CONCERT SERIES ⾳音樂系列

Presented by 主辦

Flights of Yarn/Wire are sponsored byYarn/Wire 機票贊助

The Modern Academy Stage 2 is financially supported by the Arts Capacity Development Funding Scheme of the Government of the Hong Kong Special Administrative Region. The grant is subject to the signing of a funding agreement with the Government.

現代學院第⼆二期獲⾹香港特別⾏行政區政府「藝能發展資助計劃」的資助。撥款將於簽訂資助協議後發放。

Piano Sponsor 鋼琴贊助

The Modern Academy II Concert Series 現代學院 II ⾳音樂會系列 Yarn/Wire in Concert ⾳音樂會

5.1.2016 (Tue ⼆二) 8pm Y Studio, Youth Square 柴灣⻘青年廣場Y劇場

Programme Wen Deqing: Spiritual Rock and Roll (2011) – Hong Kong première

Steve Reich: Quartet (2013) – Asian première Tristan Murail: Travel Notes (2015) – Asian première

Alex Mincek: Pendulum VI: Trigger (2010) – Asian première

曲⺫⽬目 溫德⻘青：《精神搖滾》(2011) － ⾹香港⾸首演

史提夫．萊許：《四重奏》 (2013) － 亞洲⾸首演 崔斯坦．穆海勒：《遊記》(2015) － 亞洲⾸首演

亞歷斯．明札克：《擺》第六⾸首：〈引發〉(2010) － 亞洲⾸首演

Running Time: Approximately 1 hour and 15 minutes without intermission 節⺫⽬目約⻑⾧長1⼩小時15分鐘，不設中場休息

Yarn/Wire is a New York-based percussion and piano quartet composed of Ian Antonio and Russell Greenberg (percussion) and Laura Barger and Ning Yu (piano). Founded in 2005, the ensemble is admired for the energy and precision it brings to performances of today’s most adventurous music, and is dedicated to expanding the repertoire written for its instrumentation, through commissions and collaborative initiatives that aim to build a new and lasting body of work. Influenced by its members’ experiences with classical music, avant-garde theatre, and rock music, the ensemble champions a varied and probing repertoire.

Yarn/Wire has commissioned works from numerous American and International composers including Raphaël Cendo, Ann Cleare, David Franzson, Alex Mincek, Thomas Meadowcroft, Misato Mochizuki, Tristan Murail, Kate Soper, and Øyvind Torvund; and has given the U.S. premieres of works by Enno Poppe, Stefano Gervasoni, and Georg Friedrich Haas, among others. The ensemble also enjoys collaborations with genre-bending artists including Tristan Perich, David Bithell, Sufjan Stevens, and Pete Swanson.

Yarn/Wire appears nationally at leading festivals and venues including Lincoln Center Festival, BAM, Edinburgh International Festival, New York’s Miller Theatre, River-to-River Festival, La MaMa Theatre, London’s Barbican Centre, and the Festival of New American Music. Their new and ongoing series, “Yarn/Wire/Currents,” serves as an incubator for new experimental music at Brooklyn’s ISSUE Project Room. In addition to performance and recording projects Yarn/Wire works to promote new music in the U.S. through educational residencies and other outreach activities.

Yarn/Wire

來⾃自紐約的雙鋼琴雙敲擊組合Yarn/Wire成員包括敲擊樂⼿手Ian Antonio與Russell Greenberg、鋼琴⼿手Laura Barger與于寧。成⽴立於2005年，Yarn/Wire演奏時的活⼒力和精準表現廣受讚賞，為當今的⾳音樂演出帶來最具冒險精神的表演。他們亦積極於開拓這個樂器組合的曲⺫⽬目，透過委約新作及參與各類型的合作，形成⼀一系列新穎且歷久不衰的曲⺫⽬目。四位成員均活躍於古典⾳音樂、前衛劇場、搖滾樂演出，使組合能駕馭不同類型及較另類的曲⺫⽬目。

Yarn/Wire曾委約多位美國及世界各地作曲家創作新作，包括Raphaël Cendo、Ann Cleare、David Franzson、Alex Mincek、Thomas Meadowcroft、Misato Mochizuki、Tristan Murail、Kate Soper、Øyvind Torvund等，並曾為Enno Poppe、Stefano Gervasoni、Georg Friedrich Haas等作曲家的作品作美國⾸首演；亦與改變樂種的藝術家如Two-Headed Calf、Pete Swanson和Tristan Perich等合作。

Yarn/Wire曾於世界各地的藝術節及場地演出，包括林肯中⼼心藝術節、布魯克林⾳音樂學院、愛丁堡藝術節、紐約禮賢劇場、河堤藝術節、拉瑪瑪劇場、倫敦巴⽐比肯藝術中⼼心、新美國⾳音樂藝術節等。他們新近推出並持續進⾏行的演出計劃「Yarn/Wire/Currents」為布魯克林ISSUE Project Room藝術中⼼心的實驗性新⾳音樂發展平台。除演出及錄⾳音製作，Yarn/Wire亦透過駐院校的教育計劃及其他外展活動積極在美國推廣新⾳音樂。

www.yarnwire.org

Programme Notes 樂曲介紹

Wen Deqing Spiritual Rock and Roll (2011)

溫德⻘青 《精神搖滾》(2011)

⼈人們常說：搖滾是⼀一種精神。⽽而現代⾳音樂是我的精神，那我把現代⾳音樂的精神拿來搖⼀一搖滾⼀一滾，應該是挺好玩的！

Just as people often say Rock n’ Roll is a spirit, contemporary music is my spirit. Then it’ll be fun to give this spirit a rock and roll.

