中⼤合唱協會有限公司主辦 Presented by CU Chorus Association Limited
Gabriel Fauré Requiem
佛瑞 安魂曲
2020年11⽉20⽇（星期五） 20 November 2020 (Friday) 晚上九時 9:00pm 聖公會鄧肇堅中學⼩聖堂 SKH Tang Shiu Kin Secondary School Chapel 網上直播 LIVE Streaming
Photo courtesy of Terry Tam
〈進堂詠及垂憐經〉第⼀⾄第三⼩節⼿稿 Manuscript of Fauré’s Requiem, Introït and Kyrie, bars 1-3
佛瑞 Gabriel Fauré (1845-1924)
安魂曲，作品 48 Requiem, Op. 48 Pawel Jura 為合唱團及管風琴編訂版（2000） Version arranged and edited by Pawel Jura (2000)
Introït et Kyrie Offertoire Sanctus Pie Jesu Agnus Dei Libera me In paradisum
進堂詠及垂憐經 獻禮經 歡呼頌 仁慈主耶穌 羔羊頌 主，救我於永死 願天使領你進入天國
女高音 Soprano 莫子慧 Athene Mok 男中音 Baritone 林俊 Albert Lim 管風琴 Organ 林芍彬 Anne Lam 音栓控制 Registrant
黃正彥 Justin Wong
香港中文大學合唱團 The Chinese University of Hong Kong Chorus 指揮 Conductor 朱振威 Leon Chu
音樂總監的話 「我的安魂曲不為甚麼事情而寫，僅僅是為了自娛，如果我可以這樣說的話。」 ——佛瑞 從追思彌撒上演唱的實用功能到後來成為作曲家思考死亡的藝術宣言，「安魂 曲」的意義及形式一直隨時代轉變。當白遼士、威爾第不惜以千軍萬馬描繪死亡 的怖慄，另一方面卻有布拉姆斯以安撫在世者為目的而寫下《德語安魂曲》，他 甚至換掉所有經文以達至他的目的。從作品展現的個性看來，佛瑞的《安魂曲》 可算是繼承了布拉姆斯對「安魂曲」的轉向。 有理由相信佛瑞確受布拉姆斯影響，儘管 1888 年初版首演的時候（當時題為《一 首小安魂曲》），樂曲只有〈進堂詠與垂憐經〉、〈歡呼頌〉、〈仁慈主耶 穌〉、〈羔羊頌〉與〈願天使領你進入天國〉五個樂章，隨後佛瑞還是擴寫了 〈獻禮經〉及改編了 1877 年舊作《主，救我於永死》並加插其中，讓 1893 年完 稿的第二版變成一部有七樂章篇幅，為樂團、合唱團、女高音及男中音而寫的作 品，跟《德語安魂曲》有著微妙的相似。而佛瑞將男中音獨唱放在第二、第六樂 章，將女高音獨唱放在第四樂章，讓全曲的人聲編排有著拱橋式的結構，這樣的 巧思又帶點巴赫的味道。 「有人說我的《安魂曲》沒有表達對死亡的恐懼，甚至有人形容為『死亡的搖 籃曲』。但這確是我如何看待死亡：那是愉快的救贖，邁向天國的抱負，而不 是痛苦的經歷...... 也許在教會擔任風琴師多年且曾在無數追思彌撒上演奏， 令我創作《安魂曲》時本能地逃避所謂『正確』與『恰當』！我打從心底裡知 道，我想寫得與別不同。」 ——佛瑞 佛瑞《安魂曲》是廣受合唱團歡迎的作品，尤其 1893 版本樂隊編制小，也有不少 管風琴改編版本，易於搬演；音樂平易近人且能感動人心，當中〈仁慈的耶穌〉 與〈主，救我於永死〉可算是聲樂金曲。他將大部份與死亡可怕之處相關的經文 棄用，只著眼在「永恆的安息」意象上發揮——有趣的是，慰藉無數心靈的〈仁 慈的耶穌〉，歌詞卻是節錄自〈震怒之日〉的最後一段。
記得當年在恩師 Gábor Hollerung 的大師班上學習莫扎特《安魂曲》，他這樣說 道：「安魂曲是甚麼？就是有人死掉了，而我們無法改變。」在原來的宗教意義 裡，我們沒有辦法令人起死回生，只能為他們祈求「永恆的安息」；如果以慰藉 在世者的角度看待，也是因為我們被逼接受「人死不能復生」這殘酷現實，才需 要作曲家撫慰我們，以享安寧。 不論是為死者而唱還是為在世者而唱，安魂曲的功用，就是教我們能直視「那人 已從我們的生命中消失」這一個無法改變的事實，推而廣之，也可以是面對那些 令我們恨不得時光倒流的遺憾。其實，任何人都有需要「安魂曲」撫慰心靈的時 刻。佛瑞最令我感動的安排是選擇了〈願天使領你進入天國〉為全曲劃下句號。 也許佛瑞只想重申教義提醒我們死亡只是重返天家的必經之路，但對我而言，當 中的意義在於既然你沒能改變「那人已從我們的生命中消失」的過去，與其糾結 自憐，倒不如選擇達成在天堂重聚的未來。 放下（不是遺忘）已成過去的遺憾，是因為我們仍需咬緊牙關走完餘下的生命。 到了那一天，所有努力過的人們，包括我們和我們所失去的人，都能夠得到慈悲 的寬恕，以純潔之身在天堂裡重逢。 我們必須想像天堂是存在的。
Message from Music Director “My Requiem wasn't written for anything – for pleasure, if I may call it that!” — Gabriel Fauré The Requiem as a musical genre has been evolving over time, from its musical function in the Mass for the dead, to an artistic expression by composers contemplating on death. When Berlioz and Verdi used gigantic forces to portray the horrors of death in their music, Brahms wrote Ein deutsches Requiem aiming to console the living ones, and even replaced the Latin Ordinary with German Biblical texts for the entire work. In Fauré's Requiem, he followed Brahms' footsteps to approach the Requiem genre. Indeed