Program notes: "Roots" 2017.06.03 — Contemporary Choral Music IV: Hong Kong

根源—《當代合唱音樂沙龍》第四回 Roots—Contemporary Choral Music IV: Hong Kong 2017-06-03 19:30 九龍聖安德烈堂 St Andrew’s Church, Kowloon 合唱團 Choir ：香港和聲 Hong Kong Voices 指揮 Conductor ：蔣頌恩 Grace Chiang 許子維 Jerry Hui

陳偉光 Victor CHAN

和聲粵樂 Harmoniae Sinis Austeris (2017) I. 〈渭城曲〉Song of the Wai City II. 〈出塞〉The Fortress III. 〈秋夕〉Autumn Evening 詩經之歌 Songs from “Shi Jing” (1996) I. 〈芣苢〉Fuyi (Thick Grows the Plantain) II. 〈擊鼓〉Jigu (Beat their Drums) III. 〈采葛〉Caige (Plucking Cloth-creeper) 鋼琴 Piano ：陳倩婷 Cynthia Chan *

林子鈞 George LAM

十年 Ten Years (2007) 布蘭詩歌 Carmina Burana (2015, rev. 2017) I. 宣敘調：〈汝善諦聽遠方聲〉 Recitative: Ecce sonat in aperto II. 愛之殿：〈青玉案〉 Cour d’amours: Green Jade Bowl III. 春：〈今日樂其時〉 Primo vere: Tempus hoc letitie

盧定彰 Daniel LO

瑪麗個案 Mary’s Chalk Circle (2017) 旁白 Narrator：李君衎 Clement Lee 媒體藝術 Media artist：余穎欣 Yu Wing-yan

陳慶恩 CHAN Hing-yan

弔文—為合唱、鋼琴及二胡而作 Trauermusik: The Year 1911 (2017) 鋼琴 Piano ：陳倩婷 Cynthia Chan * 二胡 Erhu：王志聰 Wong Chi-chung *承蒙香港舞蹈團允許參與演出 Appears through the courtesy of Hong Kong Dance Company

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指揮的話

“And Then There Was … ”

「二零」

As our Contemporary Choral Music series comes to its fourth chapter, we turn our thoughts to where we are: Hong Kong.

蔣頌恩

不知不覺間，《當代合唱音 樂沙龍》已到了第四年，適 逢香港回歸廿載，便想到做 一個「香港」專場。香港和 聲一直以來不斷求突破，古 今作品均涉獵不少，唯演唱 中文作品機會不多，委約創 作更是難能可貴。 對某些人來說，十九、二十 世紀的香港是借來的時光、 空間，沒甚麼價值。但對戰 後生於這裡，那些無「鄉」 又無「根」的人，中西交融 也好，「草根」、「崇洋」 、「媚外」、甚至「洋奴」 也罷，這種「混雜」（或曰 fusion）就是他們的文化。 但，真的是媚外，還是看到 其他可能性？ 「一七」 是我十多年的執著。 入大學時考慮的是能否學習 中國音樂；準備畢業音樂會 堅持要唱香港的作品，論文 也嘗試追溯香港合唱史。這 幾年好像放下了，實在是換 了角色，仍希望舉行一個香 港專場音樂會，不只演唱香 港作曲家的作品，更是以粵 語為主的；是生於斯、長於 斯的情意結。 自幼在英式殖民 育的熏陶 下，修習的音樂語言全屬西 歐古典音樂；畢業後出外深 造，英、美等地成了理所當 然的選擇。縱使如此，成長 2

Grace Chiang, Conductor

There are two things I was mindful of when deciding on the repertoire for this concert: commissioned works for a chamber choir, and works written for the Chinese language. We began our journey with the classical texts of the Book of Songs (Shijing), Tang and Song Dynasty poetry, and complimenting them with Latin poems from the 11th century collection Carmina Burana, followed by texts penned by Hong Kong writers.

Yet at the core of our commissioned pieces is a conscious experiment to create music to be sung in Cantonese; often in choral music, identity is linked to the choice of language— that of the musical idiom as much as the sung text.

Hong Kong The “history” of choral music in the city goes back about a hundred years; from singing English classics, to propaganda songs of the 1930s; from Mandarin compositions (those by masters Huang Youdi and Lin Shengshih) and English adaptations of standard repertoire (oratorios and the like), to attempting works in the original language or dialect. And for a long time, with the exception of church anthems and service music, Chinese choral music in Hong Kong has almost been exclusively sung in Mandarin, until the recent decades.

Seeds that were planted have now taken root in another generation, perhaps the last general of adults who grew up in the twilight of colonial Hong Kong. The quest for a cultural root in choral music took many forms: contemporary a cappella (e.g. The Gay Singers), arrangements of pop songs (e.g. Under the Lion Rock), Christian and Catholic anthems translated particularly for Cantonese, or children’s songs old and new.

Commission works of a more “serious” nature are comparatively sparse (those by Steve Ho, Dennis Wu etc.); only in the last decade or so do we see a greater presence of Cantonese works—the many productions by Ng Cheuk Yin and Yat Po Singers (e.g. Rock Hard), and more recently, Hong Kong Arts Festival’s Hong Kong Odyssey, which tells the tale of our hometown.

路上的語境和音樂語言是無 法替代的；說到尋根，那根 其實在香港；既不以英語為 本，亦不為功能和聲所限。 在聲音尋找本色化的路途 上，有一學習與模仿的過 程，近代中文合唱亦是箇中 的產物。而以粵語為創作考 量，除流行曲改編、 會詩 歌以外，一直被邊緣化。而 自邊緣回到中心，不知還要 多少年月。 我在尋根；然而過去這城的 一切不是驕傲之由，亦非自 卑之因。面對生活上種種困 難之際，難免會問這一切有 何意義？「我」是誰？「我 們」的聲音是怎麼回事？這 次音樂會非為說甚麼大道 理，或勾勒歴史脈絡；二十 世紀這一代所承繼的，「就 是這樣」，不是粉飾太平， 亦不是消費「本土」的概 念，就是一種純粹、直率的 藝術表達。 「然後」 但，甚麼是本土？ 我不曉得。 胸無半點墨，亦無謂獻醜， 不多說，就讓文字與樂章「 自圓其說」。

I believe every commission is a gateway to furthering Choral music written for Cantonese. Just as there are particular differences in the stylistic demands of English or Scottish works, an opera from Suzhou (Kun) would sound quite different from ones of the North (i.e. Peking Opera). Cantonese, with its inherent limitations as a tonal language, creates an interesting constraint for composers­ —allowing the text to make sense sonically meant a limited choice of melodic intervals, and this also means functional harmony might be “surrendered” at times, should the music serve the text. And so, this goes beyond the choice of language alone— it is how text combines with music.

Voices The best works for voice is where the music and text have equal importance and elevates each other. Western (or “Occidental”) composers have spent centuries to find that balance and crystallised their efforts in the form of Art Song; on the contrary, traditional Chinese Opera or Narrative Singing (shuochang) always have had the music serve the text, yet in 20th century Chinese choral works, almost completely surrendered the autonomy of the word. Perhaps we have yet to re-establish a musical idiom that prioritizes the chemistry between music and text.

This stems from conversations I have had on separate occasions since the last decade. As a singer, it is paramount for me to understand why the text has to be sung and not recited. How does the ebb and flow of the musical form relate to the emotional core of the text? What is the text talking about, and what is the music trying to say? Does referential meaning in the music bear any consequence on the first, second, or even a third reading of the text?

I do not have the answers to any of these questions, but I do believe that inspiration, and more importantly, hope, may be found in commissioning new works.

