《十年》 Ten Years 混聲無伴奏合唱 for mixed chorus (SATB) a capella
林 立 作詞 林子鈞 作曲 words by lap lam music by george lam
MANCHESTER
li gh th ouse
The mountains and the streams, feelings, questions, generations come and go. Ten Years (2007) is a collaboration between poet Lap Lam and composer George Lam. The work consists of two poems: an original, classical-style verse with the same title, and a companion poem written in the contemporary vernacular. While the classical poem reflects on the bygone decade, the accompanying contemporary verse asks pointed questions: how much have we remembered, and how much have we already forgotten? Ten Years was composed for and dedicated to Ken Lam and Hong Kong Voices, who gave the work’s first performance at the Hong Kong Academy of Performing Arts on June 2, 2007.
Lap Lam studied music at the Chinese University of Hong Kong. On graduation he joined the Hong Kong Sinfonietta as a violinist and taught music at the same time. In 1995, he acquired his Master of Philosophy in classical Chinese poetry from the University of Hong Kong, and in 2000 his Ph.D. from the University of British Columbia. He taught Chinese at New York University and the City University of Hong Kong respectively. Currently, he is an Assistant Professor of Classical Chinese Literature at the National University of Singapore. Lap Lam has been writing traditional poetry since his undergraduate study. Most of his works have been published in China and New York. At the present, he is writing both classical and vernacular poems on the New York artist Nancy Wolf’s drawings, which concern the impact of China’s urban development on traditional culture and lands. Hong Kong-born composer George Tsz-Kwan Lam has collaborated with numerous writers and performers in Hong Kong and the United States. Recent projects include works for Hong Kong Voices, the Aspen Contemporary Ensemble, violinist Lydia Miller, flutist Brook Ferguson and baritone Robert Maril. George has also collaborated with writers Benjamin Rogers and Lap Lam, and is currently working on a new chamber opera with librettist and playwright Martin Zimmerman. George lives and works in Durham, North Carolina (USA), where he is pursuing a Ph.D. in music composition at Duke University. For more information, and to hear George’s music, please visit http://www.gtlam.com.
Ten Years is performed in Cantonese. and lasts approximately 4’30”. Performance instructions, including notes on Cantonese pronunciation, are included in the back of this score.
十年人面水雲流，落落而今幾輩休。到眼黃花空爛漫，失期青鳥尚綢繆。 孤琴久絕山中侶，一念時驚海畔鷗。亟向高臺支晼晚，露橋楓岸記從頭。
可不可以忘掉（過去） 一切痛苦的（片段） 可不可以留住（過去） 一切美好的（故事） 山會否青如舊 水會否不斷流 可不可以讓我繼續走 我的路 多少已被記住 多少已被忘卻 色彩是否依然（像過去那樣）鮮艷 感覺是否（依然）溫暖（像過去那樣深淺） 多少已在手裏（手中) 多少已經失去 空氣是否依然不變（溫暖） 感覺是否依然 像過去那樣深淺（不會變)
for ken lam and hong kong voices
十 年 (ten years)
words by lap lam music by george lam (2007)
slow, senza misura q = ca. 96
soprano
p in a unison but free rhythm*
alto
十
年
人
面
p in a unison but free rhythm*
十
tenor
bass
3
s
b
到
人
面
水
雲
流
雲
流
落
落
而
今
落
幾
落
(poco rit.)
到
t
年
水
而
今
幾
輩
休
輩
a
眼
眼
(faster)
黄
黄
花
空
爛
漫
失
花
空
爛
漫
失
期
期
* please see notes on the back of the score regarding rhythm in the senza misura sections.
(rit.)
青
鳥
青
鳥
尚
尚
綢
綢
繆
繆
休
2
s
(poco rit.)