Fauré left traces on Brahms' influences in his work — Though the work's first version in 1888 (which Fauré called it "un petit Requiem") only has five movements (Introït et Kyrie, Sanctus, Pie Jesu, Agnus Dei and In Paradisum), he soon expanded it by adding a newly-composed Offertoire, and his 1877 work Libera me, forming a seven-movement version in 1893 for soprano and baritone soli, chorus and orchestra, which structurally resemble with Brahms' Ein deutsches Requiem. Fauré even placed all soli passages in even-numbered movements (Baritone in movements II, VI, Soprano in IV), making an arch-like structure which suggests Bach's musical ideas.
“It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.… As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different.” — Gabriel Fauré Fauré's Requiem has long been popular in the choral repertoire, especially the 1893 version which requires only modest performing force. There are also a number of arrangements for organ, which the audience will experience one of them in tonight's live stream performance. The music has a calm and expressive character, which simply touches the listener's heart, especially the ever popular vocal movements Pie Jesu and Libera me. Fauré largely dispensed with the texts about the horrors of death, and only elaborated on the vision of 'eternal rest'. Interestingly, the text of Pie Jesu is actually taken from the last section of Dies irae.
Some time ago, GĂĄbor Hollerung gave a conducting masterclass on Mozart's Requiem, in which he said, 'What is Requiem? It's about someone who died, and we cannot change that.' In its original religious meaning, as one cannot bring the dead back to life, we can only wish the deceased ones to 'rest eternally'. In this difficult process of acceptance, one often looks for possible ways of consolation. Here, music would be a way to comfort our minds. No matter one sings for the dead or for the living, Requiem offers a way to face the irreversible fact that 'someone already left us', and even provides some introspective moments for the listeners to reflect on one's utmost remorse. FaurĂŠ concludes his Requiem with In paradisum, a reminder on how the preaching told us where our souls will meet at the end. But to myself, given we cannot change the past fact that 'someone already left us', and drive oneselves into deep grieves, we better look forward to the days where we will reunite in heaven. Laying down the past sorrows (but not to forget) is vital for us to move on with our lives. One day, people who have lived their lives through, including ourselves and those we now lost, will be kindly forgiven, and reunite in heaven. And one must imagine, heaven does exist.