Wen Deqing The Modern Academy Composition Faculty

Born in a small village in Southern C h i n a , W e n D e q i n g s t u d i e d composition in China, Switzerland and France with Guo Zu-Rong, Shi Wan-Chun, Luo Zhong-Rong, Jean Balissat and Gilbert Amy. He was a visiting scholar at Columbia University in New York City from 2005 to 2006. He is currently Professor of Composition, Deputy Dean of the Composition Department the Artistic Director of New Music Week Shanghai and Director of the Contemporary Music Documentation Centre at the Shanghai Conservatory of Music.

溫德⻘青 現代學院作曲導師

溫德⻘青出⽣生於中國福建省建陽市⽔水吉鎮。畢業於福建師⼤大⾳音樂學院、中國⾳音樂學院、瑞⼠士⽇日內⽡瓦⾼高級⾳音樂學院、法國⾥里昂國⽴立⾳音樂學院。師從郭祖榮、施萬春、羅忠鎔、Jean Balissat和Gilbert Amy。2005⾄至2006年為美國紐約哥倫⽐比亞⼤大學訪問學者，現為上海⾳音樂學院作曲系副系主任、教授、上海⾳音樂學院當代⾳音樂週藝術總監。

Programme Notes 樂曲介紹

Steve Reich 史提夫．萊許 Quartet 《四重奏》 (2013)

Quartet, when mentioned in the context of concert music, is generally assumed to mean string quartet. In my case, the quartet that has played a central role in many of my pieces (besides the string quartet) is that of two pianos and two percussion. It appears like that or in expanded form with more pianos or more percussion in The Desert Music, Sextet, Three Movements, The Four Sections, The Cave, Dance Patterns, Three Tales, You Are (Variations), Variations for Vibes, Pianos and Strings, Daniel Variations, Double Sextet, and Radio Rewrite. In Quartet, there is just this group alone: two vibes and two pianos. The piece is one of the more complex I have composed. It frequently changes key and often breaks off continuity to pause or take up new material. Though the parts are not unduly difficult, it calls for a high level of ensemble virtuosity. The form is one familiar throughout history: fast, slow, fast, played without pause. The slow movement introduces harmonies not usually found in my music. The piece is dedicated to Colin Currie, a percussionist who has broken the mold by maintaining his solo career with orchestras and recitals and also, quite amazingly, by founding the Colin Currie Group which plays whatever ensemble music he believes in. I salute him and hope others will take note. Quartet was co-commissioned by Southbank Centre, Carnegie Hall, The Juilliard School, Cité de la musique, and Kölner Philharmonie / KölnMusik, and is approximately 17 minutes in duration.

在⾳音樂演奏中提到「四重奏」，⼈人們⾃自然會聯想到是弦樂四重奏的意思。在我的創作中，除了弦樂四重奏外，雙鋼琴雙敲擊四重奏也是我的重要作品，有時是為雙鋼琴雙敲擊⽽而寫，或是為這個樂器組合的延伸⽽而寫，如在《沙漠⾳音樂》、《六重奏》、《三樂章》、《四個段落》、《洞窟》、《舞蹈模式》、《三個故事》、《你是(變奏)》、《為電顫琴、鋼琴及弦樂⽽而寫的變奏》、《丹尼爾變奏》、《雙六重奏》、《電台複寫》，當中加⼊入了更多鋼琴和敲擊樂。⽽而《四重奏》就只有這個組合：兩座電顫琴和兩座鋼琴。 ⽐比起過往的作品，這⾸首是較為複雜的作品之⼀一。樂曲不斷轉調，⽽而且偶爾會中斷、停頓或是帶⼊入新的⾳音樂素材。雖然個別的樂器部份難度不是特別⾼高，卻需要極⾼高的組合協作技巧。 樂曲曲式是傳統⾳音樂史中常⾒見的：快、慢、快，中間沒有停頓。在慢的樂章加⼊入了和聲，這是在我的作品中較少⾒見的。 這⾸首作品是獻給敲擊樂⼿手科連．柯⾥里，他打破了傳統敲擊樂⼿手的形象，在維持個⼈人演奏及在樂團演出的同時，更組成了科連．柯⾥里樂團，演繹他認為值得演奏的⼩小組⾳音樂。我⼗十分敬佩他，也希望其他⼈人會留意他所做的。 《四重奏》由英國南岸藝術中⼼心、美國卡內基⾳音樂廳、茱莉亞⾳音樂學院、法國巴黎⾳音樂城及科隆⾳音樂廳聯合委約，樂曲約⻑⾧長17分鐘。