5"
4
十
5"
a
十
b
s
十
5"
p
到
眼
人
面
水
年
人
面
水
年
人
面
水
p in a unison but free rhythm*
十
7
年
p in a unison but free rhythm*
p in a unison but free rhythm*
5"
t
p in a unison but free rhythm*
黄
年
人
面
花
空
爛
漫
水
到
流
雲
流
落
落
而
今
幾
流
落
雲
落
雲
流
落
落
mf
失
期
b
今
幾
而
今
輩
青
鳥
尚
綢
繆 p
眼
繆
期
* please see notes on the back of the score regarding rhythm in the senza misura sections.
p
青
鳥
mp
青
鳥
尚
綢
休
輩
p
幾
mf
而
mf
t
雲
p
a
繆 p
繆
3
faster, q. = 54 mf
s 8
solo: 可
一 切 痛 苦 的...
不可以忘掉
3
可不可以留住
mf
a
t
b
freely, with a slight rit.
s 一 切美好
11
a
苦
t
b
痛
3
的...
p
一切
slower, q. = 40
rit.
的...
solo: 可 不 可 以 忘 掉
p
tutti: 山
mf
會 否
f
3
可 不 可 以 留 住 過 去 一 切 美 好 的...
mp
可不可以
忘掉過去
mf
一切
4
tempo 1 (q. = 54)
s 14
青 如 舊
水
會 否 不 斷 流
p
t
b
a
以...
p
水
mp
可不可以讓我
可不可以忘掉
mf
不
讓我繼續
讓我繼續
可不 可以
繼
續
斷
以
mf
不
斷
會 否 不
mf
f
可不可
p
可不可 以
讓我
b
p
18
t
p
p
p
可 不 可 以...
s
a
可 不可
tutti, div.
f
不
斷流
斷
流
讓 我 繼
f
走
f
走
續走
5
as in the beginning, senza misura q = ca. 96
s 我的
a
t
b
p
十 年 人 面 水 雲 流
黄
十 年 人 面 水 雲 流
p
mf
花
空
爛
漫
花
空
爛
漫
失
到 眼 黄 花
mf
空
爛
漫
p
落 落 而 今 幾 輩 休
mf
到
落 落 而 今 幾 輩 休
p
p
p
b
25
t
路
p
s
a
f
21
眼
黄
期
青
p
鳥
尚
綢
繆
6
s 26
a
孤 琴 久 絕 山 中 侶 p
t
b p
孤 琴 久 絕 山 中 侶
s
一 念 時 驚 海 畔 鷗
亟 向 高 臺 支 晼 晚
一 念 時 驚 海 畔 鷗
多 少已被記住
色彩是否依然鮮 艷
solo: 露 橋 楓 岸 記 從 頭 rit.
pp
p
b
p
p
t
pp
faster, q. = 54
28
a
p
多 少已被忘卻
多少
7
s 31
色彩是否依然鮮
mp
a
已被記住
p
多少已
p
被
依
p mf
t
b
多少已被忘卻
s
mf
p
p
f
然 鮮
b
mp
艷
多少已被 記住
f
t
多少已被忘卻感覺是否依然 温 暖 p
34
a
mp
已 在 手 中 多 少 已 經...
艷
mf
已
經
失
mp
多少已在手
mp
多 少 已 在 手 中 多 少...
中
去
已
多 少 已 在 手 中,多 少 已 在 手 中
8
s
mf
37
多少已在手中多
t
b
去
經
多少已
經
t
b
失
去
手
中
f
空氣是否依然
f
多少已在手中
失
去
感 覺 是 否 依 然
f
覺
失
空 氣 是 否 依 然
失
氣
去
失
去
mf
空
氣
f
像
去
f
空...
空
感
f
覺
感
多少已在 手中
mf
多少已在手中
mf
s
f
多少已在手中
失
40
a
少
a
過 去 那 樣... p
9
s 43
温
a
t
b
mf div.
像 過去那 樣 温
47
b
sub. f
像過去那樣 p
p
像
slower, q. = 40
f
p
f
p
淺 深
淺
f
深
過 去 那 樣 深
淺 f
深
t
感 覺 是 否...