2017 It is what it is; there is no chip on shoulder, and there is no pride.

Here I lay bare our tale; whether it’s an elegy or sounds of celebration, it’s for you to decide.

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許子維《和聲粵樂》

Jerry HUI Harmoniae Sinis Austeris (2017)

《和聲粵樂》的歌詞出自三 首唐詩。儘管現代粵語與唐 代的中古漢語有一定差距， 但仍保留了不少中古漢語的 音韻特質；許子維特別選取 這三首唐詩，就是為了展現 出粵語的旋律性和生動的聲 韻變化。早有前人嘗試以粵 語譜寫合唱音樂，但作曲家 不時為了旋律或和聲而犧牲 語言的調性；《和聲粵樂》 卻旨在尋求音樂與語言的共 識，務求每個聲部都忠於粵 語的音律。

The texts of Harmoniae Sinis Austeris are all from Tang Dynasty.

Though it wasn't exactly Cantonese that these poets spoke, Cantonese is considered to share much of the characteristics and roots as the spoken language of the time. As such, poems are chosen that can present the melodic quality within the tones of Cantonese, and the playful variety of consonants.

作品中的每一章均運用了不 同的聲部及音質設定。〈渭 城曲〉屬於二部模仿，〈出 塞〉發展成三部模仿，並加 入較豐富的和聲。〈秋夕〉 是四部合唱，由二部重唱流 暢地進入四部模仿，並試驗 較複雜的旋律。

Each miniature tackles a different configuration of voices, and a different musical texture. Song of the Wai City is a simple imitative piece for 2 voices. The Fortress extends the imitation to 3 voices, and explores harmony beyond simple triads.

Autumn Evening is for the full choir, smoothly switching from counteracting duets to four-part imitation, and experiments with more elaborate melodies through melisma.

〈渭城曲〉王維

Song of the Wei City (Wang Wei)

渭城朝雨浥輕塵，

In the Wei City the morning rain dampens the light dust, around the inn, all green are the fresh colours of willows.

I urge you, to take one more cup of wine, “Leaving west out of the Yang Pass, you will find no more old friends!”

客舍青青柳色新。 勸君更進一杯酒， 西出陽關無故人。

〈出塞〉王昌齡

The Fortress (Wang Chang-ling)

秦時明月漢時關，

Bright moon from the days of the Qin, passes from the days of the Han, marching thousands of miles, the soldiers have not returned.

If only the Flying General of the Dragon Castle were here, No nomad calvary could cross the Yin Mountains!

萬里長征人未還。 但使龍城飛將在， 不

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This set of miniatures are by no means the first attempt in setting Cantonese for choir. However, previous compositions often forego the intonation of the language in favor of certain needs for the melody, and for harmony. Here, extensive consideration is given to make sure that the language is inflected correctly for every voice part.

胡馬度陰山。

〈秋夕〉杜牧

Autumn Evening (Du Mu)

銀燭秋光冷畫屏，

The silvery candle light shimmers on the painted screen, with a small silk fan, I wave at the fireflies.

The night out on the imperial terraces is as cool as water, crouching I am, gazing at the Weaver Girl and the Cowherd stars.

輕羅小扇撲流螢。 天階夜色涼如水， 臥看牽牛織女星。

English translation by Konstance Li

Jerry (Chi-wei) Hui has written a wide variety of music that ranges from large-scale orchestral music to light-hearted choral text settings. His music has been performed in festivals such as the Music Today Festival in Eugene, Oregon Bach Festival Composers Symposium, Society of Composers conferences (regional and national), and the World Saxophone Congress. His choral piece Of Water & Love was awarded the 2008 Robert Helps Prize. The live premiere of his first comic chamber opera, Wired For Love, was well received by critics, who described the music as “seriously fun”, and with “accomplished contrapuntal texture.”

As a conductor, Dr. Hui has founded and directed various community choirs, church choirs, and orchestras. He was the founder, director and conductor of Eugene Contemporary Chamber Ensemble in Eugene, Oregon, focusing on contemporary music, with a repertoire that included works by Schoenberg, Webern, Adams, Stravinsky, as well as student composers. He had also conducted the Eugene Symphony Chorus and Madison Early Music Festival. In 2010, Mr. Hui founded and co-directed the ensemble New Music Everywhere <http://newmusiceverywhere.com>, presenting contemporary music in venue-specific programs, funded by the Yamaha In-Residence Fellowship and the Dane County Cultural Affairs Commission of Wisconsin. He is now the Director of Choral Activities at University of Wisconsin-Stout.

Jerry Hui is active as a performer, primarily singing in small vocal ensembles and choruses, and has often appeared as a vocal soloist. Mr. Hui has sung as a bass, tenor and countertenor, with a primary interest in early music and contemporary music. Past performances include Handel’s Clori, Tirsi e Fileno (Fileno), Peter Maxwell Davies’ Eight Songs for a Mad King, and Monteverdi’s L’Orfeo. He is currently directing and performing with two early music ensembles: Eliza’s Toyes <http://toyes.info>, which specializes in creative and interdisciplinary performances of early music; and Schola Cantorum of Eau Claire <http://scholaec.org>, the first early music chamber choir of its kind in northern Wisconsin.

A native of Hong Kong, Jerry Hui received his DMA degree in music composition/choral conducting from the University of Wisconsin-Madison.

He received his Bachelor’s degree in music composition and computer science from the University of Wisconsin-Madison, and his Masters degrees in music composition and choral conducting from the University of Oregon. Mr. Hui’s principal composition teachers include David Crumb, Stephen Dembski, Robert Kyr, Joel Naumann and Laura Schwendinger. His conducting teachers are Beverly Taylor, Sharon Paul, and Bruce Gladstone.

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陳偉光《詩經之歌》

Victor CHAN Songs from “Shi Jing” (1996)

《詩經之歌》由香港聲樂家 雅聚委約創作，於一九九六 年十月首演。樂曲是由三首 歌曲組成的聯篇聲樂組曲， 分別為女聲三重唱、男聲三 重唱及混聲四部合唱。〈芣 苢〉描繪一群女子採「車前 子」（朱熹《詩經集注》： 「或曰其子治產難」）時處 安逸的平和之美；〈擊鼓〉 則寫將士出征不見歸期，思 念髮妻的情。而〈采葛〉以 名句「一日三秋」道出詩人 相思之苦。

As a set of three miniatures, Songs from “Shi Jing” was composed in 1996 at the commission of the Hong Kong Vocalist Ensemble, who also premiered the set that October.

The texts are taken from the ancient Chinese Book of Songs and scored for SSA, TTB and SATB respectively. Fuyi portrays a group of young maidens picking the plant “fu-yi” (Plantago asiatica, or “Chinese plantain”, which in the old times was believed to treat female infertility and difficult childbirth) leading simplistic yet satisfying lives. Jigu speak of the pains of the soldier who cannot return home to his beloved in midst of war. Caige continues with the theme of yearning, where the poet has not seen his beloved, and to him days of separation seemed years apart.

〈芣苢〉

Fuyi (Thick Grows the Plantain)

采采芣苢， 薄言采之； 采采芣苢， 薄言有之。

Thick grows the plantain; Here we go plucking it.

Thick grows the plantain; Here we go gathering it.

采采芣苢， 薄言掇之； 采采芣苢， 薄言捋之。

Thick grows the plantain; Here we hold it between the fingers.

Thick grows the plantain; Here we are with handfuls of it.

采采芣苢， 薄言袺之； 采采芣苢， 薄言擷之。

Thick grows the plantain; Here we have our aprons full of it.

Thick grows the plantain; Now apronfuls are tucked in at our belts.