Programme Notes 樂曲介紹

Tristan Murail 崔斯坦．穆海勒 Travel Notes 《遊記》 (2015)

Travel Notes moves through imaginary landscapes, or soundscapes, by means of a no less imaginary transportation device. It is also somewhat of a rondo alternating between two types of musical structures. One comes back at varied intervals, like the refrains of a rondo (the “travel” structures), the other always changes—the couplets, (the “landscapes”). The “travel” structures: chords that bounce from one piano to the other. These chords, or rather musical objects, can be perceived as timbres, their harmonies being quite rich and complex; a journey sometimes soft and smooth, sometimes harsh… slow, accelerating, fast, decelerating, rarely steady, sometimes mixed with or superposed onto a “landscape” sonic image. The “landscapes”: contrasting textures. Melodies of chords, seemingly improvised solos on piano or vibes (all written of course), flurries of arpeggios, ragged rhythms, large bell-like sounds... one can imagine mountains and chasms, peaceful lakes, whispering cascades, or just listen to the harmonic colours, timbral associations, instrumental gestures, and metamorphoses of sound textures. More technically, the piece plays with rich sound aggregates and complex resonances, which are either complementary, moving resonances of all instruments, or contrasting. For instance, the musical object that begins the piece is a short, loudly attacked chord on one piano, enhanced by percussion and followed by a resonance of a very different colour from the other piano. This acts as a landmark throughout the rest of the work. Though the piece is for two pianos and two percussionists, the piano writing actually owes more to Liszt than to Bartok… Bon voyage!

《遊記》遊⾛走在影像化的⾵風景或聲景之間，以同樣影像化的媒介來表達。樂曲也像回旋曲式，在兩種⾳音樂結構中交替：⼀一個在變更了的⾳音程中回來，像回旋曲式的疊歌 (「遊⾛走」結構)，另⼀一個經常在變的則是分節歌 (「⾵風景」)。 「遊⾛走」結構：和弦從⼀一個鋼琴跳到另⼀一個，⽽而這些和弦，或更確切的說是⾳音樂物像，可理解為⾳音⾊色，擁有豐富和複雜的和聲結構，形成⼀一趟時⽽而柔和平順、時⽽而艱難的旅程⋯⋯緩慢、加速、快、減速，難以穩定下來，有時混⼊入或跟「⾵風景」的聲景重疊。「⾵風景」：對⽐比鮮明的結構。和弦式的旋律像是鋼琴或電顫琴的即興獨奏 (當然全部是譜出來的)，忙亂的琶⾳音、不規則的節奏、像⼤大鐘般的聲響⋯⋯可以由此聯想到⼭山脈峽⾕谷、平靜的湖泊、⽔水聲潺潺的⼩小瀑布，或只欣賞當中的和聲效果、⾳音⾊色的聯想、樂器的演奏，以及聲⾳音結構的蛻變。

技巧上來說，樂曲聚集了豐富的聲⾳音和複雜的共鳴，兩者相輔相成，把所有樂器合起來的共鳴位置換轉，或互相作對⽐比。例如，樂曲開始時的⾳音樂素材是在鋼琴上敲打⼀一個短促、巨⼤大的和弦，並以敲擊樂增強效果，接著就是從另⼀一個鋼琴出來、完全不同效果的共鳴，這成為了整⾸首作品的標記。雖然作品為雙鋼琴雙敲擊⽽而寫，鋼琴部份其實更像李斯特⽽而⾮非巴托克⋯⋯祝旅途愉快！

Programme Notes 樂曲介紹

Alex Mincek 亞歷斯．明札克 Pendulum VI: “Trigger” 《擺》第六⾸首：〈引發〉 (2010)

Pendulum VI: “Trigger” for two percussionists and two pianists is the sixth part of an ongoing series of pieces inspired by the simple swinging motions of pendulums. These pieces are all constructed using materials characterised by back and forth “movements” between various binary relationships; relationships such as short/long, fast/slow, high/low, loud/quiet, sparse/dense, unified/separated, clear/ambiguous, parallel/contrary, different/similar, mechanical/organic, etc. Sometimes these oscillations occur discretely on a localised temporal level and at other times they are combined, overlapped, or occur across an expanded space of time. An important aspect of these pieces is the representation of a refusal to “choose a side.” There are also few attempts to find a middle ground. Instead, both sides of each polemic are treated as equals and are mediated by alternating in quick, constant succession from one to the other in an attempt to represent the insistence of “having it both ways.”

This particular piece plays with the various ways musical impulses can “trigger” the initial displacements of materials (in keeping with the pendulum metaphor) and also with how the oscillations that ensue may either be made to continue or be brought to rest. As with many of my other works the piece also explores the ways in which repetition affects one’s perception of difference, but more specifically, how timbre in particular relates to the cognition of varying degrees of structural complexity. For example, the opening minute or so of the piece subjects a short rhythmic structure to many “exact” repetitions. However, with each repetition the structure is articulated with a slightly different timbral combination, rendering the repetition nearly imperceptible within a web of differences. The aim is to generate a complex perceptual scenario by combining simple, opposing materials.