深
a
暖
rit.
s
p
f
淺
p
p
淺
mp
空
solo:
10
s 51
氣
是 否 依 然 不
a
t
b
變
mp
div. 感
覺 是 否 依
像
然
very slowly, e = ca. 76
rall. f
深 tutti, div. s
深
淺
樣
深
淺
55
像 過 去 那 樣
那
t
過
b
淺
f
像 過 去 那 樣
深 f
div.
a
淺
div. f
深
f
去
那
淺
f
樣
像 過 去 那 樣
深 f
深
淺
淺
不 會
11
s
5"
58
a
b
t
變
不 會
變. . .
s
as in the beginning, senza misura q. = ca. 96
5"
solo: p
solo: p
十
落 落
b
落
面
5"
水
人
面
水
solo: p
面
水
花
空 爛 漫
雲
流
雲
流
雲
流
雲
流
到 眼 黄 花 空 爛 漫
落 落 已 今 幾 輩 休
t
人
黄
已
solo: p
年
5"
61
a
到 眼 黃
花 空
爛
漫
花 空 爛 漫
12
s 63
tutti p
失 期
tutti p
孤 琴 久 絕 山 中 侶 p
t
b
孤 琴 久 絕 山 中 侶
a
tutti p
青 鳥 尚 綢 繆
念 時 驚 海 畔
鷗
div.
一 念 時 驚 海 畔
鷗
div.
孤 琴 久 絕 山 中 侶 tutti p
孤 琴 久 絕 山 中 侶
一 念 時 驚 海 畔
鷗
一 念 時 驚 海 畔
鷗
s 65
a
p (tutti)
亟
t
向
高
(two voices)
(solo)
臺
晼
支
晚
pp
露
橋
楓
岸
b
橋
從
頭
pp
p (tutti)
記
楓
岸
從
(two voices)
記
(solo)
頭
13
67
s
p
solo: 十
t
b
年
人
面 p
a
solo: 面
水
水
pp
雲
流
pp
雲
流
april 22, 2007 durham, nc for mom, dad and judy
Performance Instructions The Tones of Cantonese There are nine total tones in spoken Cantonese, with six distinct pitch contours.
All of the tones, except for tones 2 and 5, remain a single pitch. Tones 2 and 5, however, use a rising contour. In singing the words that use these two tones, I would suggest starting with a very short, unaccented, on-the-beat grace note that would provide a lower starting pitch in order to illustrate the tone’s contour. This grace note can begin at one whole-step (major second) below the target (written) pitch. The grace note should not be perceived as a distinct ornamental pitch, but used only to facilitate the clarity and comprehensibility of the text. For example, the words 深淺 is notated as:
However, to incorporate tone 2 for the word 淺, the phrase can be sung as:
Here is a list of the words in the text that uses tones 2 and 5. TONE 2 (陰上), medium rising
TONE 5 (陽上), low rising
水. 幾, 久, 海, 晼, 可, 苦, 好, 否, 水, 走, 少, 彩, 感, 淺, 手
而, 晚, 以, 會, 我, 已, 那, 暖, 裏
Senza Misura There are three sections in Ten Years that are marked senza misura, or “without measures / not measured�. These sections set the text from the classical-style poem. For these sections, filled-in note heads represent a shorter duration, while open note heads represent a longer duration. Tenuto marks indicate short pauses, fermatas indicate longer pauses, and breath marks indicate a short break between sections. In general, the chorus should sing in a unison rhythm, with every word of the text attacked together. Where certain events need to be coordinated with another line, an arrow indicates moments of simultaneity. Please hold each note until there is an indicated rest. Throughout the senza misura sections, the chorus should sing the text in a unison rhythm, speeding up or slowing down the tempo together as needed. The rhythmic and tempo contours of each line should be predetermined by the chorus, and should be rehearsed. Tempo markings such as rit. and accel. remain suggestions on how to interpret these chanted lines. Most importantly, these lines should not be sung slowly and steadily on an even pulse.
Solos and Divisi Sections of solo indicated in the score could be performed as a divisi if needed. All divisi assignments should be equally distributed.