手入夢，我們要夢見那追本溯源的河流之夢那嚮往大千世界的太陽之夢。我們要放聲做夢，我們要誦唱至歌聲種下根莖、樹幹、枝椏、飛鳥、繁星。我們要尋回失落的字句，還要緊記鮮血與潮水、塵土與肉身的話語，回歸太初原點。翻譯：朱振威、方樂知

The piece was originally about ten minutes long, but Dr. JoMichael Scheibe sagely convinced me to “tighten it up”. I did, and the piece (now a lean eight and a half minutes) was finally published in 1995.

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

睡 Sleep evening hangs beneath the moon * The A silver thread on darkened dune With closing eyes and resting head I know that sleep is coming soon

If there are noises in the night A frightening shadow, flickering light Then I surrender unto sleep Where clouds of dreams give second sight

Upon my pillow, safe in bed A thousand pictures fill my head I cannot sleep my mind’s a flight And yet my limbs seem made of lead

What dreams may come both dark and deep Of flying wings and soaring leap As I surrender unto sleep As I surrender unto sleep Charles Antony Silverstri

1999年冬天，岩士唐女士，一位居於德薩斯州奧斯汀的律師兼專業次女高音歌手聯絡上我。她想委約我創作一首合唱作品予奧斯汀專業合唱團（蘭潔指揮），她大力推介這隊她合作無間的，了不起的合唱團。當時的情況仍然歷歷在目。她想以這部作品紀念她的父母，在經歷五十年的婚姻後相繼在一星期內離世；她想我以她最愛的詩作譜曲：佛洛斯特《雪夜林畔小駐》。我深受她的精神與請求打動，也同意以此詩創作。我花上所有時間在這部作品上，一個又一個音符的精雕細琢直至我感到那完全是我想要的效果。這首詩簡直完美，是真正的瑰寶，我的大致做法是設法讓歌詞自己散發其獨特魔法。我們在 2000年十月在奧斯汀首演，作品大受歡迎。克羅臣在 2001年春天的 ACDA全國會議帶來一次美好的演出，自始我陸續收到不同指揮的信件、電郵以至電話表示演出此曲的願望。可是我犯上了悲劇性的錯誤：我從未搞清楚歌詞的版權。佛洛斯特的詩詞在他死後一直緊緊操控在他的遺產管理部手中，直至好幾年前才有湯臣（《佛洛斯特曲集》）獲正式授權以他的詩詞入樂。到 1997年，遺產管理部出乎意料地開放了幾部作品的版權，至少二十位作曲家為《雪夜林畔小駐》譜成合唱曲並且出版樂譜。當我上網見這些全新且各式其式的編曲，我自然地（也天真地）以為這是完全開放予任何人。我根本不知道羅伯特．佛洛斯特遺產管理部數月前已重新禁止使用任何詩作，似乎因為那海量的新曲。

經歷漫長的訴訟（大量信件，大量代表），佛洛斯特的遺產管理部門及其出版商－亨利．霍特公司－嚴正與正式地禁制我使用這首詩作出版或演出用途直至 2038年該作品版權成為公共享有為止。我完全崩潰。這首作品宣告死亡，在未來三十七年將會放在我的床板之下，只因詩作的繼承者與律師的荒謬決定。與內子多番討論後，我決定找來我的朋友也是出色詩人蕭華斯特尼（《李奧納度夢見他的飛行機器》、《金色光華》、《金色聲華》、《她的聖靈騰飛》）為我的音樂填詞。這是一項艱鉅任務，因為我要求他不只要依足佛洛斯特原作的結構，更要合併好些重要字眼例如從「駐足」改成「睡」。蕭華斯特尼寫出一首絕美的詩篇，從我所寫的音樂裡找出了一個完全不同（但同樣美麗）的信息。此時我其實更愛他寫的歌詞...... 就是如此。我為佛洛斯特譜曲的《雪夜林畔小駐》不復存在。我以後也不會再用這首詩，那怕2038年此詩版權將成為公共享有也好。

In the winter of 1999 I was contacted by Ms. Julia Armstrong, a lawyer and professional mezzo-soprano living in Austin, Texas. She wanted to commission a choral work from me that would be premiered by the Austin ProChorus (conducted by Kinley Lange), a terrific chorus in which she regularly performed. The circumstances around the commission were certainly memorable. She wanted to commission the piece in memory of her parents, who had died within weeks of each other after The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

夜色懸在月光之下，銀線劃在黑丘之上緊閉雙眼垂低頭顱，我知睡意快將來臨。

如驚聽嘈聲在深宵，見詭異黑影幻光閃，我無力招架入睡去，睡眼夢見波譎雲詭。

高枕而臥安躺睡床，千段畫面鑽進腦海，思緒翱翔我豈能睡，四肢沉重猶如灌鉛。

何夢既來且暗且深，既是展翅又是騰飛，我無力招架入睡去，我無力招架入睡去。翻譯：朱振威

more fifty years of marriage; and she wanted me to set her favorite poem, Robert Frost’s immortal Stopping By Woods on a Snowy Evening. I was deeply moved by her spirit and her request, and agreed to take on the commission. I took my time with the piece, crafting it note by note until I felt that it was exactly the way I wanted it. The poem is perfect, truly a gem, and my general approach was to try to get out of the way of the words and let them work their magic. We premiered the piece in Austin, October 2000, and the piece was well received. Rene Clausen gave it a glorious performance at the ACDA National Convention in the spring of 2001, and soon after I began receiving letters, emails, and phone calls from conductors trying to get a hold of the work. And here was my tragic mistake: I never secured permission to use the poem. Robert Frost’s poetry has been under tight control from his estate since his death, and until a few years ago only Randall Thompson (Frostiana) had been given permission to set his poetry. In 1997, out of the blue, the estate released a number of titles, and at least twenty composers set and published Stopping By Woods on a Snowy Evening for chorus. When I looked online and saw all of these new and different settings, I naturally (and naively) assumed that it was open to anyone. Little did I know that the Robert Frost Estate had shut down any use of the poem just months before, ostensibly 華麗之聲：韋塔克作品選