〈擊鼓〉

Jigu (Beat Their Drums)

擊鼓其鏜， 踴躍用兵。 土國城漕， 我獨南行。

They beat their drums with a loud noise, Leaping and prancing weapon in hand, Building earth-works at the capital of fortifying Cao. We along march to the south.

從孫子仲， 平陳與宋。 不我以歸， 憂心有忡。

We were led by Sun Zizhong To subdue Chen and Sung.

He does not bring us home; My heart is sad within.

爰居爰處？ 爰喪其馬？ 于以求之？ 于林之下。

Here we stop. Here we stay, Here we lose horses And here find them again Down among the woods.

死生契闊， 與子成說。 執子之手， 與子偕老。

‘For good or ill, in death as in life; This is the oath I swear with you.

I take your hand As token that I will grow old along with you.’

于嗟闊兮， 不我活兮。 于嗟洵兮， 不我信兮。

Alas for our bond!

It has not lasted even for our lifetime.

Alas for our troth!

You did not trust me.

〈采葛〉

Caige (Plucking Cloth-creeper)

彼采葛兮， 一日不見， 如三月兮！

Oh, he is plucking cloth-creeper, For a single day I have not seen him; It seems like three months!

彼采蕭兮， 一日不見， 如三秋兮！

Oh, he is plucking southernwood, For a single day I have not seen him; It seems like three autumns!

彼采艾兮， 一日不見， 如三歲兮！

Oh, he is plucking mugwort, For a single day I have not seen him; It seems like three years!

English translation by Konstance Li, adopted with slight modifications from Arthur Waley’s translation The Book of Songs (Shih Ching), 1937.

Victor Chan is an active composer, conductor and contemporary music promoter. He has produced over 200 works to date, ranging from opera, orchestral music, to numerous chamber works, choral pieces and songs, many of which are published and released on CD. Victor Chan’s music has been performed in many parts of the world and has officially represented Hong Kong on various international occasions. These include the International Society for Contemporary Music Festivals, the Asian Composers’ League Festivals and Conferences, the International Federation of Choral Music Festivals, the UNESCO International Rostrum of Composers Conferences, the Beijing International Music Festivals, the World Symposium on Choral Music, the Sapporo Pacific Music Festival, the Amsterdam International Composers Festival, the Manhattan Music Festival, and the Tanglewood Contemporary Music Festival, etc. Major works of him include commissions for the 1997 Hong Kong Reunification, the Annual Meetings of the World Bank Group / International Monetary Fund, the Philharmonic Orchestra of Radio France, the 50th anniversary of the founding of the People’s Republic of China, the centenary of the Citigroup, and the 30th anniversary of the Hong Kong Philharmonic Orchestra, etc. For twelve consecutive years since 1993, Victor Chan served as vice-chairman of the Hong Kong Composers’ Guild. From 1997 to 2000 he was appointed as Composer-in-Residence of the Hong Kong Philharmonic Orchestra. In the year 1998, he was granted the ‘Hong Kong Ten Outstanding Young Persons Award’. Victor Chan joined the Chinese University of Hong Kong in 1989 and was former College Dean of General Education. He is now serving as Professor of the Music Department, Director of its MA Program, and Head of the Chung Chi College.

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林子鈞《十年》

George LAM Ten Years (2007)

「 十 年 人 面 水 雲 流 」 ， 山 河、感覺、疑問亦如是。《 十年》是詩人林立與作曲家 林子鈞的合作。作品以古典 及現代兩首詩歌組成，前者 反思逝去的年代，後者直接 向觀眾提問：「多少已被記 住？多少已被忘卻？」

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?

《十年》由林敬基及香港和 聲委約創作，並於二零零七 年六月二日在香港演藝學院 首演。

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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.

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。

Ten years came and went, through several generations.

The yellow flower to the eye looks tired, the late-coming green bird builds a nest.

The lonely man in the mountain with his fiddle, a seagull in the distance.

On the high plains at night, the bare bridge, remembers.

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

Can’t we forget the past, the painful memories?

Can’t we remember the beautiful ones?

Will the moutains still stay green, Will the streams continue to flow, Can’t you let me continue to Forge my own way?

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）

How much is already remembered?

How much already forgotten?

Will the colors, like before, stay bright?

Will the feelings be as warm, like before?

How much is already gained?

How much is already lost?

Will the air stay the same?

林子鈞《布蘭詩歌》

George LAM Carmina Burana (2015, rev. 2017)

《布蘭詩歌》是林子鈞為香 港和聲十五週年誌慶創作的 合唱作品，於二零一五年首 演。林子鈞寫道：

Carmina Burana was commissioned by Hong Kong Voices in celebration of its 15th anniversary in 2015.

香港和聲經常演唱聖樂作 品，因此在新作品中我希 望選取與 會有關的拉丁 文文本，也希望加入粵語 演唱的部份。

Hong Kong Voices, an extremely talented ensemble of local musicians, often highlights the rich sacred choral tradition in their performances. I wanted to respond to their repertoire by writing a work that not only uses a sacred Latin text (or at least one that references the church), but also takes advantage of a chorus who can sing in fluent Cantonese. While I was looking at different Latin texts, I came across the medieval manuscript Carmina Burana (Latin for “Songs from Beuern”) - the same set of 254 poems that Carl Orff used for his famous 1936 cantata.

I decided to model the new work on the Carmina Burana, and to combine both Latin and classical Chinese poems together.

《布蘭詩歌》是約十一、 十二世紀一班無名詩人以 拉丁文寫成的手稿，是現 存最重要的中世紀遊民文 學。《布蘭詩歌》的真確 作者不明，相信是奧地利 地區一班受神學 育的 士。中世紀歐洲由 會主 宰社會政治、經濟，但由 於當時神職人員供過於 求，年青 士們在歐洲不 同大學和修道院之間遊走 但未獲分配神職，前途無 望，令他們對 會中的腐 敗人員甚為不滿，並沈醉 世俗慾樂。《布蘭詩歌》 的二百五十四首詩歌可分 為嘲諷 會、談情說愛和 飲酒作樂三個類別。本作 品中的第一和第三樂章所 選的詩詞就分別以嘲諷腐 敗 士和一群學生放假飲 酒玩樂為主題。 至於「愛情」的代表，經 詩人林立的推薦，我則採 用了宋代詞人賀鑄的代表 作〈青玉案·橫塘路〉作 為第二樂章的選詩。為粵 語詩詞譜曲，旋律必須配 合語言的高低聲調，非常 有挑戰性。

George Lam writes:

The original Carmina Burana manuscript includes three thematic areas: songs about morals which at times also satirized the church, songs about love, and songs about drinking and merriment. The three movements of my Carmina Burana similarly reflect these themes. For the first and third movements, I used a poem that warns of a corrupted clergy (Recitative: Ecce sonat in aperto) and a lively dance-song about students taking the day off to play and celebrate (Primo vere: Tempus hoc letitie). For the second movement, I turned to a beautiful poem of unrequited love by the Song-dynasty poet He Zhu (roughly from the same time period as the medieval poems) at the recommendation of Lap Lam. I particularly enjoy the challenge of setting the Cantonese language to music, where the rising and falling tones of the language needs to be matched with the melody’s shape in order for the text to be intelligible.

This Carmina Burana is dedicated to Hong Kong Voices.

“Tempus hoc letitie dies festus hodie!” To the next fifteen years and beyond!

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I.