為雙鋼琴雙敲擊⽽而寫的《擺》第六⾸首：〈引發〉是⼀一系列由鐘擺簡單的搖擺動作為靈感的持續創作的第六部份，這些樂曲都是以在不同的⼆二元關係中前後擺動的「動作」(按編：英⽂文「動作」跟「樂章」為同⼀一詞彙) 為建構素材：例如短/ ⻑⾧長、快/ 慢、⾼高/ 低、⼤大聲/ 細聲、疏落/ 密集、⼀一統/ 分隔、清楚/ 模糊、平⾏行/ 對⽴立、不同/ 概同、機械/ 有機等等。有時擺動間斷地在既定的時間點發⽣生，也有時會合併在⼀一起、重疊、或在延伸了的時間中發⽣生。這些樂曲中重要的特質是它們代表了拒絕「袒護」⼀一⽅方的姿態，當中也有些時候嘗試在找平衡點。相反，在每次爭論中雙⽅方是對等的，並透過快速、即時從⼀一邊到另⼀一邊的擺動⼒力圖代表「兩邊都有」的堅持。

此作探索如何透過各種⾳音樂脈衝以不同⽅方法來引發各種素材的轉移（正如鐘擺的⽐比喻），並且這些搖擺運動如何繼續⼜又或結束。⼀一如我許多其他作品，此作亦探討重複性如何影響⼈人對變化的觀感，⽽而且更專注於探索⾳音⾊色與各種程度的複雜結構的關係。例如在作品的⾸首分鐘裡，⼀一個短⼩小的節奏結構在不斷重複，但每次皆是以不同⾳音⾊色組合來重現，使得其重複性在層層變化中幾乎難以察覺。此⺫⽬目的是要透過簡單⽽而對⽴立的製造⼀一種複雜的恆常狀態。

All programme notes by the composers 所有樂曲介紹由作曲家提供

The Modern Academy II Concert Series 現代學院 II ⾳音樂會系列 Fragments of Lost Time 流逝的時光⽚片段

6.1.2016 (Wed 三) 8pm Y Studio, Youth Square 柴灣⻘青年廣場Y劇場

Programme Aaron Helgeson: If Where is of to Why (2008)

Performers: The Modern Academy Performance Fellows

Wong Wai Sze Sophyia: Seeking (2015) Performers: The Modern Academy Performance Fellows

Leung Hin Yan Austin: Excerpts from Our Town (2015) Performers: Hong Kong New Music Ensemble

George Crumb: Music for a Summer Evening (Makrokosmos III) I, IV, V (1974) Performers: The Modern Academy Performance Fellows (I, IV)

Hong Kong New Music Ensemble (V)

Tung Lai Shing: Drones, Soliloquies and Fragments of Lost Time* (2015) - World première Performers: Hong Kong New Music Ensemble

*commissioned by Hong Kong New Music Ensemble in 2015 with sponsorship from CASH Music Fund

曲⺫⽬目 阿倫．赫爾格遜：《聞聲瞬間》(2008)

演出：現代學院演奏學員

⺩王慧思：《尋》(2015) 演出：現代學院演奏學員

梁騫仁：《⼩小城⾵風光》選段 (2015) 演出：⾹香港創樂團

喬治．克拉姆：《為⼀一個夏夜⽽而寫的⾳音樂》(《⼤大宇宙III》) ，第⼀一、四、五樂章 (1974) 演出：現代學院演奏學員 (第⼀一、四樂章)

⾹香港創樂團 (第五樂章)

董麗誠：《流絃》* (2015) - 世界⾸首演 演出：⾹香港創樂團

*作品於2015年由⾹香港創樂團委約，費⽤用由⾹香港作曲家及作詞家協會轄下的「CASH⾳音樂基⾦金」贊助

Running Time: Approximately 1 hour and 30 minutes without intermission 節⺫⽬目約⻑⾧長1⼩小時30分鐘，不設中場休息

Wong Wai Sze Sophyia ⺩王慧思 Seeking 《尋》(2015)

Programme Notes 樂曲介紹

Aaron Helgeson 阿倫．赫爾格遜 If Where is of to Why《聞聲瞬間》(2008)

What makes familiar sounds sudden? I speak not of the dog’s bark or glass breaking, but of the “hello” on the other end of the telephone or the hiss of a match that has just been struck. Such sounds surprise us both because and in spite of the fact that we expect them. The moment of stillness before is what allows their arrival to be all the more shocking. But what if, instead, this moment is allowed to linger? What if, in waiting, we forget what is to come? We begin to suspend our anticipation of the inevitable, all the while remaining breathless. Thoughts of what could be and memories of what have been begin to melt into one another. An infinite universe full of familiarity and uncertainty lies between such sounds…the knock on the door and the creak of its hinges, the yell of the starter and the firing of his gun, the flutter of the diving board and the splash of the water below.