because of this plethora of new settings. After a long legal battle (many letters, many representatives), the estate of Robert Frost and their publisher, Henry Holt Inc., sternly and formally forbid me from using the poem for publication or performance until the poem became public domain in 2038. I was crushed. The piece was dead, and would sit under my bed for the next 37 years because of some ridiculous ruling by heirs and lawyers. After many discussions with my wife, I decided that I would ask my friend and brilliant poet Charles Anthony Silvestri (Leonardo Dreams of His Flying Machine, Lux Aurumque, Nox Aurumque, Her Sacred Spirit Soars) to set new words to the music I had already written. This was an enormous task, because I was asking him to not only write a poem that had the exact structure of the Frost, but that would even incorporate key words from “Stopping”, like “sleep”. Tony wrote an absolutely exquisite poem, finding a completely different (but equally beautiful) message in the music I had already written. I actually prefer Tony’s poem now… And there it is. My setting of Robert Frost’s Stopping By Woods on a Snowy Evening no longer exists. And I won’t use that poem ever again, not even when it becomes public domain in 2038.

歌詞及樂曲介紹

Lyrics and Programme Notes

動物餅乾集第一及第二輯 * Volume I

Volume II

The Panther

The Canary

The panther is like a leopard, Except it hasn’t been peppered. If you behold a panther crouch, Prepare to say Ouch. Better yet, if called by a panther, Don’t anther.

The song of canaries Never varies. And when they’re molting They’re pretty revolting.

The Cow

I don’t mind eels Except as meals. And the way they feels.

The cow is of the bovine ilk; One end is moo, the other milk.

The Eel

The Kangaroo The Firefly The firefly’s flame is something for which science has no name I can think of nothing eerier Than flying around with an unidentified glow on a Person’s posterior.

O Kangaroo, O Kangaroo, Be grateful that you’re in the zoo. And not transmuted by a boomerang Into zestful tangy Kangaroo meringue. Ogden Nash

我一直夢想寫一套大堆頭的合唱歌曲集然後打進標準曲目，就像蒙台威爾第富深度與熱情的《四套牧歌曲集》和布拉姆斯深具魅力又歷久嘗新的《情歌圓舞曲》。結果，我寫了這套作品。這是首兩「輯」《動物餅乾集》，如一切按計劃進行我將會寫出更多輯（納殊寫了大量荒謬的動物詩篇，都在呼喚著作曲家的靈感。）請隨便混搭兩輯歌集之中的歌曲創造你的私人動物園，也請緊記：如你以極其嚴肅的態度與絕對清醒的頭腦演唱，你的表演肯定會更具效果！

I have always dreamed of writing a substantial collection of choral works that might enter the standard repertoire, something with the depth and passion of Monteverdi’s Fourth Book of Madrigals and the charm and timelessness of Brahms’ Liebeslieder Waltzes. I wrote this instead. These are the first two “volumes” of Animal Crackers, and if everything goes as planned I’ll write several more. (Ogden Nash wrote scores of these ridiculous animal poems, all of them crying out for musical settings.) Feel free to mix and match pieces between volumes to create your very own personalized zoo, and remember: the performance will be infinitely more effective if you play these as seriously and soberly as possible.

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

The Animal Crackers Vol.1 & 2 第一輯

第二輯

《美洲豹》

《金絲雀》

美洲豹很像非洲豹，除了沒有灑上胡椒，（按：指美洲豹沒有斑紋）如果你看見一隻美洲豹蹲下，準備要慘叫，如果美洲豹呼喚你，不要回答。

金絲雀的歌曲從不變化。當牠們換羽的時候牠們是蠻噁心的。

《牛》

我不介意鰻魚除了作為菜式以及那質感

牛是屬於牛科；一邊是吽叫，另一邊是奶。

《鰻魚》

《袋鼠》《螢火蟲》螢火蟲的火焰是一些連科學也無以名之的東西我無法想到比這更奇異的事情就是帶著不明火光四處飛而那火光是在其屁股

噢，袋鼠！噢，袋鼠！要慶幸你在動物園沒有被回力鏢把你轉化成風味與香氣十足的袋鼠甜品翻譯：朱振威

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

五首希伯來情歌 Five Hebrew Love Songs * Temuná Temuná belibí charutá; Nodédet beyn ór uveyn ófel: Min dmamá shekazó et guféch kach otá, Usaréch al paná’ich kach nófel. Kalá kallá Kalá kallá Kulá shelí. U’vekalút Tishák hí lí! Laróv “Laróv,” amár gag la’shama’im, “Hamerchák shebeynéynu hu ad; Ach lifnéy zman alu lechán shna’im, Uveynéynu nishár sentiméter echád.”

Éyze shéleg! Éyze shéleg! Kmo chalamót ktaním Noflím mehashamá’im; Rakút Hu hayá malé rakút Hi haytá kashá Vechól káma shenistá lehishaér kach, Pashút, uvlí sibá tová, Lakach otá el toch atzmó, Veheníach Bamakóm hachí, hachí rach.