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Recitative: Ecce sonat in aperto

Ecce sonat in aperto vox clamantis in deserto: nos desertum, nos deserti, nos de pena sumus certi. nullus fere vitam querit, et sic omne vivens perit. omnes quidem sumus rei, nullus imitator Dei, nullus vult portare crucem, nullus Christum sequi ducem. quis est verax, quis est bonus, vel quis Dei portat onus? ut in uno claudam plura: mors extendit sua iura. iam mors regnat in prelatis: nolunt sanctum dare gratis, quod promittunt sub ingressu, sancte mentis in excessu; postquam sedent iam securi, contradicunt sancto iuri. rose fiunt saliunca, domus Dei fit spelunca. sunt latrones, non latores, legis Dei destructores.

Simon sedens inter eos dat magnates esse reos.

Hark! The voice of one comes crying from the wilderness outlying: – We deserting, we deserted hear our just deserts asserted: life is nobody’s ambition: none but live in death’s condition: every one a sinner traitor to the plans of our creator: none will bear his cross nor heed a call to follow Christ as leader.

Who is good? Who trust-inspiring?

Who complies with God’s requiring?

In a word, in brief opinion: Death extends his dark dominion – stalking those in priestly raiment who extort unpriestly payment – who, enrobed at ordination, offer vows of dedication which from well-lined benefices they forswear as artifices: in God’s house their vice reposes – stinking weeds instead of roses.

Holy they are not, but wholly crooks who grind God’s law down slowly.

Simon’s one of that tradition, seeking people of position:

汝善諦聽遠方聲， 咆哮聲聞自曠野。 我等遺世世遺我， 且聽曠野真實言。 萬事皆虛無可追， 萬民到頭一死滅。 我等眾生實罪人， 無人景從造物主。 無人克承主十架， 無人堅信隨基督。 何云善人可堪信？ 何人恪遵天主命？ 設若一言以明之： 死神黑手已高懸。 僧衣法袍不可避， 方今有僧行欺詐。 已受諸戒被法袍， 聖哉聖哉善誦禱。 待得及後無人見， 暗為邪行謗聖 。 芳不得薄腥臊御， 天主殿中眾孽滋。 悉皆匪類非義人， 天主誡命沉淪滅。 此中有僧名西滿， 趨炎赴勢以自肥。

Simon prefert malos bonis, Simon totus est in donis, Simon regnat apud Austrum, Simon frangit omne claustrum. cum non datur, Simon stridet, sed si detur, Simon ridet; Simon aufert, Simon donat, hunc expellit, hunc coronat, hunc circumdat gravi peste, illum nuptiali veste; illi donat diadema, qui nunc erat anathema. iam se Simon non abscondit, res permiscet et confundit. iste Simon confundatur, cui tantum posse datur!

Simon Petrus hunc elusit et ab alto iusum trusit; dum superbit motus penna, datus fuit in gehenna.

Simon favours all who favour Simon, be they ill of savour: Simon, down at Rome invested, leaves no cloister unmolested.

Keep a coin back, Simon’s hateful – grease his palm and Simon’s grateful: Simon stealing, Simon loaning – here promoting, there dethroning – leads this man to fear and falter, that one to the wedding altar: men once excommunicated find themselves blessed and elated.

Simon makes no bones about it – he’ll confound law soon as flout it.

May that Simon be confounded in whom so much power is grounded! – May St Peter, losing patience, cast him down to Hell’s foundations.

He who spends his life high-flying fits himself for Hell on dying.

西滿黑白顛倒見， 西滿諸色財貨斂； 西滿南都君臨現， 西滿諸寺巡狩遍。 不與錢財西滿咒， 一與錢財西滿笑。 巧取豪奪苛施貸， 或黜或陟混幽明。 此方害人怖畏行， 彼處証誓花燭盟。 往昔因罪逐 者， 今日因財喜受祝。 西滿至此無所懼， 混水摸魚唯利圖。 今此西滿重權掌， 願彼他日囹圄囚。 憫禱大聖伯多祿， 赫斯投彼諸地獄。 彼昔高舉振六翮， 命終合墮火湖獄。

Quisquis eum imitatur, cum eodem puniatur et sepultus in infernum penas luat in eternum! Amen.

Who would share this same addiction let him share the same affliction sepulchred infernally expiate eternally! Amen.

設若有人同此罪， 願彼同應此惡報。 身陷地獄苦無間， 惟此我祈頌亞孟！

II. Cour d’amours: 〈青玉案〉賀鑄 凌波不過橫塘路 但目送 芳塵去 錦瑟華年誰與度 月橋花院 瑣窗朱戶 只有春知處

I will no longer see your soft steps along this road by the pond, but can only remember that day when we said farewell.

The coming years, beautiful like a gilded zither; who will spend these with you? Where will you be?

By a moonlit pavilion, by decorated windows, or by a crimson gate? Only spring will know.

飛雲冉冉蘅皋暮 彩筆新題斷腸句 若問閒情都幾許 一川煙草 滿城風絮 梅子黃時雨

The clouds race by as the soft grass dances. My pen writes yet another poem, consoling my loss.

If one asks just how desolate I feel: a fog over an endless meadow, the air full of dancing strands of cotton during the season of apricots. Softly falling rain.

III. Primo vere: Tempus hoc letitie Tempus hoc letitie, dies festus hodie! omnes debent psallere et cantilenas promere et affectu pectoris et toto gestu corporis et scolares maxime, qui festa colunt optime.

Horray! Today’s a holiday: a happy day - a jolly day: a day to strum guitars and play the good old songs the good old way: to love your neighbour and display the side of you that’s bright and gay: and students most of all for they excel at parties anyway!

今日樂其時， 今夕同所歡。 咸應撫管弦， 四座作徽音。 放歌我情志， 手舞足蹈之。 樂哉我同學， 極宴肆相娛。

Stilus nam et tabule sunt feriales epule et Nasonis carmina vel aliorum pagina. quicquid agant alii, juvenes amemus et cum turba plurium ludum celebremus.

So throw your books and slates away there’s food for which you needn’t pay: forget the works of Ovid, eh? and tell his friends to go and play.

Never mind what people say youth needs its recreations: since the world is making hay let’s join the celebrations!

筆墨共絹素， 日誦奧維德。 詩書且漫捲， 遊戲當及時。 勿顧左右嗤， 共惜少年春。 盡歡當譁縱， 恣意同嬉遨。

English translations by David Parlett, from Selections from the ‘Carmina Burana’: A Verse Translation ©1986 Penguin Classics. With permission. 歌詞中譯：李俊彤 《汝善諦聽遠方聲》參照佛

「偈佗」體裁；《今日樂其時》為五言古詩

Hong Kong-born composer George Tsz-Kwan Lam (b. 1981) grew up in Winthrop, Massachusetts, and studied music composition at Boston University, the Peabody Conservatory, and Duke University, where he received a PhD in music. George has studied with composers Charles Fussell, Martin Amlin, Christopher Theofanidis, Nicholas Maw, Stephen Jaffe, and Scott Lindroth. George also holds an MMus in Music Theory 11

Pedagogy from the Peabody Conservatory, a BMus in Music Education from Boston University, and is a certified music teacher (Pre K-12) in the state of New York.

George is interested in projects that intersect music, theater, and the documentary, and is currently creating a new documentary work for New Morse Code (New Haven, CT), a new piece for middle school band for Shrewsbury, Massachusetts, and a new trombone work for the 2017 International Trombone Festival. Other recent commissions include String Quartet (2013) for the Romer String Quartet (Hong Kong), Theseus and the Minotaur (2014) for the Asian Young Musicians Connection (Taipei, Taiwan), Ross McElwee’s Sherman’s March (2014) for the Black House Collective (Kansas City, MO), Citadel (2015) for Synergy Percussion (Sydney, Australia), and Carmina Burana (2015) for Hong Kong Voices.

