8pm • Hong Kong City Hall Theatre 香港大會堂劇院

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House Rules

Dear Patrons,

To avoid undue disturbance to the performers and other members

of the audience, please switch off your mobile phones and any
other sound and light emitting devices before the performance.
We also forbid eating and drinking, as well as unauthorized
photography, audio and video recordings in the auditorium.

Thank you for your co-operation.

Venue Management
Gladys Fong (Senior Manager/City Hall)
Address: 5 Edinburgh Place, Central, Hong Kong
Enquiries: 2921 2840
Fax: 2877 0353

Cultural Presentations Section, Queenie WONG (Senior Manager)

場地規則

各位觀眾：

為求令表演者及觀眾不致受到騷擾，請關掉手提電
話、其他響鬧及發光的裝置。同時請勿在場內飲食或
擅自攝影、錄音或錄影。多謝合作。

場地管理
方雅雯（高級經理／大會堂）
地址：香港中環愛丁堡廣場五號
查詢：2921 2840
傳真：2877 0353

文化節目組黃麗珊 ( 高級經理 )
Galison Lau Home (2010) (8’45”) (World Premiere)*
Ng Wah-hei Exuberance (2010) (4’ ) (World Premiere)*
Victor Chan The Night has Gone (2010) (13’)
Conductor: Paul Zukofsky

- Intermission of 15 minutes -

Carl Vine Café Concertino (1984) (11’)

Gérard Grisey Vortex Temporum (1995) (40’)
Conductor: Paul Zukofsky

劉詠 浲 家 (2010) (8’45") (世界首演)*

伍華晞 躍 (2010) (4') (世界首演)*
陳偉光 長夜不再 (2010) (13')
指揮：素高斯基

- 中場休息15分鐘 -

凡恩 咖啡室小協奏曲 (1984) (11')

里塞 時間的漩渦 (1995) (40')
指揮：素高斯基

* Commissioned by Hong Kong Composers’ Guild in 2010 with sponsorship from CASH Music Fund
此作品於2010年由香港作曲家聯會委約，費用由「CASH音樂基金」贊助

1
 It has been 18 years since we launched the first Musicarama festival in
1992. The mission of Musicarama is to promote creativity, innovative
ideas, advanced musical appreciation, and virtuosic performance.
In the past 18 years, we have witnessed the success of many Hong
Kong composers who have had their commissioned works premiered
in the festivals by distinguished overseas or local musicians and were
subsequently having their pieces performed or broadcast elsewhere or
won international prizes. The participation of visiting ensembles and overseas
composers in Musicararma has also strengthened our tie with contemporary music development
elsewhere in the world and provide local audience with good opportunities to experience some
very fine music.

With the generous support from our major sponsors CASH Music Fund and the Hong Kong Arts
Development Council, Musicarama 2010 is able to present over 30 compositions in five concerts
this year. In this year’s programme, we have 10 premieres and many latest works written by the
Hong Kong composers, including one by the cross-over composer/musician Chris Babida. A
new feature in Musicarama 2010 is the incorporation of three featured composers of different
generations and artistic outlooks: Masataka Matsuo (Japan), Dobrinka Tabakova (Bulgaria/UK), and
Chan Hing-yan (Hong Kong). Besides having their music featured in the concerts, these composers
will present their composition ideas in three Composer’s Forum sessions. We are honoured to
have the distinguished Japanese ensemble next mushroom promotion performing in this festival,
with the sponsorship of Japan Foundation. Locally, we are also grateful for the keen support the
Hong Kong New Music Ensemble, the Chinese Music Virtuosi, and the Four Gig Heads Percussion
Group. This year also marks the third collaboration between the Guild and the City Chamber
Orchestra of Hong Kong whose innovative programming have been their trademark in the last 10
years. We owe our thanks to the Leisure and Cultural Services Department who provides us the
excellent venue facilities, and to RhapsoArts Management Ltd who has been giving us the very
important administrative support. I hope you will share our enjoyment of the exciting music in this
festival.