A Picture A picture is engraved in my heart; Moving between light and darkness: A sort of silence envelopes your body, And your hair falls upon your face just so. Light Bride Light bride She is all mine, And lightly She will kiss me! Mostly “Mostly,” said the roof to the sky, “The distance between you and I is endlessness; But a while ago two came up here, And only one centimeter was left between us.”

Hila Plitmann

1996年春天，我的好朋友也是傑出小提琴家艾克漢邀請我與當時的女朋友普利特曼（一位女高音）與他到德國施派爾演出。我們學生時代就在茱利亞音樂學院相遇，形影不離。因為我們這組合就像是旅行藝人樂隊，艾克漢請我為鋼琴、小提琴與女高音寫一套遊吟詩歌。我請普利特曼（她在耶路撒冷出生與長大）以她的母語為我寫幾張「明信片」，幾日後她就送上這幾首精緻纖巧的希伯來短詩。當我們在瑞士阿爾卑斯山的一個滑雪村莊渡假時我寫好了音樂部份，一星期後我們就在施派爾首演了這部作品。

每首歌都捕捉了普利特曼與我共同經歷的點點滴滴。《小新娘》是她第一次教我希伯來文的一句雙關語。《何等的雪！》開首的鐘聲正是我們在德國時附近一家教堂每朝喚醒我們的鐘聲。這些歌曲對我來說都是非常私密，完全來自我對這位女高音與詩人全新的愛，她就是我現在的妻子——普利特曼。

2001年，邁阿密大學委約我將這幾首歌改編成四部混聲合唱與弦

In the spring of 1996, my great friend and brilliant violinist Friedemann Eichhorn invited me and my girlfriend-at-the-time Hila Plitmann (a soprano) to give a concert with him in his home city of Speyer, Germany. We had all met that year as students at the Juilliard School, and were inseparable.

樂四重奏版本，然後以色列的艾佛朗尼合唱團又委約我改編成女聲二部、小提琴與鋼琴版本，到現在這部作品已有五個（！）不同版本：混聲合唱與弦樂四重奏；混聲合唱、小提琴與鋼琴；女聲二部與弦樂四重奏；女聲二部、小提琴與鋼琴；還有原裝女高音、小提琴與鋼琴。在不同版本合唱部份是完全相同，所以如果要演出弦樂四重奏伴奏版本，合唱團只消找來鋼琴／小提琴版本的樂譜而只有指揮需要看弦樂四重奏版本的樂譜。

Because we were appearing as a band of traveling musicians, “Friedy” asked me to write a set of troubadour songs for piano, violin and soprano. I asked Hila (who was born and raised in Jerusalem) to write me a few ‘postcards’ in her native tongue, and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

What Snow! What snow! Like little dreams Falling from the sky. Tenderness He was full of tenderness; She was very hard. And as much as she tried to stay thus, Simply, and with no good reason, He took her into himself, And set her down In the softest, softest place.

《畫像》一幅畫像銘刻在我心上；在光明與黑暗間徘徊：有種靜默包裹著你的身體，猶如你的髮絲掉落在你臉上。《小新娘》小新娘她全是我的，輕輕的她將會吻我！《通常》「通常，」屋頂向天空說，「你與我的距離遙遙無盡；但當他倆前陣子來到這裡，我們之間只剩一厘米。」

《何等的雪！》何等的雪！就像小小的夢從天上掉下來。《柔情》他充滿柔情；她卻非常剛強。她很想保持原狀，儘管根本沒有好理由，他把她抱入懷中，然後把她放在那最柔軟，最柔軟的地方。翻譯：朱振威

a small skiing village in the Swiss Alps, and we performed them for the first time a week later in Speyer.

awakened us each morning in Germany as they rang from a nearby cathedral.

In 2001, the University of Miami commissioned me to adapt the songs for SATB chorus and string quartet, and the Efroni Choir in Israel commissioned me to adapt them for SA, violin and piano, leaving me now with five (!) different versions of the same work: SATB and string quartet; SATB, violin, and piano; SA and string quartet; SA violin, and piano; and the original soprano, violin, and piano. The choral parts are exactly the same for the different accompaniments, so that if the choir wants to perform the version with string quartet, the chorus can sing from the piano/violin score and the conductor can lead from the quartet version.

These songs are profoundly personal for me, born entirely out of my new love for this soprano, poet, and now my beautiful wife, Hila Plitmann. 樂曲解說摘自網站 www.ericwhitacre.com

Programme notes sourced from www.ericwhitcre.com

Each of the songs captures a moment that Hila and I shared together. Kala Kalla (which means “light bride”) was a pun I came up with while she was first teaching me Hebrew. The bells at the beginning of Eyze Sheleg are the exact pitches that

華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

愛普 (編曲) James Erb (Arr.) (b. 1926)

雪納朵 Shenandoah Shenando’, I long to see you, * Oh And hear your rolling river. Oh Shenando’, I long to see you, ‘Way, we’re bound away, Across the wide Missouri.

噢雪納朵河！我很想再見你，聽你河水滔滔不斷，噢雪納朵河！我很想再見你，然而我們得別去，跨越那遼闊的密蘇里州。

I long to see your smiling valley, And hear your rolling river. I long to see your smiling valley, ‘Way, we’re bound away, Across the wide Missouri.

我很想再見你那微笑的山谷，聽你河水滔滔不斷，我很想再見你那微笑的山谷然而我們得別去，跨越那遼闊的密蘇里州。

‘Tis sev’n long years since last I see you. And hear your rolling river, ‘Tis sev’n long years since last I see you. ‘Way, we’re bound away, Across the wide Missouri.