佛瑞：安魂曲，作品 48 Gabriel Fauré: Requiem, Op. 48 Introït et Kyrie 進堂詠及垂憐經 Requiem aeternam dona eis, Domine Et lux perpetua luceat eis Te decet hymnus, Deus in Sion Et tibi reddetur votum in Jerusalem: Exaudi orationem meam Ad te omnis caro veniet
Grant eternal rest to them, Lord, And let perpetual light shine on them. A hymn befits you, God in Zion, And a vow to you shall be fulfilled in Jerusalem. Hear my prayer, For unto you all flesh shall come.
Kyrie eleison Christe eleison Kyrie eleison
Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.
Offertoire 獻禮經 O Domine Jesu Christe, Rex gloriae, Libera animas defunctorum De poenis inferni, et de profundo lacu: Libera eas de ore leonis, Ne absorbeat eas tartarus, Ne cadant in obscurum
O Lord Jesus Christ, King of Glory, Free the souls of the dead From infernal punishment, and from the deep abyss. Free them from the mouth of the lion, Do not let Hell swallow them up, Do not let them fall into the darkness.
Hostias et preces tibi, Domine, laudis offerimus: Tu suscipe pro animabus illis, Quarum hodie memoriam facimus: Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti, et semini ejus.
Sacrifices and prayers of praise We offer to you, O Lord. Receive them for the souls of those Whom we commemorate today. Lord, make them pass from death to life, As you once promised to Abraham, and to his seed.
Sanctus 歡呼頌 Sanctus, Sanctus, Sanctus, Domine Deus Sabaoth, Pleni sunt caeli et terra gloria tua. Osanna in excelsis!
Holy, Holy, Holy, Lord God of Hosts, The heavens and earth are filled with your glory. Hosanna in the highest!
Pie Jesu 仁慈主耶穌 Pie Jesu Domine, Dona eis requiem, Requiem sempiternam.
Merciful Lord Jesus, Grant them rest, Eternal rest.
Agnus Dei 羔羊頌 Agnus Dei, qui tollis peccata mundi, Dona eis requiem. Agnus Dei, qui tollis peccata mundi, Dona eis requiem. Agnus Dei, qui tollis peccata mundi, Dona eis requiem sempiternam.
Lamb of God, who removes the sins of the world, Grant them rest. Lamb of God, who removes the sins of the world, Grant them rest. Lamb of God, who removes the sins of the world, Grant them eternal rest.
Lux aeterna luceat eis, Domine, Cum sanctis tuis in aeternum, Quia pius es.
May eternal light shine on them, Lord, With your saints, for eternity, For you are merciful.
Requiem aeternam dona eis, Domine: Et lux perpetua luceat eis.
Grant eternal rest to them, Lord, And let perpetual light shine on them.
Libera me 主，救我於永死 Libera me, Domine, De morte aeterna, In die illa tremenda: Quando caeli movendi sunt et terra: Dum veneris judicare saeculum per ignem.
Free me, Lord, From eternal death, On that day of dread, When the heavens and earth shall move, When you shall come to judge the world by fire.
Tremens factus sum ego, et timeo, Dum discussio venerit, Atque ventura ira. Dies illa, dies irae, Calamitatis et miseriae, Dies magna et amara valde. Requiem aeternam dona eis, Domine: Et lux perpetua luceat eis.
I am made to tremble, and to fear, When destruction shall come, And also your coming wrath. O that day, that day of wrath, Of calamity and misery, The great and exceedingly bitter day. Grant eternal rest to them, Lord, and let perpetual light shine on them.
In Paradisum 願天使領你進入天國 In Paradisum deducant te Angeli; In tuo adventu Suscipiant te martyres, Et perducant te In civitatem sanctam Jerusalem, Chorus Angelorum te suscipiat, Et cum Lazaro quondam paupere Aeternam habeas requiem.
May angels lead you into Paradise. At your coming May martyrs receive you, And may they lead you Into the Holy City, Jerusalem. May the chorus of angels receive you, And with Lazarus, who once was a pauper, May you have eternal rest.