Dr. Joshua Chan

Chairman of the Hong Kong Composers' Guild

2
我們自1992年第一次主辦「音樂新文化」至今已經18年了。「音樂新文化」的使命是推廣創
作、創新思維、深究音樂欣賞、及推介技巧高超的音樂演出。在過去18年間，我們見證了很多
香港作曲家的成功例子。他們藉著這個音樂盛會而得到出色的海外及本地音樂家首演其委約
作品，並因而得到及後的海外演出及廣播機會，或贏取國際作曲獎項。海外演奏隊伍及海外
作曲家的參與「音樂新文化」也加強了我們與世界音樂發展潮流的聯繫，也讓本地聽眾有很
好的機會接觸到一些非常精緻的音樂。

我們非常感謝香港作曲家及作詞家協會轄下的CASH音樂基金及香港藝術發展局的慷慨贊
助。在這些財政資助下，今年的「音樂新文化」共有30首作品於五場音樂會中發表，當中包括
10首首演作品及多位香港作曲家的近期新作，包括跨界別音樂家鮑比達的作品。「音樂新文
化2010」的其中一項新猷是推介三位不同年代及藝術取向的主題作曲家：松尾祐孝（日本）、
塔芭高娃的（英國/保加利亞）及陳慶恩（香港）。他們將在三個特設的作曲家論壇上暢談他
們的作曲理念，我們也會在音樂會中欣賞到他們的多首作品。我們深感榮幸能在日本基金會
的支持下邀請到日本著名的現代音樂組合nmp合奏團來港獻藝，也感謝本地傑出隊伍香港創
樂團、龢鳴樂坊及四擊頭敲擊樂團的鼎力支持。今年也是聯會與香港城市室樂團的第三次合
作。他們在過去十年間成功樹立了富於曲目創新的美譽。康樂文化事務署給予我們的各項場
地設施亦是這個音樂節能成功舉辦的重要一環，特此鳴謝。我們也感謝華意堂藝術策劃提供
至為重要的行政協助。我祝願各位聽眾能與我們分享這個音樂節的奇妙音樂旅程。

香港作曲家聯會主席
陳錦標博士

3
 Paul Zukofsky is a violinist, conductor, and chamber musician. He is
generally associated with the advancement and performance of modern
music, having premiered and recorded works by Wuorinen, Glass, Carter,
Babbitt, and numerous other twentieth century composers. But he
has also divulged a sympathy for the music of Bach in his well-received
recordings of the solo sonatas and partitas.

Zukofsky showed interest in music before the age of three and started taking his first lessons on
the violin at four. His skills advanced so rapidly that he began studies with Ivan Galamian when he
was just seven. His resumé as a child performer is equally impressive, having given his first public
concert at six and his first with an orchestra, the New Haven Symphony Orchestra, when he was
10. Three years later, he gave a recital at Carnegie Hall. By the mid-1960s, Zukofsky had become
well known in both solo and chamber repertory. In the latter genre, he would team up with Gilbert
Kalish for many concert appearances and recordings over the years. He also began conducting
orchestras, often chamber-sized ensembles and usually in modern repertory. He served as music
director for one season (1978-1979) of the Colonial Symphony Orchestra, a Madison, NJ, based
ensemble. In this post, however, he also conducted works by Beethoven, Mozart, and other
mainstream composers. Zukofsky has also led the Contemporary Chamber Ensemble since the
1970s, becoming its conductor in 1984. Beginning in the 1970s, Zukofsky developed a relationship
with the Reykjavik College of Music in Iceland, regularly appearing in concerts and conducting
seminars there. He also appeared in many concerts as conductor at the Lincoln Center for the
Performing Arts in the last two decades of the twentieth century, often leading the Contemporary
Chamber Ensemble and the Juilliard Orchestra. Zukofsky became a close friend of composer Philip
Glass in the early 1970s and even appeared as Einstein in his opera Einstein on the Beach (1976).
The character Zukofsky portrayed, of course, does not sing, but plays the violin instead. Zukofsky
inspired Glass to write his Violin Concerto (1986-87) and gave the work's premiere on April 5,
1987, with the American Composers Orchestra under the direction of Dennis Russell Davies. From
1992-96, Zukofsky was director of the Arnold Schoenberg Institute at the University of Southern
California. As both a conductor and violinist, he remains active in the new century and has made
over 60 recordings for a number of labels, including Sony, Camerata, CRI, and one of his own, CP2,
of whose parent company, Musical Observations, Inc., he is president. He has extensively recorded
for this label since the early 1990s, issuing performances of works, often in premiere issues, by
Cage, Feldman, Xenakis, Glass, and several other modern composers. ~ Robert Cummings, Rovi