最後相遇，已是悠悠七年前，聽你河水滔滔不斷，最後相遇，已是悠悠七年前，然而我們得別去，跨越那遼闊的密蘇里州。翻譯：方樂知

美國著名的民歌《雪納朵》源於十九世紀。儘管只是簡單的歌詞流露著淡淡鄉愁，歌詞以至歌名本身背後的詮釋卻是層出不窮。有說此曲反映了早年拓荒者的掛念，殖民者思鄉的情懷；亦有說「雪納朵」是一個歌者七年不見的女孩；更有一說認為這是個關於奴隸解放的故事。

the title itself, invite diverse interpretations. Some say that it is a song about the early pioneers; some say that it expresses the colonists’ nostalgia; some say that Shenandoah is a girl who has parted with the singer seven years ago; some even argues that it is a story of the liberation of slaves.

歌詞在美國歷史之中有改變亦有增潤，但其感性和抒情的色彩卻始終不減它在美國民歌的經典地位。經美國指揮及音樂學家愛普編曲，此無伴奏版本的樂思廣闊而深厚，令人著迷：女聲及男聲先後在開首唱出主旋律，然後歌曲透過男聲的深厚和弦支持，綻放出其溫暖而美麗的聲音。女聲其後透過卡農輪唱方式，模仿在河谷中的迴音。終結時，男高音以譜上標註的「僅僅可聽到」字眼輕輕唱出尾句，歌曲就在消逝的鄉愁中遠去……

The lyrics have been changed and amended through America’s passage in time. But with its uniquely lyrical and sentimental flavour, it remains an American folk song classic. Arranged into a cappella version by conductor and musicologist James Erb, this is an enchanting rendition by its breadth and depth: the female and male voices sing the melody in turn, and then it evolves into a beautiful soundscape with rich chords by male voices in support. The canon in female voices mimics echoes in a river valley. Indicated “barely audible” on the scores, tenors would end the music with a nostaglic mood that fades away.

The famous American folk song Shenandoah has its origin dated to the 19th century. The simple yet nostalgic lyrics, and 40

The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

哈路倫（編曲）Jack Halloran (arr.) (1916-1997)

納莉．貝利 Nelly Bly Nelly! Ho, Nelly! Listen, love, to me, * Hi, I’ll sing for you and play for you A dulcet melody.

嗨，納莉！啊，納莉！親愛的，請聽！我會為你高歌，為你奏出一支優美的旋律！

Nelly Bly! Nelly Bly! Bring the broom along, We’ll sweep the kitchen clean, my dear, And have a little song. Poke the wood, my lady love And make the fire burn, And while I take the banjo down, Just give the mush a turn.

納莉，納莉！把掃帚帶來！先把廚房打掃好，親愛的，再來點小曲吧！我的愛人，把木頭戳一下，讓火燒起來，我把班祖弦琴拿下之際，把玉米粥拌一下吧！

Nelly Bly has a voice like a turtle dove, I hear it in the meadow and I hear it in the grove. Nelly Bly has a heart warm as a cup of tea, And bigger than the sweet potatoes down in Tennessee.

納莉有一把斑鳩之音，草場中、樹林中我都能聽見。她的心如一杯熱茶般溫暖，比田納西的甜薯來得更大更甜美。

Nelly Bly, Nelly Bly! Never, never sigh, Never bring a teardrop to the corner of your eye.

納莉，納莉，願你永不嘆息，也永不會為你眼睛帶來淚水。

Stephen Foster

翻譯：方樂知

哈路倫在西北大學修畢音樂後，便積極投入於四重唱之中，參與的組合包括「 Cadets」及他自己組成的「哈路倫四重唱」等。與四重唱巡迴演出以外，哈路倫更為不同電視節目、唱片及電影擔任合唱總監，如美國國家廣播公司的「甸馬田時間」等。

than numerous touring and performances with the quartets, Halloran also acted as a choral director for various TV shows, records and movies, such as the famous Dean Martin Show hosted by NBC.

《納莉．貝利》是「美國音樂之父」科士打所寫的一首民歌；他還著有《我的肯塔基老家》和《故鄉的親人》等膾炙人口的作品。整首歌的曲調輕快而充滿趣味，歌詞生動地描繪主角心儀的納莉可愛和甜蜜的一面。主旋律一開始興奮地表現出來，亦運用了對比的音量來突顯歡欣喜悅的感覺。中段抒情的旋律深情地描述了主角對納莉的真誠，頃刻主旋律又出現兩次，把他的正面性格再次顯明。末句由男低音以仿效西部牛仔的雄壯聲線唱出，乾淨俐落地終結全曲，充份展現地道美國音樂的氣息。

Nelly Bly is a folk song by Stephen Foster, the “Father of American Music”, who had written all-time favourites like My Old Kentucky Home and Old Folks at Home. The tune is fun and light-hearted, with brisk lyrics describing the protagonist’s romantic interest, the sweet and lovely Nelly Bly. The melody begins cheerfully; gaiety and joyfulness is abundant, emphasized through contrasting dynamics. The lyrical part in the middle reveals the protagonist’s sentiments towards Nelly. The main melody then recapitulates twice, outlining again his positive character. The cowboy basses at the end radiate the true essence of American flavour.

After completing his music studies in Northwestern University, Jack Halloran became highly engaged with choral quartets, such as the Cadets and the Jack Halloran Quartet he founded. Other 華麗之聲：韋塔克作品選

歌詞及樂曲介紹

Lyrics and Programme Notes

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The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

哈路倫（編曲）Jack Halloran (arr.)

見證 Witness Who’ll be a witness for my Lord? Oh I’ll be a witness for my Lord.