English translations from www.jamescsliu.com/classical/Faure_Requiem.htm
莫子慧 Athene Mok 女高音 Soprano 莫子慧先後畢業於香港演藝學院和伊斯曼音樂學院，現為伊斯曼音樂學院博士 生，屢獲當地及校內之獎學金及獎項，包括伊斯曼音樂學院潔西卡奈素藝術歌曲 比賽冠軍、伊斯曼歌劇之友比賽季軍和協奏曲比賽優勝者，她亦是美國《古典歌 手》雜誌舉辦的 2017 古典歌手比賽的準決賽參賽者。 她曾在美國、多倫多、特拉維夫和香港等地演出，參演多個歌劇角色如《波佩亞 的加冕》的波佩亞和發拉圖、《灰姑娘》的仙子、《阿爾辛娜》的摩根娜、《聖 衣會修女對話錄》的康斯坦斯修女、《女人皆如此》的黛絲碧娜、《鬼戀》的 鬼。她亦曾參演音樂劇，並在多個神劇和音樂會中擔任獨唱，包括海頓的《創世 記》及《尼古拉彌撒曲》、巴赫的《B 小調彌撒曲》及《聖母讚主頌》等。
Athene Mok received her Master of Music degree from the Eastman School of Music and Bachelor of Music degree from the Hong Kong Academy for Performing Arts. She is currently a doctoral candidate at the Eastman school of Music. During her studies, she won numerous awards and scholarships, including the winner of Jessie Kneisel Lieder Competition and Concerto Competition at the Eastman School of Music, and the third prize in the Friends of Eastman Opera Competition. She was a semi-finalist of the Classical Singer Vocal Competition, held by the Classical Singer magazine in the US. Mok performed in various cities in the US, and also in Toronto, Tel Aviv and Hong Kong. Her operatic appearances include Poppea and Valletto in L’incoronazione di Poppea, La Fée in Cendrillon, Morgana in Alcina, Sœur Constance in Dialogues des Carmélites, Despina in Così fan tutte. the Ghost in Ghost Love. She is equally comfortable with musical theater, and active in concert and oratorio performances, including Haydn's The Creation and Nicolaimesse, J.S. Bach's Mass in B Minor and Magnificat.
林俊 Albert Lim 男中音 Baritone 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。林俊現任香港演藝學院及香港中文 大學的聲樂講師、香港兒童合唱團高級組指揮、以及香港歌劇院助理合唱指導。 林氏屢獲邀請作獨唱演出，包括在香港巴赫合唱團、香港聖樂團及香港管弦樂團 的音樂會，演出巴赫《聖母讚主頌》、韓德爾《以色列人在埃及》、布拉姆斯 《德語安魂曲》、羅西尼《小莊嚴彌撒曲》、莫扎特《C 小調大彌撒曲》。 熱愛歌劇的林俊，曾在多個大型製作中擔綱演出。2007 年四月，他獲上海歌劇院 邀請，在法國名指揮家米歇爾．普拉松的指揮下，飾演歌劇《卡門》中唐丹凱羅 一角。曾參與製作包括由香港歌劇院製作的《羅密歐與茱麗葉》、《維特》、 《中山．逸仙》、《卡門》及《真．愛細讀——羅密歐與茱麗葉》，由非凡美樂 主辦製作的《張保仔傳奇》及《愛情靈藥》。2013 年，他獲香港管弦樂團邀請於 賽馬會音樂密碼教育計劃中演出莫扎特《魔笛》中的選段。 Albert Lim attained his Postgraduate Diploma in Performance and Postgraduate Certificate in Performance with Distinction at the Royal College of Music, after completing his Bachelor Degree in Music (Honours) at the Hong Kong Academy for Performing Arts (HKAPA), where he received a number of scholarships. Lim is currently a Vocal Lecturer at HKAPA and the Chinese University of Hong Kong, Choir Conductor at the Hong Kong Children’s Choir and Assistant Chorus Master at Opera Hong Kong. Lim has appeared as guest soloist in concerts with the Hong Kong Bach Choir, the Hong Kong Oratorio Society and the Hong Kong Philharmonic Orchestra, including J.S. Bach’s Magnificat, Handel’s Israel in Egypt, Brahms’ Ein Deutsches Requiem, and Rossini’s Petite messe solennelle. Lim has also performed in numerous roles in many opera productions. In April 2007, he was invited by the Shanghai Opera House to sing the role of El Dancaïro in Bizet’s Carmen under the baton of Michel Plasson. He sang in many productions by Opera Hong Kong including Gounod’s Roméo et Juliette, Massenet’s Werther, Huang Ruo’s Sun Yat-sen, Bizet’s Carmen, and A Love Insight - Roméo et Juliette, and also productions by Musica Viva including The Legend of Zhang Baozai and Donizetti’s L’elisir d’amore. In 2013, he made his appearance at Hong Kong Philharmonic Orchestra’s Jockey Club Keys to Music Education Programme, singing excerpts of Mozart’s Die Zauberflöte.