素高斯基身兼小提琴演奏家、指揮家及室樂演奏家於一身。除了精於當代音樂之外，其演繹
的巴赫無伴奏小提琴奏鳴曲及組曲專輯，亦獲高度評價。

素高斯基幼時是音樂神童，10歲已與紐黑文交響樂團同台演出，13歲登上卡內基音樂廳的舞
台。至1960年中期，他以其獨奏及室樂作品的演奏而稱譽樂界，多年來與卡利希合作於不同
的音樂廳演出及灌錄唱片。自1970年代起，他開始指揮交響樂團，尤以室樂團為主，並主力
演奏現代作品。自那時起他便與當代室內樂團合作，並於1984年成為該團的指揮。自1970年
代起，他經常與冰島的雷克雅未克音樂學院合作，並於該校演出及講課。1980至2000年，他
常以指揮身份，帶領當代室內樂團及茱莉亞樂團於林肯表演藝術中心演出。1970年代初，他
與Philip Glass成為密友，並於他的歌劇《海灘上的愛因斯坦》(1976)中擔演愛因斯坦一角。
素高斯基啟發了Philip Glass創作《小提琴協奏曲》 (1986-87)，並為該作品於1987年的首
演擔任獨奏，演出的還有由美國作曲家交響樂團。1992-96年，他於南加州大學擔任荀伯格
研究所的總監。本世紀至今，素高斯基仍以指揮及小提琴家身份活躍樂界，並為多個品牌包
括Sony、Camerata、CR1及CP2錄製超過60張專輯，其中CP2是他名下的品牌，他自1990
年起多次為此品牌錄製專究輯，當中包括多首樂曲的首演，包括Cage、Feldman、Xenakis、
Glass,及其他當代作曲家的作品。

4
Annie Tseng (Flute)
Kwan Sheung-fung (Oboe)
Kelvin Ngai Lung-shing (Trumpet)
Ben Pelietier (Trombone)
Stephen Chong (Clarinet)
Leung Tak-wing (Bassoon)
Hani Molles (Horn)
Eric Chan, Austin Yip (Violin)
William Lane (Viola)
Jamie Jim Wai-man (Cello)
Linda Yim (Piano)

The Hong Kong New Music Ensemble is

a chamber ensemble formed in 2008. The
HKNME presents the best new music in Hong
Kong by local and Asian composers, and also by
important international figures. It intends to foster
interesting interdisciplinary collaborations, and to
present the highest quality contemporary music to Hong Kong
audiences on a regular basis. In October 2008 members of the Hong Kong New Music Ensemble
were resident at the Shanghai Conservatory. Since 2009 the HKNME has presented regular
concerts in Hong Kong, with tours in Mainland China, Malaysia (to the Malaysian Contemporary
Music Festival) and Singapore. The HKNME will be featured at the 2010 New Vision Arts Festival.
www.hknme.org

曾安立 (長笛)
關尚峰 (雙簧管)
魏龍勝 (小號)
彭禮傑 (長號)
莊佳凱 (單簧管)
梁德頴 (巴松管)
Hani Molles (圓號)
陳欣賢、葉浩堃 (小提琴)
凌威廉 (中提琴)
詹蔚雯 (大提琴)
嚴翠珠 (鋼琴)

香港創樂團（HKNME）成立於2008年。香港創樂團專門演出本地、亞洲以及國際級作曲家
的最佳當代音樂創作，並著意促進各種跨類型音樂的合作，定期為香港聽眾推介高質素的當
代音樂。在2008年10月，香港創樂團成員進駐上海音樂學院。自2009年開始，樂團定期在香
港舉行音樂會，並在中國內地、馬來西亞（馬來西亞當代音樂節節目）和新加坡作巡迴表演。
樂團將參與2010年新視野藝術節演出。www.hknme.org

5
 Home (2010) Galison Lau (b. 1983)
I came across this part of the World history, the World War II, recently,
especially after I made a Jewish friend. His passion to his race has
moved me. In addition, I was also deeply moved by my visit to the New
England Holocaust Memorial during a trip to Boston. It touched me even
though it is a small place. As a result, I gathered some information about the
concentration camps, and also read a book which features drawings and poetries of children then
imprisoned.

The idea of this musical work comes from a children’s poem from the Terezin Concentration
Camp, 1942-1944. Here is the poem entitled Home.

I look, I look
into the wide world,
into the wide, distant world.
I look to the southeast,
I look, I look toward my home.
I look toward my home,
the city where I was born.
City, my city,
I will gladly return to you.
~ Franta Bass

The piece’s beginning portrays the gloomy atmosphere of the concentration camp. It moves on
closely following the poem’s narratives. The mood is twisted at the end as the author could not
make it home.

* * *
Galison Lau completed his Bachelor’s degree at the Hong Kong Academy for Performing Arts
(HKAPA), studied with Wing-fai Law, Clarence Mak, and Samuel Lo. He also completed his Master’s
degree at Carnegie Mellon University (CMU), studied with Leonardo Balada and Fabien Lévy.