誰為我主作見證？噢，我會為我主作見證！

There was a man of the Pharisees, His name was Nicodemus and he didn’t believe. The same came to Christ by night, wanted to be taught out of human sight. Nicodemus was a man who desired to know how a man can be born when he is old. Christ told Nicodemus as a friend, “Man you must be born again.” He said, “Marvel not, man, if you want to be wise, repent, believe and be baptized”. Then you’ll be a witness for my Lord, Soul is a witness for my Lord.

有一個不信的法利賽人，名叫尼哥德慕。他晚上來到基督面前，想得到教導，拋卻凡人的視野，尼哥德慕想知道人老了後，如何能重生，就像對朋友一樣，基督如是說，「你必需重生；不用驚詫，若要求智慧，就得悔改、相信且受洗。」這樣，你就為了我主作見證，靈魂為我主作見證。

You read about Samson, From his birth he was the strongest man that ever lived on earth. Way back yonder in ancient times, he killed ten thousand of the Phillistines. Then old Samson went awand’rin’ about. Samson’s strength was never found out. Till his wife sat upon his knee, she said, “Tell me where your strength lies, if you please!” Well, old Samson’s wife, she talks so fair; Samson said, “Cut off my hair!” (“Cut it off!”) “Shave my head just as clean as your hand, and my strength will come like a natural man.”

你讀過參孫的故事吧：自他出生伊始，就是世界上最強壯的人。在那遙遠的古代，他擊殺了千千萬萬非利士人。後來參孫四處遊歷，從沒人知道他的神力何來。直至他的妻子坐在他膝上，如是說：「求你把你神力的奧秘告訴我吧！」參孫的妻子很會花言巧語，參孫答：「剪去我的頭髮吧！剪去吧！」「把我的頭剃至如你雙手一樣光滑，我的力量便會與常人無異。」

Samson was a witness for my Lord, Soul is a witness for my Lord. There’s another witness for my Lord. My soul is a witness for my Lord!

這樣，參孫為我主作見證，靈魂也為我主作見證。還有另一人為我主作見證，我的靈就是為我主見證！翻譯：方樂知

與《納莉．貝利》不同，《見證》是首福音作品，透過有技巧地把聖經中尼哥德慕拜訪耶穌、士師參孫等的故事串連，宣揚為上主作見證的重要性。其音樂緊湊而乾淨俐落，各聲部從頭到尾緊緊相扣。中段搖擺的樂段為全曲畫龍點睛，整首樂曲在高音聲部的鏗鏘高音裡，光明而滿懷希望地結束。

華麗之聲：韋塔克作品選

Wintess, unlike Nelly Bly, is a gospel piece, iterating the importance of witnessing for God in its wittily combined biblical stories, such as Nicodemus’s visit to Jesus and Samson the Judge. The music is rhythmically neat and tight, where voice parts closely knotted with one another until the end. The highlight of this piece is the slight swinging passage in the middle, then the song ends with high notes in the upper voices, as a bright conclusion full of hope.

歌詞及樂曲介紹

Lyrics and Programme Notes

威伯格（編曲）Mack Wilberg (arr.) (b. 1955)

仙蒂 Cindy wish I was an apple ahangin’ on a tree, * IAnd ev’ry time my sweetheart passed She’d take a bite of me. I wish I had a nickel, I wish I had a dime, I wish I had a pretty girl, to love me all the time. I wish I had a needle, as fine as I could sew, I’d sew that girl to my coattail And down the road I’d go. You ought to see my Cindy, She lives away down south, An’ she’s so sweet the honey bees All swarm around her mouth. Get along home, little Cindy! I’ll marry you sometime. The first time I saw Cindy, She was standing in the door, Her shoes and stockings in her hand, Her feet all o’er the floor. She took me to her parlor, She cooled me with her fan. She swore that I’ze the purtiest thing In shape of mortal man.

Get along home, little Cindy! I’ll marry you sometime. Now Cindy hugged and kissed him, She wrung her hands and cried. She swore he was the purtiest thing That ever lived or died. She told him that she loved him, She called him sugar plum. She throwed her arms around him, He thought his time had come. Get along home, little Cindy! I’ll marry you sometime.

Get along home, little Cindy! I’ll marry you sometime. I’ll marry you someday!

Now Cindy went to the preachin’, She swung around and round. She got so full of glory, She knocked the preacher down. My Cindy in the springtime, my Cindy in the fall, If I can’t have my Cindy, I’ll have no girl at all. Get along home, little Cindy! I’ll marry you sometime.

作為一個虔誠的摩門教信徒，威伯格在其教會「耶穌基督後期聖徒教會」開辦的楊伯翰大學修讀音樂，再在南加州大學霍頓音樂學院取得博士學位後，便全心全意於他的教會擔當不同的音樂工作，包括作曲、指揮及編曲等。他現時為摩門天幕合唱團的音樂總監；該合唱團是美國最頂尖的合唱團之一，更曾被美國前總統列根稱為「美國的合唱團」。根據音樂學家羅馬斯，《仙蒂》是首來自北卡萊羅納州的民歌。其旋律來自另一首靈歌作品《福音的火車》，不過讓全曲活躍起來，令人回味無窮的，卻是它的歌詞。歌詞直接地勾畫了主角仙蒂玩世不恭卻又在熱戀中的時刻；她的激情和因熱戀而產生的行動，在輕鬆的節拍之下，讓觀眾完全感受到她豪邁和瘋狂的一面。演出的這個版本是為八聲部的雙合唱團所編，利用四手聯彈的鋼琴、低音提琴及敲擊，帶出樂曲歡快及舞曲般的氣氛。摩門天幕合唱團演唱這曲時，威伯格甚至把伴奏部分延展至一整個管弦樂團！ 44

When Cindy got religion, She thought her time had come. She walked right up to the preacher And chawed her chewin’ gum. Now Cindy got religion, She’d had it once before, But when she heard my Banjo She’s the first one on the floor.