是什麼令熟悉的聲⾳音變成突如其來的驚訝？我所指的不是狗吠或打碎玻璃的聲⾳音，⽽而是從電話另⼀一端傳來的「你好」，或是劃⽕火柴那⼀一瞬間的聲⾳音。這些聲⾳音令我們感到驚喜，因為在我們預計之內，然⽽而雖然是預料中事，我們還是覺得驚喜。發⽣生前的靜⽌止時刻令聲⾳音到來變得驚訝，假若讓該時刻徘徊停留？如果我們在等待時忘記了所期待的事？我們開始把不可避免的期盼拖延，在那⼀一瞬之間屏息靜氣。期待之事與記憶中已發⽣生的事開始融在⼀一起，在那些聲⾳音中潛藏了⼀一個既熟悉⼜又充滿未知之數的無盡宇宙⋯⋯都在敲⾨門聲、吱吱的⾨門鉸聲、啟動器的叫喊、槍擊聲、跳⽔水板的振顫，以及下⾯面⽔水花飛濺的聲⾳音之中。

Seeking is one of my pieces in the Emptiness series. This piece was written for two pianists and two percussionists.

Here, we do not find a piece of matter nor exit. We seek the soul of our own inner-side. Meditation might be one of the ways; however, distraction on our own become even louder than the city sound from our flourishing surrounding in just a moment. We loop between seeking and losing the beautiful voice of soul. We can easily hear the voice with equanimity; but it seems hollow and fragile with distracting thoughts - no matter how do you track it.

At the beginning, the Chinese temple block introduces a clear rhythm. The entrance of pianos and other percussion instruments create a thick sonority. The time disappears. Two themes appear alternately in the middle section. Pianists play the arpeggios with a mixture of definite-pitch and muffled tone, while the percussionists bring out the main melody. The second theme is combined with short fragments and rests. The pure sound of Chinese temple bowl ends the journey of Seeking.

Programme Notes 樂曲介紹

《尋》是《清空》系列的其中⼀一⾸首作品，為兩個鋼琴和兩個敲擊⼿手⽽而寫。

這裡要尋的不是⼀一件物件，不是⼀一條出路，這裡要尋的是⾃自⾝身靈魂。靜坐是其中⼀一個尋找靈魂的⽅方法，可是不到⼗十秒，四⽅方⼋八⾯面來襲的雜念聲⽐比⾝身處繁華鬧市還要吵鬧。⼼心境平靜時，很快便能驅除這些雜念，聽⾒見⾒見她美麗的聲⾳音；但⼼心情煩躁時，無論⽤用什麼⽅方法找尋，只能聽⾒見她零零碎碎的聲⾳音。這個過程反反覆覆，與她若即若離。

⾳音樂由⽊木⿂魚的咚咚聲帶出穩定的節奏，直⾄至鋼琴和其它零碎的敲撃樂器加⼊入，營造出渾厚的共嗚聲，時間和⾳音調變得模糊。中段主要有兩個主題交替組成，鋼琴部的琶⾳音時虛時實，伴以敲擊樂器斷斷續續奏出主旋律；⽽而另⼀一主題由短句和休⽌止⽌止符組成。最後以修⾏行⽤用銅鉢，結束這次尋找過程中的零碎思緒。

Leung Hin Yan Austin 梁騫仁 Our Town 《⼩小城⾵風光》(2015)

Our Town is a 1938 three-act play by American playwright Thornton Wilder. It tells the story of the fictional American small town of Grover's Corners between 1901 and 1913 through the everyday lives of its citizens. The main characters of the play are Emily Webb and George Gibbs, both of them are mid-teenagers who fall in love and later get married. Act 1: Daily Life Act 2: Love and Marriage Act 3: Death and Dying The music is set into three movements that retain the macro structure of the play. To visualise the abstract scenes from the original play, Fragments of dialogues are taken from the play are acted out by the musicians. The piece is composed as a response to the play. Only the first and the last movements will be performed in this concert.

《⼩小城⾵風光》是⼀一套由美國劇作家曹爾頓．懷爾德於1938年創作的三幕劇。作品描述⼀一個虛構的美國⼩小鎮格羅弗在1901年⾄至1913年的⽇日常⽣生活⼩小事。劇中的主要⾓角⾊色為艾⽶米麗．⾱韋伯和喬治．吉布斯，他們皆是約⼗十五歲的⻘青年，相戀、其後結婚。

第⼀一幕：⽇日常⽣生活 第⼆二幕：愛情與婚姻 第三幕：死者與死亡

⾳音樂分成三樂章，並保持原來話劇的結構。為了描述⼀一些抽象的情景，樂⼿手在演奏外同時也演出劇中的⼀一些對⽩白。 作品是作曲家對劇作的回應，今晚的⾳音樂會只演奏第⼀一和第三樂章。

Programme Notes 樂曲介紹

George Crumb 喬治．克拉姆 Music for a Summer Evening (Makrokosmos III) I, IV, V 《為⼀一個夏夜⽽而寫的⾳音樂》(《⼤大宇宙III》) 第⼀一、四、五樂章 (1974)

Makrokosmos is a series of four volumes of pieces by American composer George Crumb. The name alludes to the set of 153 piano pieces Mikrokosmos of Béla Bartók, who has a significance influence to Crumb. The third of the series, subtitled Music for a Summer Evening, was completed in 1974. It is scored for two amplified pianos and percussion and consists of five movements of suggestive titles:

I. Nocturnal Sounds (The Awakening) II. Wanderer-Fantasy III. The Advent IV. Myth V. Music of the Starry Night

According to the composer, “the musical fabric of Summer Evening results largely from the elaboration of tiny cells into a sort of mosaic design”, and its overall style, could be described as “either more or less atonal, or more or less tonal”. A tonal polarity of F#-D# minor (or, enharmonically, Gb-Eb minor) is a central structural feature of the work. Such polarity is more manifested in the final movement Music of the Starry Night - with the quotation of passages from Bach's D# minor fugue (Well-tempered Clavier, Book II) and a concluding Song of Reconciliation in Gb (overlaid by an intermittently resounding Fivefold Galactic Bells in F#). Having the first, third, and fifth movements being the primary import of the work that, according to Crumb, could be interpreted as a kind of “cosmic drama", while the more dream-like second and fourth are functioning as intermezzos within the overall sequence of movements.

《⼤大宇宙》是喬治．克拉姆所創作的⼀一系列作品，⼀一共四⾸首。作品名稱與對克拉姆影響甚深﹣巴托克所寫的鋼琴曲集《⼩小宇宙》相似。《為⼀一個夏夜⽽而寫的⾳音樂》是此系列的第三⾸首，於1974年完成，是為擴⾳音的雙鋼琴及敲擊樂⽽而寫，包含五個樂章：

I. 〈夜之聲(甦醒)〉 II. 〈流浪者幻想曲〉 III. 〈降臨〉 IV. 〈神話〉 V. 〈為星夜⽽而寫之⾳音樂〉

Programme Notes 樂曲介紹

Tung Lai Shing 董麗誠 Drones, Soliloquies and Fragments of Lost Time《流絃》 (2015)

On Composition

To compose means no more or less than to exercise choice. History of music has been, after all, the results of choices made by individual composers within the confines of freedom internal or external available in any particular moments of their lives. In speaking of compositions as objects composed, as against those which are determined by rules, established through permutations, or derived purely from chance, one inevitably invokes such categories as intention, honesty, inventiveness, etc.; categories which are in general associated with, and reserved for, human conduct and its assessment. That is why works of art don’t merely interest us: they move us, the way that human beings do. In art as in life, the price of freedom apart from the tyranny of choice is the imperative of responsibility. Within the world of composition, and of art in general, one is doomed the old theme of tragedy and made to play with man's fate of being accountable for everything one does. But art also celebrates the fact that, for all the indifference of nature and harshness of society, man can intend their lives; that amidst adversities and distractions, their actions are coherent and effective; that for the integrity of their choices, freedom reigns.

有關創作

⼤大抵創作和⽣生活都不外乎⼀一系列的選擇。兩者的成敗關係到⼀一些互通的因素。評價藝術有若衡量⼈人⽣生，正由於彼此有著相同的詞彙。追隨⼀一⾸首樂曲的發展就像觀察⼀一個⼈人的⾔言⾏行。這裏不是要作弦外之⾳音的穿鑿，也不是尋求教化，⽽而是要看看⼀一個⼈人如何運⽤用他的資源(⾳音樂素材)，掌握他的際遇(某⼀一刻的⾳音樂環境)，化解危機，以⾄至處理突發事件(moments of surprise)。換⾔言之，聆聽⼀一⾸首樂曲就是要⾒見證整個體現著⼈人⽣生所謂命運的⾳音樂過程。⽽而正如個⼈人要為⼀一⼰己之⾔言⾏行負責，這裡也⾃自然得考慮操守的問題。於是牽涉忠誠、虛偽、坦率、造作、創新、迂腐…等等觀念的應⽤用。藝術的存在價值不在於抒情，也不在乎⾔言志。但藝術可以說是對⽣生命的⼀一種頌讚，是向⼈人類的⾃自主致敬。現實雖然冷酷，造物儘管無情，⼈人畢竟憑著⼀一⼰己抉擇及僅有資源(技術上的或物質上的)得以主宰命運，甚⾄至成就了⼀一點兒的事情 那怕僅屬個⼈人的蕩然⼀一⾝身或樂章的完整⼀一闋。

Unless specified, all programme notes by the composers 除特別註明外，所有樂曲介紹由作曲家提供

根據作曲家所述，《為⼀一個夏夜⽽而寫的⾳音樂》的⾳音樂肌理「很⼤大程度是將許多細⼩小的組織以⾺馬賽克的形式發展⽽而成」，其整體⾵風格可以形容為「或多或少無調性，⼜又或者是或多或少有調性」。⼀一個升F與升D⼩小調的調性對⽴立是此作的結構重⼼心之⼀一。此對⽴立在《為星夜⽽而寫之⾳音樂》樂章中尤其明顯，當中包括巴赫之升D⼩小調賦格曲 (《第⼆二卷⼆二⼗十四⾸首前奏曲與賦格曲》)之選段，以及以降G調所寫的《復和之歌》作結 (⽽而同時升F調的《五重銀河之鐘》在間歇迴響)。整⾸首作品以第⼀一、三、五樂章為重點，克拉姆形容這些樂章可理解為「宇宙的戲劇」，⽽而帶有夢的感覺的第⼆二及四樂章則是間奏曲的作⽤用。

programme notes by Charles Kwong 樂曲介紹：鄺展維

Hong Kong composer Tung Lai Shing is among the first generation of graduates from the Music Department of the Chinese University of Hong Kong in the 70s. He went on to pursue his study in composition at the University of Pennsylvania, where he studied with George Crumb and o b t a i n e d h i s P h D . H i s m a j o r compositions include The Book of Laughter and Forgetting for symphonic orchestra and Cantonese Opera singer, commissioned and premiered by the Hong Kong Sinfonietta.