Mr. Lau’¦s composition Spelling Vocabularies was performed in ISCM – ACL World Music Days 2007.
It was also being chosen as one of the pieces from Hong Kong in the 2006 International Rostrum
of Composers in Paris. The same work was selected to be performed in Musicarama 2005 in Hong
Kong, and was chosen for the finals of the New Generation 2005 in Hong Kong.

Last Year, Scents, for string quartet, was read by Parker String Quartet and was chosen to be
first prize in CMU Student Composer's String Quartet Readings. Dairy Farm with Composers is
written for the opening of the new theater of the HKAPA. In November of 2005, Jasmine and the
Lotus Land was performed at the Lilian Baylis Theatre in Sadlers Wells, London. Finally, his work
Emotions was performed in June of 2005 by the Varshavsky Shapira Piano Duo.

家 (2010) 劉詠 
(1983年生)

早前我對第二次世界大戰的史事很有興趣，尤其當我交了位猶太人朋友之後，他對自己種
族的熱情打動了我。另外，去年於波士頓參觀新英倫浩劫紀念公園的感受也很深，所以之
後找了一些關於集中營的資料，以及一本書，收集了當時集中營中小朋友的畫與詩。

此曲靈感來自一位於1942 - 1944年生活於泰雷津集中營的小朋友所作的一首詩。

6
音樂開端形容集中營的氣氛，隨後緊貼詩中的描述。由於那位小朋友最終仍不能回家，所
以音樂最後加了一段道出現實的淒慘。

* * *
劉詠 畢業於香港演藝學院，師隨羅永暉、麥偉鑄及盧厚敏。去年於美國卡內基美隆大學
碩士學位畢業，師隨Leonardo Balada及Fabien Lévy。

作 品《學 生 字》於 2 0 0 7 國 際 現 代 音 樂 節 演 出。亦 曾 被 獲 選 代 表 香 港 於 巴 黎 的 2 0 0 6

International Rostrum of Composers 播放。同曲亦入選音樂新一代2005決賽，及後這首曲
亦被選於音樂新文化 2005演出。

去年由Park String Quartet於卡內基美隆大學試奏作品《氣味》，獲得弦樂四重奏比賽冠

軍。2006年他為香港演藝學院新落成的劇院開幕創作了《牛奶瓶與作曲家們》。《蓮花地上
的茉莉花》是為香港演藝學院與英國Guildhall School of Music & Drama交流而作，於英國
倫敦演出。此外，為雙鋼琴而作的《情感》，亦由兩位以色列鋼琴家於2005年演出。

Exuberance (2010) Ng Wah-hei (b. 1982)

In this scherzo-and-trio-like composition, the composer tries to combine
the oboe and the brass trio in different ways - at first the oboe is
obviously a soloist (indeed the piece starts with a oboe solo), presenting
a comic theme (perhaps with a bit of seriousness) over a march-like
accompaniment of the brasses. The atmosphere in the trio is somber and
the brasses try to merge with the oboe to share an equal role. The piece
ends with a varied reprise of the scherzo with exciting brass writing.

* * *
Ng Wah-hei obtained his Bachelor of Arts and Master of Music degrees from the Chinese
University of Hong Kong, studying composition with Wing-wah Chan and Victor Chan. He also
obtained his DMA degree at the University of Missouri-Kansas City (UMKC), where he taught
non-Western music and composition to undergraduates. His composition teachers at UMKC
include Chen Yi, Zhou Long and James Mobberley. His music has been performed by violinist Liu
Xiao, Jenga Percussion Quartet, Talea Ensemble, NEXTET, Les Six, and Grammy Award-winning
conductor Charles Bruffy with his Kansas City Chorale.

During his undergraduate study, Ng was twice awarded the Yu-luan Shih Creativity Award of Chung
Chi College. He is a regional winner of SCI/ASCAP Student Composition Commission 2008. He also
won the Crescendo Choral Competition. Music festivals in which his music has been featured
include the Asia Pacific Festival, the Oregon Bach Festival, Nevada Encounter of New Music, the
CHASM Festival at Florida State University and Palatino Festival in Beijing.

Ng was also awarded the First Prize in the Chamber Music Composition Competition at UMKC and
the Max Di Julio Prize at the Nevada Encounter of Music. Recently, he was awarded the 2nd place
at the Beethoven Club/Belvedere Festival Composition Contest and was chosen as one of the four
participants in the EarShot/Pioneer Valley Symphony New Music Readings.

Ng’s compositions have been performed in different countries. His trio Sleepless City was
performed in New Zealand in 2006, and Four Rossetti’s Poems for soprano and piano received its
UK premiere in 2007. Beyond the Life for solo violin was performed in Beijing at Palatino Festival
2008.