中段拍手和熱情喊叫的段落，加上輕快無慮的歌詞，讓《仙蒂》在美國民歌中穩佔一席位。

Being a devoted Mormon, Mack Wilberg studied music at the Brighton Young University operated by his church, The Church of Jesus Christ of Latter-day Saints. He continued on to acquire a doctorate in music from the Thornton School of Music at the University of Southern California. Since then, he has engaged in numerous musical activities within his church, including conducting, composing and arranging pieces. Currently he is the music director of the Mormon Tabernacle Choir, one of the best choirs in America and named by former US President Ronald Reagan as “the America’s choir”. According to musicologist John Lomax, Cindy is a folk song originated in the North Carolina. With its catchy tune coming The Glamorous Voice: The Music of Eric Whitacre

歌詞及樂曲介紹 Lyrics and Programme Notes

我想成為蘋果高掛在樹上，每次我的甜心經過，讓她把我咬一口。我很想有個五分錢，我想有個一毛錢，我很想有個可人兒，每時每分來愛我。我很想有些針線，讓我密密縫，把可人兒縫在我衣襬上，陪我路上四處走。你得見見我的仙蒂，她就住在南部，甜美得讓狂蜂浪蝶，在她嘴邊飛舞。回家吧，小仙蒂！我總會迎娶妳。我初次見到仙蒂，她正站在門口，手執鞋子與絲襪，赤腳地上走。她帶我登堂入室她為我扇涼，她誓言芸芸眾生中，最俊俏是我。

回家吧，小仙蒂！我總會迎娶妳。仙蒂對他抱又吻，她扭著手呼叫，她誓言他最俊俏，古今無可比。她說她很愛他，她叫他甜心，她伸出雙手緊抱他，他想自己時辰已到。回家吧，小仙蒂！我總會迎娶你。

當仙蒂信教後，她想自己時辰到了，她走到牧師跟前，還咬著口香糖。現在仙蒂信了教，其實從前也試過，但當她聽我弦琴聲，仍會馬上來跳舞。回家吧，小仙蒂！我總會迎娶你。我終會迎娶你！翻譯：方樂知

現在仙蒂去聽講道，在那邊轉不停，榮光充滿她身上，把牧師都撞倒。我的仙蒂在初春，我的仙蒂在深秋，如我不能擁有仙蒂，我誰也不想要！回家吧，小仙蒂！我總會迎娶你。

from another spiritual The Gospel Train, it is Cindy’s lyrics that bring out the flavor of the whole piece. They depict the playful yet amorous character of Cindy, her passion and the subsequent actions that reveal her infatuation. Accompanied by a light-hearted rhythm, the song portrays the uninhibited Cindy and her fervent craze in vivid details. The version performed tonight is arranged for an 8-part double choir, employing four-hand piano, an electric bass and percussive instruments to demonstrate the cheerful, dance-like style of the piece. When performed by the Mormon Tabernacle Choir, the accompaniment part would even be extended to a full orchestra! The clapping and “Whoop’n Holler”, together with the carefree lyrics, all contribute to give Cindy its persisting status among American folk songs.

華麗之聲：韋塔克作品選

香港中文大學合唱團幹事會 2012-13

中大合唱協會行政人員

音樂會製作人員

Committee 2012-13, The Chinese University of Hong Kong Chorus 團長 Chairperson 文浩然 Man Ho Yin Holdon 副團長 Vice-Chairperson 陳穎琦 Chan Wing Kei 財政 Treasurer 楊寶玲 Yeung Po Ling 文書 Secretary 陳家嬈 Chan Ka Yiu 總務 General Affairs Officer 李殷枏 Lee Yan Nam Melody 中大合唱協會理事會 2012 Board 2012, CU Chorus Association 會長 President 張偉文 Cheung Wai Man 副會長 Vice-president 陳蘊明 Chan Wan Ming 成員 Members 陳倩鈺 Chan Sin Yuk 陳羽軒 Chan Yu Hin 朱振威 Leon Chu 方樂知 Fong Lok Chi 羅玉鈴 Law Yuk Ling 梁錦鈴 Leung Kam Ling 文浩然 Man Ho Yin Holdon 唐錦亮 Tong Kam Leong 謝嘉盈 Tse Ka Ying

Management team of CU Chorus Association 行政總監 Executive Director 陳蘊明 Chan Wan Ming 副行政總監 Deputy Executive Directors 羅玉鈴 Law Yuk Ling 胡銘堯 Dennis Wu 節目經理 Programme Manager 陳羽軒 Chan Yu Hin 副節目經理 Deputy Programme Manager 方樂知 Fong Lok Chi 製作經理 Production Manager 陳蘊明 Chan Wan Ming 副製作經理 Deputy Production Manager 梁錦鈴 Leung Kam Ling 市場經理 Marketing Manager 方樂知 Fong Lok Chi 副市場經理 Deputy Marketing Manager 羅玉鈴 Law Yuk Ling 發展經理 Development Manager 張偉文 Cheung Wai Man 資訊經理 Information Manager 唐錦亮 Tong Kam Leong 行政經理 Administration Manager 陳倩鈺 Chan Sin Yuk

Production team 舞台總監 Stage Manager 梁國順 Gordon Leung 攝影師 Photographers 余錦超 Martin Yu 文澤堯 Man Chak Yiu 錄像監製 Video Producer 謝劍飛 Zac Tse 錄音監製 Recording Producer 程啟翔 Angelos Ching 編輯及翻譯 Editors & Translators 陳蘊明 Monica Chan 胡銘堯 Dennis Wu 朱振威 Leon Chu 方樂知 Roger Fong 美術總監 Art Director 朱念爵 Richard Chu 工作人員 Helpers 陳石明 Chan Shek Ming 蔡菁華 Ivy Choi 何恩霖 Ho Yan Lam 羅于裴 Olivia Law 李彥霖 Patricia Lee 勞嘉敏 Lo Ka Man 伍澤鴻 Chaky Ng 任義 Ren Yi 沈雪雁 Shum Suet Ngan 黃詩媚 Wong Sze Mei

加入我們！ Join Us!