林芍彬 Anne Lam 管風琴 Organ 林芍彬現為香港中文大學崇基學院禮拜堂音樂統籌，並兼任該大學音樂系及香港 文化中心管風琴教育系列之管風琴導師。她獲頒香港賽馬會音樂及舞蹈信託基金 全額獎學金，前往紐約伊斯曼音樂學院深造聖樂及管風琴演奏。林氏曾奪國際管 風琴大賽獎項，其獨奏演出錄音在香港及美國的電台播出。2017 至 2019 年期 間，她在比利時、法國、紐西蘭等地作獨奏演出，並獲邀以通奏低音組員及合唱 團伴奏的身份，與香港巴赫合唱團、香港聲蜚合唱節、香港浸會大學合唱團同台 演出。她在 2017 年香港藝術節，與指揮朗格黑及辛辛那提交響樂團演奏聖桑第三 交響曲《管風琴》。 Anne Lam is the Director of Music at Chung Chi College Chapel, the Chinese University of Hong Kong (CUHK). She is currently an organ performance teacher at the Music Department of CUHK, and for the organ educational programme at Hong Kong Cultural Centre. A recipient of the Hong Kong Jockey Club Music and Dance Fund Scholarship, Lam obtained a Sacred Music Diploma and a doctoral degree in Organ Performance and Literature from the Eastman School of Music, New York. She won prizes in a number of international competitions, and recordings of her solo performances were broadcast on radio stations in Hong Kong and the United States. In 2017-2019 she gave solo performances in Belgium, France, New Zealand, and as continuo player and accompanist in performances with the Hong Kong Bach Choir, Hong Kong SingFest, and the Hong Kong Baptist University Choirs. In the 2017 Hong Kong Arts Festival, she was the soloist in the performance of Saint-Saëns' Symphony No. 3, "Organ" with the Cincinnati Symphony Orchestra, conducted by Louis Langrée.
朱振威 Leon Chu 香港中文大學合唱團音樂總監、指揮 Music Director and Conductor, the CUHK Chorus 朱振威的音樂訓練始於高中音樂科中央訓練計劃，同時跟隨蔡立德學習敲擊樂。因緣際 會考入香港中文大學現代語言及文化系後仍積極參與多個合唱團及樂團，亦隨林俊學習 聲樂。後隨 Kåre Hanken、Theodora Pavlovitch 及 Gábor Hollerung 等歐洲名家研習 合唱指揮。2014 年，朱氏在澳門聖若瑟大學考獲合唱指揮碩士，期間受業於 Colin Mawby、Nancy Telfer 及 Pedro Monteiro。近年隨支韻怡深造聲樂。 2006 年，朱氏獲邀出任香港中文大學合唱團音樂總監，除活躍於香港舞台，亦帶領合 唱團出訪國內、台灣、馬來西亞、泰國等地。2014 年他與合唱團灌錄首張專輯《春風 吻上我的臉——冉天豪合唱作品選》，獲該年度《IFPI 香港唱片銷售大獎》全年「最 暢銷古典、戲曲唱片」殊榮。及後亦陸續獲邀成為香港大學利銘澤堂合唱團教練及香港 中文大學新亞合唱團指揮。朱氏也是富經驗的合唱指導，近年與閻惠昌及香港中樂團緊 密合作，也曾到曼谷為暹羅愛樂樂團的馬勒第二交響曲擔任客席合唱指導。 朱氏亦為雜誌撰寫唱片評論，並在多份報章刊物及網上平台發表評論文章，也有為本地 藝團及機構撰寫及翻譯場刊。朱氏自 2017 年起為香港藝術發展局音樂界別藝術顧問。 Leon Chu started his musical studies in the Centralised Scheme of Music Training for Senior Secondary Students, and percussion playing with Choy Lap-tak. Upon his admission to the Modern Languages and Intercultural Studies in the Chinese University of Hong Kong, he participated in a number of choruses and orchestras, and studied vocal under Albert Lim. He later studied choral conducting under renowned European masters including Kåre Hanken, Theodora Pavlovitch, and Gábor Hollerung. In 2014, he attained the Master degree of Choral Conducting from the University of Saint Joseph, Macau, under the tutelage of Colin Mawby, Nancy Telfer and Pedro Monteiro. Recently he furthered his vocal studies under Myra Chih. In 2006, Leon Chu took up the position as the Music Director of the Chinese University of Hong Kong