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 躍 (2010) 伍華晞 (1982年生)

如何在這首諧謔曲似的作品中結合雙簧管和銅管樂器是一個很難處理的問題。作曲家首先
把雙簧管定為獨奏樂器，銅管樂只是伴奏。直到那深沉的中段時，兩組樂器才慢慢的結合，
樂曲最後在令人興奮的銅管樂演奏下結束。

* * *
伍華晞曾於香港中文大學音樂系就讀，獲文學士及音樂碩士學位，主修作曲，師承陳永華教
授和陳偉光教授，並於美國密蘇理州州立大學取得音樂博士學位，其老師包括陳怡、周龍、及
James Mobberley。

他的音樂曾經由本地和國際著名音樂家演出，包括中央音樂學院小提琴教授劉宵、格林美得
主Charles Bruffy、紐約Talea現代音樂室樂團、六秀士等。作品多次獲獎，並在香港、美國、
紐西蘭、英國及中國等地方演出。

The Night has Gone (2010) Victor Chan (b. 1959)

This is a new version of my earlier work Music for Eleven Instruments, in
which the ensemble is consistently divided into the string quartet, the
woodwind quartet, and the brass trio, with the interactions among the
three groups being the major element of interest. Great emphasis has
been given to exploring the subtly changing harmonic colours building on
the principle of conventional harmony. The mood of the music changes
accordingly, reminding people of the hope for a brighter tomorrow, as
suggested by the title of the piece.

* * *
Victor Chan is an active composer, conductor and contemporary music promoter. He has
produced over 200 works to date, ranging from opera, orchestral works, to numerous chamber
works, choral pieces and songs, many of which are published and released on CD.

Major works of him include commissions for the 1997 reunification, the 1997 WBG/IMF, the
Philharmonic Orchestra of Radio France, the 50th anniversary of the founding of the PRC, the
centenary of the Citigroup, and the 30th anniversary of the Hong Kong Philharmonic Orchestra.

Victor Chan served as vice-chairman of the Hong Kong Composers’ Guild for twelve consecutive
years since 1993. From 1997 to 2000 he was appointed Composer-in-Residence of the Hong Kong
Philharmonic Orchestra. In the year 1998, he was granted the ‘Ten Outstanding Young Persons
Award’. Victor Chan joined the Chinese University of Hong Kong in 1989 and was the former
Dean of General Education of the Chung Chi College. He is now serving as Professor at the Music
Department and Director of its MA Programme.

長夜不再 (2010) 陳偉光 (1959年生)

這是以早期作品「為十一件樂器而寫的音樂」為基礎的一個全新版本，樂曲有致地把十一件
樂器分為一隊弦樂四重奏、一隊木管樂四重奏、以及一隊銅管樂三重奏，三組的互動是主要
的趣味所在。樂曲也極強調在傳統和聲運用上，探索和聲色彩的微妙變化，樂曲的氣氛也就
隨著此種變化，相應地、緩慢地轉變起來，彷彿在黑夜中，漸漸看到黎明的曙光，長夜不再。

* * *
陳偉光是一位活躍的作曲家，亦積極從事現代音樂推廣。至今他已完成超過二百多個作品，
包括有歌劇、管弦樂曲、室樂作品、樂器獨奏曲、合唱及獨唱歌曲等，其中不少已出版及灌錄
成唱片。

8
陳偉光的主要作品以管弦樂居多，包括了應「九七回歸慶典」、「世界銀行及國際貨幣基金組
織年會」、「法國電台管弦樂團」、「中國建國五十週年慶典」、「花旗集團一百週年慶典」、及
「香港管弦樂團三十週年慶典」而委約的原創音樂。

陳偉光自1993年起連續十二年出任「香港作曲家聯會」副主席，並於1997至2000年獲委任為
「香港管弦樂團駐團作曲家」。1998年，他獲選「全港十大傑出青年」。自1989年至今，他一
直任教香港中文大學，並曾出任「崇基學院」通識教育主任，現為音樂系教授及文學碩士課
程主任。

Café Concertino (1984) Carl Vine (b. 1954)

Café Concertino revolves around a simple cycle of fifths. Although in a single
movement, the work contains four distinct sections. The first interprets the
series C-G-D-A-E-B as a C major tonality, and the following series (F#-C#-
G#-D#-A#-E#) as an F# major tonality. The complementary series of [Eb-Bb-
F-C-G-D] and [A-E-B-F#-C#-G#] give the remaining tonal centres of A and
Eb major respectively. This approach to fifths and the consequent tritones
(C-F#, Eb-A) continues through each section, with an emphasis on creating
tonal ambiguity through chord inversion and octave doubling. The tonal "centre" of the second
section is A, while in the third F# major and Eb minor are visited alternately. The final section is a
recapitulation centering on the tritone and its derivation from the cycle of fifths.