節目預告 Upcoming Events

中大合唱團將於九月召募新一屆團員及幹事，有興趣之中大本科生、研究生及校友，請密切留意本團官方網站 http://www.cuchorus.org.hk，或於觀眾問卷留下聯絡方法。誠邀大家一起分享合唱樂趣！

西灣河文娛中心文娛廳

Cultural Activities Hall, Sai Wan Ho Civic Centre

CU Chorus will recruit new members and committee in September, interested CU undergraduates, graduate students and alumni, please stay in tune with us through our official website http://www.cuchorus.org.hk, or leave your contacts in the audience questionnaire.

Choral Conducting Masterclass with Theodora Pavlovitch

7/22, 23, 25 7:30pm

帕羅薇琪合唱指揮大師班

12/1, 4pm & 8pm 香港演藝學院賽馬會演藝劇院

HK Jockey Club Amphitheatre, HKAPA 中大合唱團聖誕音樂會

CU Chorus Christmas Concert

The Glamorous Voice: The Music of Eric Whitacre

演出者 Performers 香港中文大學合唱團 The Chinese University of Hong Kong Chorus 音樂總監兼指揮 Music Director and Conductor 朱振威 Leon Chu 鋼琴 Piano 黃歷琛 Alexander Wong 、黃穎兒 Solomon Wong、陳演日 Adrian Chan 聲樂指導 Vocal Coach 林俊 Albert Lim、戚芷君 Candy Chik

香港中文大學合唱團 The Chinese University of Hong Kong Chorus 女高音 Soprano 陳家嬈陳羽軒蔣頌賢勞翰琳羅玉鈴 * 李殷枏梁詠心單顥鈺 * 謝嘉盈 * 崔泳芝溫倩文楊寶玲

女低音 Alto

CHAN Ka Yiu CHAN Yu Hin CHIANG Esther LAO Helen Hon Lam LAW Yuk Ling* LEE Yan Nam Melody LEUNG Wing Sum Anna SHAN Hao Yu* TSE Ka Ying* TSUI Wing Chi WAN Sin Man Torrance YEUNG Po Ling

男高音 Tenor 陳嘉麟張偉文 * 范建明方樂知 * 何家偉何翱宇林君諾李雲龍唐錦亮

陳倩鈺 * 陳蘊明陳穎琦趙惠聰何嘉雯賀曼玲林可兒李彥婷鄧汀琳黃芷菁張亞楠

男低音 Bass

CHAN Ka Lun CHEUNG Wai Man* FAN Kin Ming FONG Lok Chi* HO Ka Wai Johnny HO Ngo Yu LAM Kwan Nok LI Wan Lung David TONG Kam Leong

中大合唱協會有限公司 CU Chorus Association Limited

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華麗之聲：韋塔克作品選

CHAN Sin Yuk* CHAN Wan Ming CHAN Wing Kei CHIU Wai Chung HO Ka Man HO Man Ling LAM Ho Yi Connie LI Yan Ting TANG Ding Lin WONG Flora Chi Ching ZHANG Ya Nan

陳韋丞張凱傑 * 張文翰鄭智浩朱禹郭潤山李劻融李文傑盧居樂盧霆峰文浩然謝勇存葉世豪

CHAN Wai Shing CHEUNG Hoi Kit* CHEUNG Man Hon CHIANG Chi Ho CHU Yu KWOK Yun Shan Peter LEE Hong Yung Arthur LEE Man Kit Mike LO Kui Lok LO Ting Fung MAN Ho Yin Holdon TSE Yeong Tswen Jorden YIP Sai Ho * 聲部長 Part leader

支持我們 Support Us 三十多年來，香港中文大學合唱團憑着團員的努力，獲得廣泛的認可與推崇。您的支持是我們做得更好動力，亦讓我們的目標更遠大。 •有您的支持，我們全力以赴地演唱。 •有您的支持，我們教育學生合唱藝術。 •有您的支持，我們委約創作新合唱曲。 •有您的支持，我們為香港合唱努力貢獻。

Throughout the years, the Chinese University of Hong Kong Chorus has won recognition by the members’ dedication. Financial support from sponsors and patrons allow us to achieve more and further our goals. • With your support we perform with our best efforts. • With your support we educate students in choral arts. • With your support we commission of writing new choral music. • With your support we contribute to develop the Hong Kong choral landscape.