George’s 2011 one-act opera The Persistence of Smoke, with a libretto by North Carolina playwright John Justice, focused on the once-thriving cigarette industry in Durham (NC), inspired by collected interviews, oral histories and archival materials. The opera was staged in April 2011 at Golden Belt, the site of a former cotton mill that manufactured bags for Bull Durham tobacco. George’s 2015 one-act opera Heartbreak Express, inspired in part by Tai Uhlmann’s documentary film For the love of Dolly, follows four Dolly Parton “superfans” as they wait to meet their idol for the first time.

George Lam’s music has been performed by Gotham Chamber Opera (New York, NY), Rhymes With Opera (New York, NY), Christ Church United Methodist (New York, NY), Emerging Voices Project (New York, NY), Contemporary Musiking (Hong Kong), Volti (San Francisco, CA), American Opera Projects (Brooklyn, NY), Red Clay Saxophone Quartet (Greensboro, NC), AM/PM Saxophone Quartet, Boston University Concert Band, Charles River Wind Ensemble (Boston, MA), Aspen Contemporary Ensemble and Hong Kong Voices. From 2009 to 2012, the Hong Kong Sinfonietta and conductor Yip Wing-sie premiered three orchestral works and presented the Asian premiere of Variations On (2006).

George is the recipient of a PSC-CUNY Research Foundation award for his documentary chamber work The Emigrants (forthcoming) and his percussion duo Theseus and the Minotaur (2014). In addition, George was the recipient of an American Music Center grant for his orchestral work The Queen’s Gramophone (2009), as well as the Evan V. Frankel Fellowship in Humanities at Duke University. Past fellowships and residencies include the Aspen Music Festival Schumann Fellowship, the Dartington International Summer School Angus Allnatt Foundation Fellowship, American Opera Projects’ “Composers & The Voice” workshop series, the Virginia Arts Festival John Duffy Composers Institute, and the Volti Choral Arts Laboratory commissioning and residency program, for which he composed the choral work Words Become Unlatched. In 2011, George served as the Composer-In-Residence at the inaugural Gesher Music Festival of Emerging Artists in St Louis, MO, where cellist Sara Sitzer premiered the Suite for Cello.

From 2011 to 2013, George served as Producing Associate for the NYC-based Gotham Chamber Opera and Music-Theatre Group. George is currently an Assistant Professor of Music at York College, The City University of New York, as well as a co-artistic director of Rhymes With Opera.

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盧定彰《瑪麗個案》

Daniel Lo Mary’s Chalk Circle (2017)

《瑪麗個案》是香港著名文 學家西西寫於一九八六年的 一篇短篇小說。文章源自一 宗外國舊聞，正文只有八 句，每句之後西西加上她的 補充評論。樂曲分成七節， 以無伴奏合唱的方式演出， 連同旁白，營造出談話對答 的效果。是次首演將配合媒 體藝術家余穎欣的錄像創作 演出。

Mary’s Chalk Circle is based on a short novel The Case of Mary written by the famous Hong Kong author Xi Xi in 1986. The story originated from a news report about Mary, who was a Dutch child living in Sweden with her mother. Mary’s mother died and her Dutch father became her guardian. Mary applied to the Dutch court for a change of guardian. Surprisingly, the court acceded to Mary’s request. The Netherlands government objected to this decision and brought the case to the International Court. The main body of the novel comprised eight statements about the case, with commentaries made

by Xi Xi. In his new work, Daniel divides the music into seven episodes, sung a cappella with narration. This world premiere will be performed with video projection by media artist Yu Wing-yan.

二十年過去，我們面對回歸 中國的夾縫處境，就像小小 的瑪麗渴望意願得到尊重。 《瑪麗個案》的結局是令人 鼓舞；期盼我們縱使面對生 活上的各種衝擊和不穩定的 未來，仍然擁有積極的信心 和勇氣。 此作品於二零一七年由香港 和聲委約，費用由香港作 曲家及作詞家協會轄下的 「CASH 音樂基金」贊助。 註：為協助讀者理解作品，本場 刊完整收錄《瑪麗個案》原文 。

她的名字叫瑪麗。 （至於她的姓氏，我記 不起了。對於別人的姓氏感 興趣的人，可以去看費爾 多．米哈依洛維奇．朵思妥 耶夫斯基、或者，伊凡．謝 爾蓋耶維奇．屠格涅夫、又 或者，尼克拉．華西里耶維 奇·果戈里等人的小說。在 他們的作品中，人物的姓 氏，至少就像他們自己的姓 氏，展列得非常詳細。） 瑪麗是長期居住在瑞典 的荷蘭籍兒童。

Twenty years after the Handover, people of Hong Kong still yearn for their voices being heard and their will being respected, just like Mary did. The ending of Mary’s story was encouraging, that her wish was respected by the international court. Mary’s Chalk Circle represents faith and courage that I wish we will uphold despite facing adversities and uncertainties in future.

This new work is commissioned by Hong Kong Voices in 2017 with sponsorship from CASH Music Fund.

Note: Full text of The Case of Mary published in 1986 is set out below for the audience’s reference. The below is not a verbatim copy of the lyrics of the work Mary’s Chalk Circle.

Her name was Mary.

(Her surname I cannot remember. Those interested in people’s names should read the novels of Fyodor Mikhailovich Dostoevsky or Ivan Sergeevich Turgenev, or Nikolai Vasilyevich Gogol. In their novels, the names of the characters are presented in as much detail as the authors’ own.)

Mary was a Dutch child who had lived for a long time in Sweden.

(Nothing special about a Dutch a child living for a long time in Sweden. Jorge Luis Borges, the Argentinean, when he was a child, lived for a long time in Switzerland; Italo Calvino, when he was a child, lived for a long time in Cuba. I know nothing of Mary as a child. Those who like stories about children should go and read Mark Twain’s Huckleberry Finn or Lewis Carroll’s Alice in Wonderland, or William Golding’s The Lord of the Files.)

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（荷蘭籍的小孩，長期居住在瑞 典，沒什麼了不起。阿根廷的博爾赫 斯，小孩子的時候，就長期居住在瑞 士；義大利籍的卡爾維諾，小孩子的時 候，就長期居住在古巴。關於瑪麗童年 的生活，我一無所知。喜歡看兒童故事 的人，最好去讀馬克吐溫的《哈克貝 利．費恩歷險記》，或者，卡羅爾的《 愛麗絲仙境奇遇記》，又或者，高定的 《蠅王》。）

Mary’s mother had died.

(I don’t know if Mary’s mother was Swedish by nationality or just a resident in Sweden. I can only conjecture that Mary lived with her mother in Sweden. And now Mary’s mother had suddenly died. The manner of her death? I don’t know.

Those who want to know all about the deaths of married women should perhaps read Tolstoy’s Anna Karenina, or Flaubert’s Madam Bovary, or Oedipus Rex

by Sophocles.)

瑪麗的瑞典母親去世了。 （我不清楚瑪麗的母親是否瑞典 籍，還是伊只是居住在瑞典的婦人。我 只能推測，瑪麗和母親一起在瑞典生 活。如今，瑪麗的母親突然逝世。伊如 何去世，我也不清楚。對已婚婦人的死 亡有意查根究底的人，何不去讀托爾斯 泰的《安娜．卡列妮娜》，或者，福樓 拜的《包華利夫人》，又或者，索福克 勒斯的《俄狄浦斯王》。）

Mary’s father became Mary’s guardian.

(What kind of a man was Mary’s father? I don’t know. I only know he was Dutch by nationality. The Dutch Court, acceding to Mary’s father’s request, and according to the laws of the land, acknowledged him as Mary’s legal guardian, and ruled that he had custody of Mary. The abandoned child is a not uncommon subject in literature. There are lots of novels on the subject: for instance, Fielding’s Tom Jones, Dickens’s David Copperfield, and Robert Louis Stevenson’s Treasure Island.)