Although overtly academic in structure, Café Concertino gleans much of its gestures and materials
from chamber music of the last century, not always with due reverence.

Café Concertino was commissioned by the Australia Ensemble with assistance from the Music
Board of the Australia Council. It was first performed by the Australia Ensemble at the Queen
Elizabeth Hall, London, on the 16th November, 1984.

* * *
Carl Vine first came to prominence in Australia as a composer of music for dance, with over 20
dance scores to his credit. His catalogue now includes 6 symphonies, 4 concertos, music for
film, television and theatre, electronic music and numerous solo and chamber works. Although
primarily a composer of modern 'classical' music, he has undertaken tasks as diverse as arranging
the Australian National Anthem and writing music for the Closing Ceremony of the 1996 Atlanta
Olympics (the Sydney 2000 presentation).

Born in 1954 in Perth, Western Australia, he studied piano with Sephen Dornan and composition
with John Exton at the University of Western Australia. Moving to Sydney in 1975, he worked
as a freelance pianist and composer with a wide variety of ensembles, theatre and dance
companies. He has been resident composer with the Sydney Dance Company (1978), the London
Contemporary Dance Theatre (1979), the New South Wales State Conservatorium (1985), the
Australian Chamber Orchestra (1987) and the Western Australian University (1989).

In 1979 he was co-founder of the contemporary music ensemble Flederman, which specialised
in the performance of new Australian music and presented many of Carl's own works. He has
given the premiere performance of several Australian works for solo piano, and has appeared as
conductor and pianist in Europe, UK and the USA. From 1980 to 1982 he was Lecturer in Electronic
Music Composition at the Queensland Conservatorium of Music.

9
 咖啡室小協奏曲 (1984) 凡恩 (1954年生)

《咖啡室小協奏曲》以五音階的簡單循環為主軸，雖然樂曲為單章節，但卻有四個獨特的段
落，第一段以C-G-D-A-E-B音列來詮釋C大調作為主調，第二段以F#-C#-G#-D#-A#-E#的
音列來強調F#大調調性，其餘兩個輔助的音列[Eb-Bb-F-C-G-D] 及[A-E-B-F#-C#-G#]則分
別以A大調及Eb大調為重心。五度音程的處理及接著的「三全音音程」 (C-F#及 Eb-A) 貫穿
每個段落，透過轉位和弦及八度重奏來加強調性的含糊感。第二段的主調為A，第三段則為
F#大調與Eb小調的相間互動。最後一段是重現部，強調「三全音音程」及五度音程循環的重
現。

這作品的結構學術味雖然較濃，其素材與音樂意象卻源於上世紀的室樂作品，但也非一成不
變。

《咖啡室小協奏曲》由澳大利亞樂團在澳大利亞議會音樂理事會的資助下委約創作，並由該
樂團於1984年11月16日於倫敦伊麗莎白女王音樂廳作首演。

* * *
凡恩於澳洲以編寫舞蹈音樂而漸露頭角，其舞蹈作品超過20首。他亦曾創作6首交響曲及4首
協奏曲，其餘包括電影、電視及戲劇配樂、電子音樂，以及獨奏及室樂作品。他的作品雖然以
現代「古典」音樂為主，不過其風格多樣化，他亦曾改編澳洲國歌，以及為1996年亞特蘭大奧
運閉幕禮2000年悉尼奧運前瞻環節編寫音樂。

凡恩1954年生於西澳洲的柏斯。他於西澳洲大學分別隨Sephen Dornan及John Exton學習

鋼琴及作曲。1975年他遷居悉尼，並為多個樂團、戲劇及舞蹈團擔任特約鋼琴師及作曲家。
他亦曾為以下機構擔任駐團作曲家，包括悉尼舞蹈團 (1978)、倫敦當代舞蹈團 (1979)、新南
威爾斯省音樂學院 (1985)、澳洲室樂團 (1987) 及西澳大學 (1989)。

1979年他成為當代樂團Flederman的聯合始創人，該樂團主力演奏澳洲新音樂，當中包括不
少由凡恩編寫的作品。他曾首演多首澳洲鋼琴獨奏作品，並曾於歐洲、英國及美國擔任指揮
及鋼琴獨奏。1980至1982年，他於昆士蘭音樂學院出任電子音樂作曲的教授。

Vortex Temporum (1995) Gérard Grisey (1946-1998)

The title Vortex Temporum indicates the beginning of a system of rotation,
repeated arpeggios and their metamorphosis in various transient
passages. There are three basic original events - a sinusoidal wave - and
two continuous events, an attack with or without resonance as well as
a sound held with or without crescendo. There are three various spectra:
harmonics, 'stretched disharmonics' and 'compressed disharmonics'; three
different tempos: basic, more or less expanded, and more or less contracted.
These are the archetypes that guide Vortex Temporum.