鳴謝 Acknowledgement 傳媒伙伴 Media Partner

HK Magazine 好戲網 www.mask9.com

香港特別行政區教育局藝術教育組 Arts Education Section, Education Bureau, HKSAR 香港中文大學崇基學院校牧室 Chung Chi College Chaplaincy, CUHK 香港中文大學校友事務處 Alumni Affairs Office, CUHK 香港中文大學傳訊及公共關係處 Communication and Public Relations Office, CUHK 香港中文大學資訊處 Information Service Office, CUHK 醫藝盟繫心中國醫者 MedArt China Orphan Outreach 香港聲蜚合唱節協會 Hong Kong SingFest Society 沐恩中學 Immanuel Lutheran College 沙田蘇浙公學 Kiangsu-Chekiang College (Shatin) 香港演藝學院 The Hong Kong Academy for Performing Arts

Ms Isabel Briz Hernandez 陳江平先生 Mr Ken Chan 陳石明先生 Mr Chan Shek Ming 支韻怡女士 Ms Myra Chih 程啟翔先生 Mr Angelos Ching 蔡菁華女士 Miss Ivy Choi 朱念爵先生 Mr Richard Chu 何恩霖女士 Ms Ho Yan Lam

郭幸瑜女士羅雅麗老師羅于裴女士李熾昌教授李彥霖女士梁國順先生勞嘉敏女士文澤堯先生

美樂集 Fine Music 大公報 Ta Kung Pao 星島日報 Sing Tao Daily 東方日報 Oriental Daily

Miss Icarus Kwok Ms Law Nga Lai Miss Olivia Law Prof. Lee Chi Chung Archie Miss Patricia Lee Mr Gordon Leung Miss Lo Ka Man Mr Man Chak Yiu

伍澤鴻先生任義先生沈雪雁女士謝劍飛先生黃詩媚女士胡喬立先生余錦超先生

Mr Chaky Ng Mr Ren Yi Ms Shum Suet Ngan Mr Zac Tse Ms Wong Sze Mei Mr Woody Wu Mr Martin Yu

The Glamorous Voice: The Music of Eric Whitacre

2012年度贊助人名錄 Sponsors 2012 中大合唱協會有限公司為根據香港稅務條例第 88條獲豁免繳稅註冊慈善機構。鳴謝以下人士於本年度的捐助，讓中大合唱團有更充足的資源，年復一年不斷發展，在合唱藝術上追求卓越，向邁向國際的夢想勇往直前。

CU Chorus Association Limited is incorporated in Hong Kong under the Companies Ordinance and is registered as a charitable institution under Section 88 of Inland Revenue Ordinance. With the kind donations from the following patrons, CU Chorus is allowed to have greater resources to grow and strive for excellence in choral music, marching towards the international stage.

機構贊助 Corporate Partners 指定酒店 Official Hotel 鋼琴贊助 Piano Sponsor

全力支持 Supported by

個人贊助 Personal Patrons 白金贊助人 Platinum Patron (Above HK$2,500) 無名氏 Anonymous 金贊助人 Gold Patrons (Above HK$1,000) 無名氏 (2) Anonymous (2) 陳錦明先生 Mr. CHAN Kam Ming 陳韋丞先生 Mr. CHAN Wai Shing 張振山先生 Mr. CHEUNG C.S. 紀念高贊亨先生 In fond memory of Mr. KO Tsang Hung 鄭偉烈先生 Mr. CHIANG Wai Lit 范建明先生 Mr. FAN Kin Ming Ronald

Mr. KWOK Tak Yan 黃慧貞教授 Prof. WONG Wai Ching Angela 中大合唱團之友 Friends of CU Chorus 無名氏 (4) Anonymous (4) 陳國洲先生 Mr. CHAN Kwok Chau 陳煒舜教授 Prof. CHAN Nicholas Louis 陳演日老師 Mr. CHAN Yin Yat 陳亮光教授 Prof. CHEN Lian-kuan 張志強教授 Prof. CHEUNG Chi Keung Peter 張國偉教授 Prof. CHEUNG Kwok-wai 張俊傑先生 Mr. CHEUNG Samson Chun Kit 張詠梅博士 Dr. CHEUNG Wing Mui 張越華教授 Prof. CHEUNG Yuet Wah 蔡文俊先生 Mr. CHOI Man Chun 鍾宇平先生 Mr. Chung Yue Ping

銀贊助人 Silver Patrons (Above HK$500) 無名氏 Anonymous Mr. CHAN Oscar (英皇教育 ) 鄭智浩先生 Mr. CHIANG Chi Ho 秦家慧教授 Prof. CHUN Ka Wai Cecilia 聲暟音樂藝術中心 Joyful Sound Music 李丹教授 Prof. LEE Tan 田富民先生 Mr. TIN Fu Man 黃健興先生 Mr. WONG Kin Hing

方樂知先生 Mr. FONG Lok Chi 何偉強先生 Mr. HO Wai Keung Kenneth 許敬文副校長 Prof. HUI Michael K.M. 葉珈甄女士 Ms. IP Ka Yan

Jonathan and Wilson 高基存博士 Dr. KO Kei Tsuen 郭文偉先生 Mr. KWOK Man Wai 林麗華教授 Prof. LAM Lai Wah 劉啟明先生 Mr. LAU Kai Meng 劉國智先生 Mr. LAU Kwok Chi 李勁華博士 Dr. LEE King Wa 粱頌禧先生

林蜿怡女士盧海珊女士陸惠玲女士潘佩英女士薛裕霖先生沈祖堯校長溫玉芬女士王志德醫生王嘉敏女士黃念欣博士姚懿芝女士余秀珍教授

Miss LIN Wan Yi Ms. LO Hoi Shan Ms. LUK Wai Ling Ms. PUN Pui Ying Mr. SIT Yu Lam Francesco Prof. SUNG Joseph J. Y. Miss WAN Yuk Fan Dr. WONG Chi Tak Danny Miss WONG Ka Man Dr. WONG Nim Yan Prof. YUE Sau Chun Judia

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For more details, please visit our official website http://www.cuchorus.org.hk/ "Support Us" or contact us at cuchorus@cuchorus.org.hk