Biographies 簡歷

⾹香港作曲家董麗誠為1970年代⾹香港中⽂文⼤大學⾳音樂系第⼀一代畢業學⽣生之⼀一。其後赴笈美國賓⽍歹凡尼亞⼤大學繼續進修作曲，在喬治．克拉姆的指導下完成作曲（哲學）博⼠士課程。其主要作品包括由⾹香港⼩小交響樂團委約、為管弦樂團及粵劇演員⽽而寫的《笑忘書》。

董麗誠 現代學院作曲導師

Wong Wai Sze Sophyia The Modern Academy Composition Fellow

Wong Wai Sze Sophyia was born in Hong Kong and graduated with a BMus (piano performance) from Kingston University London. Thereafter she developed her career as a full-time piano teacher. Since 2013, she has been devoted to composition under the supervision of Dr. Cheung Pui-shan. After one year, two of her compositions were premiered at the HighScore Music Festival at Pavia (Italy) and Yogyakarta Contemporary Music Festival (Indonesia). In 2015, the string quartet San:Si was premiered by the M I V O S Q u a r t e t a t V a l e n c i a International Performance Academy & Festival (Spain).

⺩王慧思 現代學院作曲學員

⺩王慧思出⽣生於⾹香港。畢業於英國倫敦京⼠士頓⼤大學主修鋼琴演奏，在學其間開始教授鋼琴並發展為全職鋼琴⽼老師⾄至今。⾃自2013年，⺩王⽒氏跟隨張佩珊博⼠士學習作曲，⼀一年後，兩⾸首作品分別於意⼤大利和印尼⾸首演。2015，其第⼀一⾸首弦樂四重奏獲美國紐約知名樂團 MIVOS 在⻄西班⽛牙⾸首演。

⺩王慧思活躍於世界各地的⾳音樂節和⼤大師班，其間向多位國際知名作曲家學習，包括周⻯⿓龍、Luca Francesconi、Dieter Mack、Dmitri Tymoczko、Christopher Theofanidis、Stefano Gervasoni、Ricardo Zohn-Muldoon。

Tung Lai Shing The Modern Academy Composition Faculty

Biographies 簡歷

Wong has actively involved in different contemporary classical composition events and participated the master classes hosted by Zhou Long, Luca Francesconi, Dieter Mack, Dmitri Tymoczko, Christopher Theofanidis, Stefano Gervasoni and Ricardo Zohn-Muldoon.

Leung Hin Yan Austin The Modern Academy Composition Fellow

Leung Hin Yan Austin graduated from the University of Hong Kong, double majoring in Medical Engineering and Music. Leung started learning music at the age of 20. He got his first grade 8 certificate in violin and theory after two years of learning. In 2014, Leung won the second prize of New Generation and the third prize of the

Chengdu-China 11th Sun River Prize Students’ New Music Composition Competition. Recently, Leung’s Ambivalence was performed in the opening ceremony of the Sound and Image Challenge Festival 2015 in Macau. Leung is currently studying Advanced Diploma in composition in the Hong Kong Academy for Performing Arts.

梁騫仁 現代學院作曲學員

梁⽒氏畢業於⾹香港⼤大學，主修醫學⼯工程及⾳音樂雙學⼠士學位課程。 梁⽒氏⼆二⼗十歲開始學習⾳音樂，兩年後考獲⾸首張⼩小提琴及樂理⼋八級證書。去年，梁⽒氏獲「⾳音樂新⼀一代」⽐比賽亞軍和第⼗十⼀一屆中國成都「陽光杯」學⽣生新⾳音樂作品⽐比賽季軍。

最近，梁⽒氏的作品《Ambivalence》於澳⾨門聲⾳音與影像⼤大⽐比拼影展2015的開幕典禮作⾸首演。 梁⽒氏現於⾹香港演藝學院修讀⾼高級⽂文憑 (作曲)。

Performers 演出

The Modern Academy Performance Fellows Shelley Ng Piano Ivan Yeung Piano Tim Chan Percussion Vonald Chow Percussion

現代學院演奏學員

吳宇晴 鋼琴 楊敬謙 鋼琴 陳庭章 敲擊 周彥廷 敲擊

Hong Kong New Music Ensemble Alan Chu^ Piano Linda Yim Piano Sabrina Ma^ Percussion Karina Yau# Percussion KAISAN^ Qin