The piano used in the work is tuned a quarter tone lower, which changes the sound of the
instrument, at the same time facilitating the integration within micro-intervals, which are essential
in this work.

The three portions of the first part, dedicated to Gérard Zinsstag, develop three aspects of the
original wave: the sinusoidal wave (vibration formula); the square wave (dotted rhythm) and the
jagged wave (piano solo).

The second part, dedicated to Salvatore Sciarrino, approaches the same material in expanded

10
time. Initial Gestalt appears here only once, spreading throughout the entire part. I tried here to
create the feeling of the confused speed inside the slow tempo.

Part three, dedicated to Helmut Lachenmann, introduces a long process allowing the creation of
interpolation, which appears between the various sequences. Continuity gradually establishes,
and expands, finally becoming a kind of widely conceived projection of the events from the first
part.

Short interludes are planned between the parts of Vortex Temporum. A few breaths, noises
and discrete noises colour the awkward silence, and even the discomfort of the musicians and
listeners, who hear their own breathing between the parts.

Vortex Temporum was commissioned by the French Ministry of Culture, Ministerium für Kunst
Baden-Würtemberg and the Westdeutsche Rundfunk Köln, at the special request of 'Ensemble
Recherche'.
~ Gérard Grisey

* * *
Gérard Grisey was born in Belfort on June 17th, 1946. He studied at the Trossingen Conservatory
in Germany in 1963-65 before entering the Conservatoire National Supérieur de Musique in Paris,
where he won prizes for piano accompaniment, harmony, counterpoint, fugue and composition.
During this period, he also attended Henri Dutilleux's classes at the Ecole Normale de Musique
(1968), as well as summer schools at the Accademia Chigiana in Siena (1969), and in Darmstadt
with Ligeti, Stockhausen and Xenakis in 1972.

He was granted a scholarship by the Villa Medici in Rome from 1972 to 1974, and in 1973 founded
a group called L'Itinéraire with Tristan Murail, Roger Tessier and Michael Levinas, later to be joined
by Hugues Dufourt. Dérives, Périodes and Partiels were among the first pieces of spectral music.
In 1974-75, he studied acoustics with Emile Leipp at the Paris VI University, and in 1980 became
a trainee at the I.R.C.A.M. In the same year he went to Berlin as a guest of the D.A.A.D. He was
professor of theory and composition at the University of California at Berkeley in 1982-86. After
returning to Europe, he taught composition at the Conservatoire National Supérieur de Musique
in Paris, and held numerous composition seminars in France (Centre Acanthes, Lyon, Paris) and
abroad (Darmstadt, Freiburg, Milan, Reggio Emilia, Oslo, Helsinki, Malmö, Göteborg, Los Angeles,
Stanford, London, Moscow, Madrid, etc.). Gérard Grisey died in Paris on 11 November 1998.

Among his works, most of which were commissioned by famous institutions and international
instrumental groups, are Dérives, Jour, contre-jour. Tempus ex machina, Les Chants de l'Amour,
Talea, Le Temps et l'écume, Le Noir de I'Etoile, L'Icône paradoxale, Les Espaces Acoustiques (a
cycle consisting of six pieces), Vortex Temporum and Quatre chants pour franchir le seuil.

時間的漩渦 (1995) 里塞 (1946-1998)

《時間的漩渦》這命題描述一旋轉體系的開始，在不同的音樂段落中加入重覆及其蛻變。作
品運用了三個原型：一組正弦曲線波及兩類持續音樂型態、另一組時有時沒有共鳴的擊打音
嚮，及一種或可漸強與否的聲音。另外尚有三組聲譜：和弦、延伸的不協調和弦及壓緊的不協
調和弦；三組不同節奏式：基本、稍作擴大及稍作收縮。這些就是《時間的漩渦》的原型。

用以演奏此曲的鋼琴，比正常調低了1/4音，除改變了樂器的音色外，更提供了微音程整合的
方便，於作品中極為重要。

第一部份反分三段，題獻給Gérard Zinsstag，以原來的音波型作發展：正弦波 (振動公式)；

矩形波 (點陣節奏) 及鋸齒狀波 (鋼琴獨奏)。

11
 第二部份，題獻給Salvatore Sciarrino，以擴張的時間觀來處理同樣素材。最初的原型只出現
一次，但伸展至整個部份，我嘗試於慢節拍中製造令人迷惑的節奏。