Chorus. Apart from local performances, he brought the chorus to stages across mainland China, Taiwan, Malaysia and Thailand. He conducted the chorus in their first commercial recording Spring Breeze Kisses My Face — The Choral Music of Jan Tien-hao, which was soon awarded as one of the Best Sales Releases (Classical and Operatic Works Recording) in the IFPI Hong Kong Top Sales Music Award 2014. Currently he is also the Trainer of RC Choir, R.C. Lee Hall, The University of Hong Kong, and Conductor of New Asia Chorus, CUHK. Chu is an experienced chorus master. In recent years, he closely collaborated with Yan Huichang and Hong Kong Chinese Orchestra on their symphonic choral concerts, and was invited by Siam Philharmonic as the guest chorus master in their performance of Mahler's Symphony No. 2, “Resurrection”. Chu is an active writer for magazines, newspapers and online platforms, including album reviews and critique writings. He also annotated and translated the house programmes for various arts organisations. Since 2017, Leon Chu has been an Arts Advisor (Music sector) of the Hong Kong Arts Development Council.
香港中文大學合唱團 「…唱來熱情充沛， 唱來熱情充沛，正是年輕人的精神可貴之處。」 正是年輕人的精神可貴之處。」—李歐梵《明報》 。」 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。現 在中大合唱團每年演出活動包括周年公演、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 而 內 容 多 元 化的 主 題 節目 ， 如 韋 塔 克 （ Eric Whitacre）、雅羅（Ola Gjeilo）、冉天豪、顧嘉煇、伍卓賢及伯恩斯坦的原創及改 編作品專場音樂會；與爵士樂音樂家侯活麥格尼 （Howard McCrary）合作演出聖 誕音樂會等，為本地合唱團開拓曲目發揮影響力。而合唱團亦曾多次與中國內地及 東南亞各地合唱團作音樂交流，近年更多次獲邀參與海外演出，如 2006 年澳門國 際音樂節、2013 年暹羅愛樂樂團馬勒第八交響曲泰國首演、2015 年上海之春音樂 節冼星海《黃河大合唱》莫斯科原版的世界首演、及 2019 台北國際合唱音樂節。 多年來曾與中大合唱團合作的本地及海外藝人不計其數，近期例子有顧嘉煇、 邵俊傑、香港電台弦樂四重奏、香港中樂團、合唱指揮家杜黑、古育仲、帕羅薇 琪 （ Theodora Pavlovitch ） 、 韓 多 普 （ Paul Hondorp ） 、 艾 力 史 達 克 （ Eric Stark）等。合唱團亦積極推動香港合唱創作，邀請香港作曲家如胡銘堯、蘇梓 安、楊嘉輝、鄧樂妍、伍華晞、伍卓賢、以及台灣作曲家冉天豪譜寫新曲，2016 年更與演戲家族合作，委約多位作曲家改編粵語原創音樂劇選曲，為建立富香港 色彩的合唱作品而努力。 2014 年 6 月，中大合唱團推出首張商業錄音專輯《春風吻上我的臉——冉天豪合 唱作品選》，由現代音像發行。甫推出後反應熱烈，更榮獲《IFPI 香港唱片銷量 大獎 2014》全年「最暢銷古典、戲曲唱片」之一。而第二張專輯《唱自己的歌 ——香港粵語合唱曲選》已在 2019 年 8 月推出。合唱團亦由 2019 年開始發行樂 譜及書籍，至今已發行 15 首合唱作品樂譜，以及台灣學者查太元編著的《冼星海 年鑑》。
The Chinese University of Hong Kong Chorus “CU Chorus is a wonderful youth choir with amazing abilities! Having worked with them and their conductor - my former student Leon Chu, I will keep forever my memories about the great spirit, sensitivity and beautiful music they can create! I am happy to know you, my dear friends!” - Prof. Theodora Pavlovitch “CU Chorus were splendid in their collaboration with Siam Philharmonic in our complete Mahler Cycle. They sang like angels — just as the composer intended!” - Somtow Sucharitkul, Music Director of Siam Philharmonic CU Chorus was founded in 1972 by a group of CUHK students. In the early days, the role of conductor was taken up by students. Since