⾹香港創樂團 朱偉恆^ 鋼琴 嚴翠珠 鋼琴 ⾺馬淑慧^ 敲擊 尤美盈# 敲擊 介⼭山^ 七絃琴

^ Guest Musicians 客席樂⼿手 # This position is supported by the Hong Kong Arts Development Council's Artistic Internship Scheme 此職位由⾹香港藝術發展局的「藝術⼈人才培育計劃」資助

Stage Manager 舞台監督 Lee Man Kit 李⽂文傑

The Modern Academy would like to thank the following organisations and individuals for their generous support 現代學院衷⼼心感謝以下機構及⼈人⼠士的慷慨⽀支持

(in alphabetic order 依英⽂文字⺟母順序)

Arts News 藝頻

Jonathan Douglas

East Week 東周刊

Hong Kong Economic Journal 信報

Ho Yi On 何怡安

Kathy Lam 林嘉琦

好戲網 Metropop

Mingpao 明報

on.cc 東網

Parsons Music 柏斯琴⾏行

Pixel Bread 像數麵包

Phil Whelan

RTHK Radio 3 ⾹香港電台第三台

RTHK Radio 4 ⾹香港電台第四台

Sing Pao Daily News 成報

South China Morning Post 南華早報

US Consulate General Hong Kong and Macau 美國領事館

SUPPORT US! ⽀支持我們！

Please support The Modern Academy by donation and/ or sponsorship; or through advertising in our concert house programmes. Your support will make a huge difference to the development of this education programme. Please contact us at (852) 3568 8470/ modernacademy@hknme.org for details.

您可透過捐款及/ 或贊助，或在⾳音樂會場刊內刊登廣告來⽀支持我們。您的⽀支持對這項教育計劃的發展⾮非常重要。詳情請致電 (852) 3568 8470或電郵⾄至modernacademy@hknme.org。

COMING UP! 節⺫⽬目預告

MODULE 2 課程⼆二 23-28.03.2016 Spaces, Traces, Places 空間，軌跡，場境

Faculty 導師/ Featuring Artists 參與藝術家

Martijn Tellinga (Netherlands 荷蘭) Daniel Lo 盧定彰 (Hong Kong ⾹香港) Hong Kong New Music Ensemble ⾹香港創樂團

MODULE 3 課程三 25.06 - 2.07.2016 The Telematic and Transdisciplinary 遠程信息處理與跨界製作

Faculty 導師/ Featuring Artists 參與藝術家 Alvaro Barbosa (Macau 澳⾨門/ Portugal 葡萄⽛牙) Lam Lai 林儷 (Hong Kong ⾹香港) Matthias Müller (Switzerland 瑞⼠士) Patrick Müller (Switzerland 瑞⼠士) Johannes Schütt (Switzerland 瑞⼠士) Matthias Ziegler (Switzerland 瑞⼠士) Hong Kong New Music Ensemble ⾹香港創樂團

In collaboration with 聯合策劃

Modules 2 & 3 Application Deadline 課程⼆二、三截⽌止報名⽇日期

1.2.2016

Course details and application 詳情及報名

www.themodernacademy.org

Making Music for the Future 創新⾳音樂，成就未來⾳音樂家

Organised by the Hong Kong New Music Ensemble, The Modern Academy is a unique modern music training programme for emerging professional or advanced student performers and composers. As the foremost such course in Asia, short course modules throughout the year focus on extended research in compositional craft, transdisciplinary collaborative projects, and the performance practice of contemporary classical music. Academy faculty come from top institutions and conservatories, including respectable musicians from all over the world. Fellows of the Academy are given the opportunities to participate in concerts, present their own works, and to perform with internationally renowned artists. Since the first edition in 2014, over 100 young professionals and advanced music students from 17 countries have joined the Academy and participated in various types of innovative presentations and concerts.

現代學院由⾹香港創樂團籌劃，是亞洲⾸首個及唯⼀一的專業現代⾳音樂課程，為新晉專業⾳音樂家及⾼高程度的演奏和作曲學⽣生⽽而設。每年舉辦不同的短期課程，以作曲技法、跨界別合作及當代古典⾳音樂的演奏技巧為重點。導師來⾃自世界各地著名⾳音樂學府講師，學員在完成課程後將參與⾳音樂會，發表個⼈人創作，並與世界知名藝術家同台演出。⾃自2014年成⽴立以來，已有超過100位來⾃自17個國家的年⻘青樂⼿手及⾳音樂學⽣生報讀，參與多元及跨界別的⾳音樂會。

Course Features:- Faculty from top institutions and conservatories- A platform for young composers to present their works and ideas- An opportunity for advanced performance students to perform with and learn from

professional artists- Internship opportunities with the Hong Kong New Music Ensemble

課程特⾊色：- 邀請來⾃自世界各地的頂級專業樂⼿手為導師- 為新晉作曲家提供發表平台- 年⻘青樂⼿手與世界知名⾳音藝術家學習及同台演出- 有機會參與由⾹香港創樂團成員提供的實習機會

The content of these programmes does not reflect the views of the Government of the Hong Kong Special Administrative Region.節⺫⽬目內容並不反映⾹香港特別⾏行政區政府的意⾒見。