瑪麗的父親成為瑪麗的監護人。 （瑪麗的父親是怎樣的一個人，我 同樣不知道，只知他是荷蘭籍。荷蘭法 院，依照瑪麗父親的要求，和國內立法 規定，指認他成為瑪麗的合法監護人， 並且裁決：瑪麗交父親監護。棄兒，是 文學作品常見的素材，這方面的小說， 多得很，例如：費爾丁的《湯姆．瓊 斯》，狄更斯的《大衛．科波菲爾得》 ，以及史蒂文生的《寶藏島》。） 但，瑪麗向法院提出更易監護人的 請求。 （這才是件令人驚詫的事。一個小 小的孩子，竟向法庭提出更易監護人的 要求。首先，我們不禁要問：小孩如 何與法庭交涉？必定有人協助她處理繁 雜可厭的種種法律程序，協助她的人是 誰？其次，小孩子為什麼要提出要求？ 她不滿意自己的父親嗎？我對瑪麗父女 之間的感情狀況毫不知識。對於人世間 的男女糾紛充滿好奇的人，不可錯過福 克納的《聲音與憤怒》，或者，霍桑的 《紅字》，又或者，易卜生的《傀儡家 庭》。）

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But Mary applied to the Court for a change of guardian.

(Now that is amazing. That a child should actually apply to the Court for a change of guardian. First, we can’t help but ask: how could a child negotiate with the Court? Somebody must have helped her deal with all those complicated and tiresome legal procedures. But who? And then, why would a child want to make such a demand? Was she not satisfied with her own father? I know nothing about the emotional relationship between Mary’s parents.

Those who are curious about the intricacies of man and woman relationships must not miss out on Faulkner’s The Sound and the Fury, or Hawthorne’s The Scarlet Letter, or even Ibsen’s A Doll’s House.)

The Court, according to Mary’s wish, appointed a woman as her guardian.

(The Court’s ruling should not be taken lightly: it was made in accordance with the person’s own wish.

Such a judgement is a major breakthrough. Our society today is still a kind of patriarchal community with a small group of adults as its core. Children are given plenty of loving care, physically, but what they think hardly matters; and in legal matters, they have no right to speak at all. Well, not only are children not

法院根據瑪麗本人意願，指定一名 婦人作她監護人。 （法院的裁決不容輕視：根據本人 意願。這樣的判決，是突破。我們如今 生存的社會，仍是以某撮成年人為重 心、家長式統治的社會。小孩子，身體 受到足夠的愛護，思想卻得不到應得的 重視；在法律上，他們也沒有發言的權 利。別說所有的小孩子了，有時候，連 大多數的成年人也缺乏真正的聽眾，在 公堂上無法辯白。文學中也早顯示過 了，將卡夫卡的《審判》，或者，卡繆 的《異鄉人》，又或者，新約聖經的《 四福音》。） 荷蘭與瑞典，為了小小的瑪麗，鬧 上國際法院。 （瑞典當局按照本國法律，把瑪麗 置於保護性撫育制度之下，否定了荷蘭 對她監護的要求；荷蘭政府認為瑞典的 措施違反了一九零二年的海牙公約：未 成年人的監護權應由該國的法令決定。 兩方爭奪一個孩子的故事，我們讀過多 少？如果你強調血緣關係，你當然得了 聖經所羅門王的斷子案，以及我國元代 雜劇李行道的《包待制智勘灰闌記》； 如果你重視的是對小孩的愛，那麼你自 然也不會錯過布萊希特的《高加索灰闌 記》。總之見仁見智，各取所需。） 一九五八年十一月二十八日。國際 法院判決：荷蘭敗訴。 （因為，荷蘭實行的是監護法；瑞 典採用的是保護法。兩者的目的和效用 並不相同。同樣的愛護，前者是頭上另 多一層的監管。把某片土地圈開來一邊 保護野生動物，以及把動物捉起來放進 某個動物園裡，畢竟是兩碼子事。一九 五八年是二十世紀六十年代，我們老說 二十世紀是法治的時代，是該尊重人的 意願的時代，可是，我們也許就不當小 孩是有意願的人吧。萬一他們有，又怎 麼辦？我的看法是：兩個國家，一個中 間人。至於能夠尊重孩童意願的作品， 我仍在找尋。） 原文載於《香港文學》第二十四期，一九八六年十 二月五日。獲原作者授權使用。

heard, sometimes even adults find no audience for what they have to say, and they cannot make known their innocence in court. There are examples of that in literature, in Kafka’s The Trial, or Camus’s L’Etranger, or the four gospels in the New Testament.)

So, the Netherlands and Sweden went to the International Court of Justice over little Mary.

(The Swedish authorities cited its own laws, turned down the request of the Netherlands government, and made Mary a ward under the protection of the state of Sweden. The Netherlands government objected to Sweden’s decision as being a contravention of the 1902 Hague Convention, which stipulated that the custody of minors is to be decided according to the laws of the land. How many stories there are about struggles over the custody of a child! If you to stress blood ties, there are, of course, the judgement of King Solomon in the Bible, and Li Xingdao’s Yuan dynasty drama The Judgement of the Chalk Circle; but if you think love for the child is more important, then you would not have missed Bertolt Brecht’s Caucasian Chalk Circle. So we pick what appeals to us, and attend to what we want to attend.)

28 December 1958. The International Court of Justice delivered its judgement: the Netherlands lost the case.

(The reason: the law that the Netherlands applied was a custodian law; that which Sweden applied was a protective law. The aims and the functions of the two are different. Both attempt to offer love and protection, but the former adds a level of monitoring and control. One could mark out a piece of land for the protection of wild animals, or one could catch the animals and put them in a zoo. But the two are vastly different. The year 1958 belongs to the 1960s of the twentieth century, a century that we claim to be a period of rule by law, an era when there should be respect for the individual’s will. Perhaps we do not treat a child as an individual with a will of her own.

But what if she does? The way I see it is: there are two countries, and one victim. Is there a work which shows a respect for the will of the child? I call upon you to assist me in my search.)

English translation by Jane C. C. Lai from “Hong Kong Collage: Contemporary Stories and Writing” edited by Martha P.Y. Cheung ©1998, Oxford University Press. With permission.

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Daniel Ting-cheung Lo has been awarded a PhD (Composition) at the University of York in the UK in 2016 under the supervision of Professor William Brooks, fully supported by the Hong Kong Jockey Club Music and Dance Fund. Previously, he studied composition with Professor Chan Hing-yan at the University of Hong Kong where he graduated with first class honours in 2009 and then completed an MPhil (Music Composition) in 2012.

Lo has won various prizes and awards in both local and international composition contests including 1st Prize at the 7th Musica e Arte Composition Contest (Rome, 2011); 1st Prize at the 3rd Migratory Journeys International Music Composition Competition (Chicago, 2010/2011); 2nd Prize at the Sofia 2012 International Composition Competition (Bulgaria, First Prize not awarded); 3rd Prize at the 2010 International Antonín Dvořák Composition Competition in Prague, and 3rd Prize in New Generation 2010 Hong Kong.

Lo’s compositions have been performed throughout Europe, Asia, North America and Australia, including commissions from world-renowned musicians. His works have been performed by players from the Chicago Symphony Orchestra, Bang-on-a-Can, Orchestra of Our Time (US), Janacek Philharmonic Orchestra (Czech Republic), Piccolo Orchestra (Italy), Internationale Ensemble Modern Akademie (Germany), Quartet Diotima (France), Orkest de ereprijs, Utrechts Blazers Ensemble (Netherlands), Sofia Soloists (Bulgaria), Juice Vocal Ensemble (UK), Song Company (Australia), Hong Kong Sinfonietta and Hong Kong New Music Ensemble.