the 1990s, the formal post of Music Director and Conductor is established. The post was first taken up by Dennis Ng, followed by Yeh Cheung-shing, and currently Leon Chu. From a group that once taken part in joint-university singing contest by the Hong Kong Federation of Students, to the one that organises annual performances, CU Chorus has now developed its range of performances including public concerts, free campus concerts, overseas exchange performances, Christmas caroling, conducting workshops and charity outreach performances. CU Chorus presented a number of popular programmes with diverse themes, such as a number of composer-portrait concerts featuring original choral works and arrangements by Eric Whitacre, Ola Gjeilo, Jan Tien-hao, Joseph Koo and Leonard Bernstein, and Christmas concerts with the American jazz legend Howard McCrary, making an influence in repertoire expansion in local choral scene. CU Chorus has constantly engaged in exchange activities with choirs in mainland China and Southeast Asia, and was invited to various guest performances in music festivals overseas, including the 20th Macau International Music Festival in 2006, the Thai première of Mahler’s Symphony No. 8 by Siam Philharmonic Orchestra in 2013, the world première of the original Moscow version of Xian Xing-hai’s Yellow River Cantata in the 2015 Shanghai Spring International Music Festival, and the 2019 Taipei International Choral Festival. Over the years, CU Chorus has collaborated with numerous local and overseas artists, including Canto-pop iconic figure Joseph Koo, percussionist Louis Siu, the RTHK Quartet, Hong Kong Chinese Orchestra, conductors Dirk DuHei, Johnny Ku, Theodora Pavlovitch, Paul Hondorp and Eric Stark. To promote Hong Kong choral compositions, CU Chorus has commissioned new works by a number of Hong Kong composers such as Dennis Wu, Andy So, Samson Young, Tang Lok-yin, Ng Wah-hei, Ng Cheuk-Yin, and Taiwan composer Jan Tien-hao. In 2016, in collaboration with Actors’ Family, CU Chorus commissioned choral arrangements of various numbers from the company’s original Cantonese musicals, altogether forming a unique and local voice in Hong Kong choral music.
CU Chorus released its first commercial album Spring Breeze Kisses My Face — The Choral Music of Jan Tien-hao on The Modern Audio label in June 2014, and it was soon awarded as one of the Best Sales Releases (Classical and Operatic Works Recording) in the IFPI Hong Kong Top Sales Music Award 2014. The second album Sing Our Own Song — Selected Hong Kong Choral Works in Cantonese was released in August 2019. Since 2019, CU Chorus launched their own publications, including sheet music of 15 choral compositions, and A Chronology of the Life of Sin Sing-hoi (Xian Xing-hai) by Taiwanese scholar Zha Tai-yuan. 音樂總監、指揮 Music Director and Conductor 朱振威