Lo has been kept busy in 2016. He was one of the 16 composers from around the world attending the prestigious Young Composers Meeting in the Netherlands in February. In March, a site-specific work Planet T: Another Time, Another Space for amplified string quartet, field recordings and interactive speakers was performed by Hong Kong New Music Ensemble at the Cattle Depot Artists Village. His new orchestral work Efflorescence – Quasi-Concerto for Orchestra was commissioned and premiered in early April by Hong Kong Sinfonietta in their season opening concert. Further projects include commissions for: Szymanowski Quartet’s 20th anniversary celebratory world tour 2016; Hong Kong Odyssey for narrators, vocalists, choir and orchestra, a grand production of the 45th Hong Kong Arts Festival; and Hong Kong Voices 2017 concert.

Recent years also saw the premieres of Home City . Dream City for orchestra and field recordings, commissioned by Hong Kong Sinfonietta, in November 2014; Music for a Starry Night (Hommage à Béla Bartók) for strings, percussion and piano, presented in Hong Kong at the Modern Academy in June 2015; and Ode to the Wind for orchestra, composed as part of Lo’s residency at the Ostrava Days Contemporary Music Festival (Czech Republic) in August 2015.

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陳慶恩《弔文》

CHAN Hing-yan Trauermusik: The Year 1911 (2017)

《弔文—為合唱、鋼琴及二 胡而作》是據香港詩人蔡炎 培（一九三五— ）的同名 詩創作。蔡詩悼念一九一一 年三月二十九日黃花岡起義 中犧牲的年青烈士，寫成於 一九六七年六月十二日，最 早見於他的詩集《小詩三 卷》（一九七八）。〈弔 文〉被公認是蔡炎培的傑 作，亦是他以中國入題的詩 集《中國時間》（一九九 六）中最具代表性的作品。

Trauermusik: The Year 1911—for choir, piano and erhu is a setting of Mourning, a poem by the Hong Kong poet Tsai Yimpui (1935– ) lamenting over the young martyrs who sacrificed their lives in the Second Guangzhou Uprising on 29 March 1911. The poem is dated 12 June 1967 and first appears in Tsai’s Short Poems in Three Volumes (1978). Mourning is widely considered as a gem among Tsai’s poems, as well as a tour de force within the poet’s 1996 The Moment in China, a collection of poems about China.

Chan Hing-yan is currently Professor of Music at the University of Hong Kong. His compositions, lauded for their subtle incorporation of Chinese elements, have been heard around the world at festivals such as Hong Kong Week, Taipei (2016, 2014), the Second Spring of the Chinese Symphony, Beijing (2010), Edinburgh Festival (2009), Chinese Musicians Residency, Cornell (2009), Hommage a Bartók, Budapest (2006), International Gaudeamus Music Week, Amsterdam (2003), Melbourne Festival (2002), and Singapore Arts Festival (2002 & 2006).

Recent works include a cantata Hong Kong Odyssey (2017), two three-act chamber operas, Datong – the Chinese Utopia (2015), and Heart of Coral – after the life of Xiao Hong (2013), all commissioned by the Hong Kong Arts Festival; and Ethereal Is the Moon – for huqin and orchestra (2016) and ‘Twas the Thawing Wind – for sheng and orchestra (2012), commissioned by the Hong Kong Sinfonietta for its Taiwan debut and North American tour respectively.

For Heart of Coral and ‘Twas the Thawing Wind, Chan was conferred the Best Artist Award (Music) at the Hong Kong Arts Development Award 2013 by the Hong Kong Arts Development Council. In addition, Chan’s three collaborations with the City Contemporary Dance Company (Dao Extraordinaire, 2009; Warrior Lanling, 2007; The Conqueror, 2005) have won him much acclaim as well as a Hong Kong Dance Award in 2008, when he also received commendation for “Persons with Outstanding Contributions to the Development of Arts and Culture” in the Secretary for Home Affairs’ Commendation Scheme of that year.

Chan Hing-yan is currently Artist Associate of the Hong Kong Sinfonietta (2016–2018).

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〈弔文〉蔡炎培

Mourning (Tsai Yim-pei)

然後是花、是路、是腳跡 伸向斜坡和坡上的鐘 我每天都要經過的 每天經過我都要望一望 那雲、那天、那割下來的一角 大樹呼吸的紅棉崗 然後是湖、是光、是山色 送你送你的行列 接風、接雨、接一個年輕的遺囑 （一個比死還年輕的遺囑） 我們是輕輕的把你接待了 哭過一夜的孩子不是江 是旗、是髮、是民族 是要通過鹽來確認的鋼 是要通過革命來考驗的缽 作它最初的槍 我們是輕輕的把你接待了 然後是花、是路、是腳跡 是無底的獄是無髮的坡 一九一一 是鹽、是鋼、是缽 在黃河沒有流屍的一年 你告訴我們的 然後是花、是路、是腳跡 哭過一夜的河山不是畫 是詩、是血、是磨得一半的墨 我們是輕輕的把你接待了 我們是手、是腳 是靈柩下的肩 是剛剛歸來的呼吸 送你送你的行列 送你送你比死更年輕的遺囑

Then the flowers, the roads, the footsteps towards the slope and the bell on top walking pass I must, every day walking pass I must, every day, looking at the cloud, the sky, the torn away piece the kapok knoll where trees breathe then the lakes, the reflections, the landscape giving you, the procession, seeing you off receiving the wind, receiving the rain, receiving a tender last word (A last word tenderer than death) we received you, softly children who have wept all night are not rivers, but banners, hairs, the Nation, steel that has to be tested by salt transmission bowls that have to be tested by revolution be its first gun we received you, softly then the flowers, the roads, the footsteps the profound abyss, the hairless slope Nineteen-eleven The salt, the steel, the transmission bowls In the year in which no corpses float on the Yellow River you told us that then the flowers, the roads, the footsteps country that has wept all night is not a painting but poems, blood, ink that is half-ground we received you, softly we are the arms, the legs the shoulders bearing the casket the breathing that have just returned giving you, the procession, seeing you off Giving you, a last word tenderer than death, seeing you off

原文載於《小詩三卷》，明窗出版社，一九 七八年十二月初版。獲原作者授權使用。

English translation by Konstance Li

Born in Hong Kong, Konstance Chun-tung Li developed a passion in Chinese literature early in his life. He studied Latin when doing his master degree in Archaeology at the University of Oxford. Li is currently pursuing his doctoral study at the Department of Fine Arts, University of Hong Kong, with a research focus in Buddhist art of Yuan China and East Asia.

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Grace Chiang, Conductor Grace graduated from the Music Department, the Chinese University of Hong Kong, studying voice with Chan Siukwan. Upon graduation, she was awarded the Hong Kong Jockey Club Music Scholarship to read for a Master’s degree in Music, majoring in Historical Musicology at Royal Holloway, University of London, where she continued her vocal studies under the guidance of Christian Immler. An active performer, Grace has appeared as soloist in works as Copland’s In the Beginning, Handel’s Messiah, J. S. Bach’s St. John Passion and cantatas, Mozart’s Litaniae de Venerabili Altaris Sacramento, and Mendelssohn’s St. Paul. Her interests extend to contemporary music, often performing works

by Hong Kong composers; Grace collaborated with the Chinese Music Virtuosi in premiering Chan Hing-yan’s Schmetterlingsträumen Lieder at the Musicarama 2010, and appeared with the Hong Kong New Music Ensemble, performing works by Lam Bun-ching at the 2012 Macau International Music Festival. Grace took part in conducting masterclasses and workshops of maestros Stephen Layton, Rolf Beck, and James Jordan. She returned to serve at her alma mater, and led the girls’ choir to win Gold Medals at the 2012 Cincinnati, USA and the 2014 Riga, Latvia World Choir Games. Grace conducts Hong Kong Voices among various choral ensembles, and recently appeared in performances such as Howells’s Requiem, Mozart’s Vesperae solennes de confessore, J. S. Bach’s motets and Magnificat BWV243.