Leon Chu
女高音 Soprano
女低音 Alto
男高音 Tenor
江欣茜 Kong Yan Sin
呂彥筠 Lui Yin Kwan
王子翹 Wong Tsz Kiu
佘雅筠 Shi Nga Kwan
李愛珊 Li Oi Shan
袁天逸 Yuen Tin Yat Nathaniel
吳學而 Ng Hok Yee
郭曉楠 Kwok Hiu Nam Jodie
梁樂鈞 Leung Lok Kwan
吳頌恩 Ghaw Sheong Oon
殷孝琳 Yun Hau Lam
黃智衡 Wong Chi Hang*
奚婷妤 Shi Ting Yu
陳沛言 Chan Pui Yin
陳悅晴 Chan Yuet Ching
陳泳姸 Chan Wing Yin
鄧鈺怡 Tang Yuk Yi
陳蘊明 Chan Wan Ming
許菀珊 Hui Yuen Shan
鄧頴彤 Tang Wing Tung
梁潔瑩 Leung Kit Ying
童駿敏 Tung Chun Man*
楊寶玲 Yeung Po Ling
湯曉彤 Tong Hiu Tung Janice
潘宇珩 Poon Yu Hang
楊宛霖 Yeung Yuen Lam
甄珮誼 Yan Pui Yee
蔡晴彥 Choi Ching Yin
盧穎心 Lo Wing Sum Amy
譚琛元 Tam Sum Yuen
羅玉鈴 Law Yuk Ling*
譚穎雯 Tam Wing Man
#
黃泳旋 Wong Wing Shuen 黃芷菁 Wong Chi Ching Flora
#
助理指揮
* 聲部長
男低音 Bass 王栢濤 Wong Pak To Plato 李梓諾 Li Tsz Nok Carlos 何文政 Ho Rachael 陳迦諾 Chan Ka Nok 張偉文 Cheung Wai Man# 張凱傑 Cheung Hoi Kit 駐團鋼琴家 Resident Pianist 馮荻文 Fung Tik Man 聲樂指導 Vocal Coach 林俊
Albert Lim
休假
On Leave
王卓然
Wang Cho Jan
Assistant Conductors
柳多燕
Roo Dayeon
Part-leaders
鍾天詠
Chung Tin Wing
龐希平
Heather Pong
名字依姓名筆劃排序 The list is in the order of Chinese name
中大合唱協會理事會 2020-21 Executive Committee 2020-21, CU Chorus Association 主席 President 副主席 Vice-president 成員 Members
王卓然 Wang Cho Jan 黃智衡 Wong Chi Hang 李愛珊 Li Oi Shan 奚婷妤 Shi Ting-Yu 潘宇珩 Poon Yu Hang 朱振威 Leon Chu
香港中文大學學生會合唱學會幹事會 2020-21 Committee 2020-21, Choral Society, The Student Union of the Chinese University of Hong Kong 會長 Chairperson
潘宇珩 Poon Yu Hang
副會長 Vice-chairperson
李諾蘊 Lee Lok Wan
財政 Treasurer
陳迦諾 Chan Ka Nok
秘書 Secretary
柳多燕 Roo Dayeon
中大合唱協會行政人員 Management team of CU Chorus Association 行政總監 Executive Director
陳蘊明 Monica Chan
副行政總監 Deputy Executive Director
羅玉鈴 Kirstie Law
發展經理 Development Manager
陳倩鈺 Katie Chan
市場及發展部
鄧鈺怡 Katie Tang
Marketing and Development Department
許家榮 Ron Hsu
音樂會製作 Concert Production 直播導演 Broadcast Director 錄音及影音工程 Audio and Visual Engineer
胡銘堯 Dennis Wu 程啟翔 Angelos Ching
攝影 Photography
譚子健 Terry Tam
工作人員 Helpers
陳倩鈺 Katie Chan 李諾蘊 Chloe Lee 莊景樂 Felix Chong
場刊編輯及排版 House Programme Editing and Layout
林凱昌 Lam Hoi-cheong
鳴謝 Acknowledgement 戴德正校長 Mr Tai Tak Ching 李準偉先生 Mr Eric Li 林俊先生 Mr Albert Lim 莫子慧女士 Ms Athene Mok 林芍彬博士 Dr Anne Lam 黃正彥先生 Mr Justin Wong 胡銘堯先生 Mr Dennis Wu 程啟翔先生 Mr Angelos Ching 譚子健先生 Mr Terry Tam
中⼤合唱協會有限公司出版 版權所有 © 2020 中⼤合唱協會有限公司 未經本會書⾯授權,不得轉載 Published by CU Chorus Association Limited Copyright © 2020 CU Chorus Association Limited No reproduction is allowed without written consent from the association 中⼤合唱協會有限公司 CU Chorus Association Limited ⾹港九⻯旺⾓亞皆⽼街 16 號旺⾓商業⼤廈 20 樓 2001 室 Unit 2001, 20/F, Mongkok Commercial Centre, 16 Argyle Street, Mongkok, Kowloon 電郵 Email: cuchorus@cuchorus.org.hk 傳真 Fax: (852) 3007 0344 網⾴ Website: www.cuchorus.org.hk
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