Cynthia Chan, Pianist Cynthia Chan earned a Master of Music Degree in Piano Accompanying from the San Francisco Conservatory of Music, where she studied with Dr. Timothy Bach. She also holds a Master of Music Degree in Piano Performance from the Conservatory, where she studied with Mr. Mack McCray; and received Bachelor of Arts (Music) Degree from The Chinese University of Hong Kong, where she studied with Dr. Cheung-yu Mo. Cynthia has been on staff accompanist for the Hong Kong Academy for Performing Arts (Dance School), Hong Kong International Summer Dance School, Bay Area Summer Opera Institute, San Francisco Conservatory of Music and San Francisco Ballet School. She currently serves as the pianist for Hong Kong Dance Company.

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Clement Lee, Narrator Graduated from Royal Holloway, University of London in MA Theatre (Applied Theatre), and earned his BA English degree at University of Central Oklahoma, Lee is a theatre critic for The Typewriter, as well as the Regional Managing Editor (Hong Kong) for The Theatre Times. As for performances, Lee acted in various school-tours, and performed as Max Linder in Le French May/Theatre Noir’s Cabaret des Années Folles, directed by Chris Mouron, in 2013. Lee was also involved in the Hong Kong People’s Fringe Festival production of TRANS 3.1, a devise verbatim theatre piece directed by Felix Ho Ching Ching. Lee is a researcher in heritage and immersive theatre through practice. In 2012, he co-wrote and co-directed A Walk in the Park with Charles Dickens, an immersive heritage theatre piece, to explore Dickens and his connection to the town Slough in England, and was performed at Herschel Park, Slough. In 2015, Lee wrote and directed Men at Sea, another immersive heritage theatre piece about the Hong Kong Plague in 1894. The play was produced by Hong Kong Repertory Theatre Outreach and Education Department, and was performed at the Hong Kong Museum of History.

Wong Chi-chung, Erhu Wong Chi-chung studied Chinese Hu-qin Performance and Western Orchestral Conducting with Mr TONG Leungtak and Miss YIP Wing-sie respectively. He received the Advanced Diploma, Professional Diploma, B.A. and M.A. degrees from the Hong Kong Academy for Performing Arts and the Chinese University of Hong Kong successively.

Wong has performed in many places such as Italy, France, Australia, U.S. and Poland. He is also an active performer in Hong Kong, and has participated in many local performances and recordings including the “Local Composers’ Works Concert” and the “International Contemporary Music Festival - Musicarama”. He was also invited by the Radio Television Hong Kong to have solo recitals.

Wong joined the Chinese Music Virtuosi in 1997 and participated in numerous concerts presented by the Hong Kong Arts Festival, Le French May and Hong Kong Composers’ Guild etc. He is now a part-time lecturer at the Hong Kong Academy for Performing Arts and the Chu Hai College of Higher Education.

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Yu Wing-yan, Media Artist Yu Wing-yan graduated from Lingnan University Bachelor Arts of Visual Studies. She is currently studying Master of Fine Arts in the School of Creative Media, focusing on both moving images research and practice.

Hong Kong Voices, Choir Hong Kong Voices is a chamber choir established in 2000.

Aspired to bring choral music closer to the Hong Kong people, we cultivate the ability of music appreciation among our singers, and offer our audience an artistic experience that both delights and inspires. Our repertoire spans from the Renaissance to the modern era, including many acclaimed Baroque and Classical choral works, most recently Bach’s St John’s Passion and Mozart’s Vesperae Solennes de Confessore. We often introduce some lesser-known choral masterpieces to the audience, most notably we gave the Hong Kong premiere of Schoenberg’s Friede auf Erden in 2005. We also infuse our programme with works by Asian and Hong Kong contemporaries as a tribute to our unique cultural heritage, including commissioned works Ten Years (2007) and Carmina Burana (2015) by George Lam, a Hong Kong born composer now residing in New York.

We have collaborated with many leading local artists such as pianist Stephen Wong, soprano Yuki Ip and countertenor Ray Chan, as well as many young and rising musicians and vocalists. We perform regularly with our professional instrumental partners, and had joined the Hong Kong Sinfonietta in performances of Haydn’s Little Organ Mass and Fauré’s Requiem. We believe that music lives beyond the concert hall, hence we collaborate with Claying’s Studio (http://www.claying.net/studio/hkv.html) which has captured all our live concerts since 2010. We also appeared in multimedia productions such as Samson Young’s music theatre Electric Requiem – God Save the Queen (2009, recorded live in DVD) and his first Europe solo exhibition at Kunsthalle Düsseldorf on Muted Situations #5 - Muted Chorus (2016). Ken Lam, currently Music Director of the Charleston Symphony Orchestra, has been our Artistic Director since 2001. Grace Chiang, renowned Hong Kong choral conductor and soprano, is appointed as Principal Conductor of the choir in 2015.

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SOPRANO Alice CHAN Dorothy CHAN Linda CHAN Esther CHIANG Connie LAW Deirdre LEE Gisele TSANG Carina WONG

ALTO Margaret CHAN Winnie CHOI Dora LAU LEE Ho-yee Mandy LO

TENOR CHOI Chak-hon Francis LEUNG Benjamin NG Anthony WONG

ARTISTIC DIRECTOR Ken LAM PRINCIPAL CONDUCTOR Grace CHIANG CHAIRPERSON Linda CHAN VICE-CHAIRPERSON Tony LING GENERAL SECRETARY Winnie CHOI FINANCIAL SECRETARY Benjamin NG MARKETING SECRETARY Connie LAW http://www.hkvoices.org/ http://www.facebook.com/hkvoices/ Instagram: @hkvoices #hkvoices Whatsapp: +852 5509 9455 22

BASS Donald CHAN Tony KONG Tony LING Thomas TANG

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Acknowledgements Platinum Sponsors Mr. Paul Cheung Ms. Agatha Tsui Anonymous Gold Sponsor Believing Music Can Silver Sponsor Anonymous ************ We would like to express our gratitude to the following entities and friends (in alphabetical order) Mr. Ho Fuk-yan 何福仁 Mr. Tsai Yim-pui 蔡炎培 Ms. Xi Xi 西西 Translators: Prof. Jane Lai 黎翠珍 Centre of Translation, Hong Kong Baptist University Mr. Konstance Li 李俊彤 CASH Music Fund Photographer: Tang Ho-ching 鄧浩正 Recording: Claying’s studio (Aaron Ying) http://www.claying.net/studio/hkv.html Venue: St. Andrew’s Church (Nancy Chong) Media: Artmate, RTHK (Kathy Lam), Singtao Daily (Jan Wong), Stand News (Grace Lai) Helpers: Jack Hin, Charlotte Ho, Vanessa Man, Justin Li, Emily Lin, Felix Shuen, Tang Ho-fung, Monnie Wong, Matthew Yuen Guest performers: Cynthia Chan, Clement Lee, Yu Wing-yan, Wong Chi-chung Design: Jonathan Mak 麥朗 Die Konzertisten, SingFest, Diocesan Boys’ School (Felix Shuen) 24