第三部份，題獻給Helmut Lachenmann，引出一個延長的過程，從而容許於不同的系列中製
造插補。持續性續漸形成並擴展，最後變成第一部素材的化身。

《時間的漩渦》的不同部份之間有短暫的停頓。呼吸聲、雜音及互不相連的聲音讓令人困窘
的靜寂，甚至利用段與段之間演奏家與聽眾聽到自己的呼吸聲所感到的不安來增強音樂的色
彩。

《時間的漩渦》獲法國文化部、巴登符騰堡文化部及科隆的西德廣播公司所委約，特別為
Recherche樂團而作。

~ 里塞

* * *
里塞1946年6月17日生於貝爾福，於1963-65年入讀德國特洛辛根音樂學院，其後於巴黎的
國家高等音樂學院進修，於該校他曾贏得鋼琴伴奏、和弦、對位法、賦格曲及作曲等的獎項
(1968-72年梅西安授課)。期間，他亦曾於巴黎音樂師範學院隨杜迪耶學習 (1968)，參加意
大利西恩那的奇吉阿那學院的暑期課 (1969)，及於1972年於達姆施塔特隨利格特、斯托克
豪森及塞納基斯學習。

里塞於1972至74年贏得羅馬梅迪奇獎學金。於1973年與穆海勒、特西爾及列維納斯組成
L'Itinéraire，其後再獲杜佛特加入。他的《Dérives》、《Périodes》及《Partiels》為最早期
的音譜作品。1974-75年，他於巴黎第六大學隨利柏學習音響學，1980年成為I.R.C.A.M.的
實習生，同年獲D.A.A.D.邀請進行實習，其後於1982-86年在加州柏克萊大學擔任理論及作
曲系教授。回歐洲之後至1987年，他於巴黎國家高等音樂學院教授作曲，並曾舉行多個作曲
論壇，地點遍及法國 (Centre Acanthes、里昂、巴黎)、及國外 (達姆施塔特、費雷堡、米蘭、
雷焦艾米利亞、奧斯陸、赫爾辛基、馬爾默、哥德堡、洛杉磯、史丹佛、倫敦、莫斯科、馬德里
等)。里塞於1998年11月11日於巴黎去逝。

他的作品大部份由著名機構及國際演奏團體所委作，作品包括D é rives, Jour, contre -

jour. Tempus ex machina, Les Chants de l'Amour, Talea, Le Temps et l'écume, Le Noir
de I'Etoile, L'Icône paradoxale, Les Espaces Acoustiques (六首作品的組曲), Vortex
Temporum and Quatre chants pour franchir le seuil.

Programme notes provided by the composers.

樂曲介紹由作曲家提供。

12
Hong Kong Composers’ Guild
Honorary Presidents : Prof. David Gwilt, Prof. Doming Lam
Honorary Members : Prof. Lin Sheng-shih, Prof. Hwang Yau-tai, Mr. Yan Huichang BBS
Founding Chairman : Prof. Richard Tsang
Former Chairman : Prof. Chan Wing-wah JP
Honorary Auditor : Mr. Eric Mok
Honorary Legal Advisor : Mr. Arthur Ho

Council
Chairman : Dr. Joshua Chan
Vice-chairman : Dr. Lo Hau-man
Secretary (Administration) : Dr. Ada Lai
Secretary (Membership) : Dr. Joyce Tang
Treasurer : Dr. Ng Chun-hoi
Directors : Dr. Cheung Pui-shan, Mr. Hui Cheung-wai, Dr. Lai Sheung-ping, Dr. Mui Kwong-chiu,
Mr. Tang Man-ngai, and Mr. Tsang Yiu-kwan

Founded in 1983, the Hong Kong Composers’ Guild is a professional association of serious composers with objectives
to promote and cultivate music composition in Hong Kong. Apart from organizing concerts, publishing scores and
producing recordings of works by Hong Kong composers, the Hong Kong Composers’ Guild also takes an active
part in arousing interest in composition especially amongst youths and in developing music as a vital creative art
form in Hong Kong. Organizing composition competitions and sending composers to the community and schools
are its regular activities. The Guild works closely with professional musicians and institutions in not just concert
performances, but orchestration workshops, field trips, forum, commissions, and community services. It has also
established strong links with many international organizations and has played a significant role in international music
exchanges.

Apart from being the Founding Member of the Asian Composers’ League, the Hong Kong Composers’ Guild is
a National Section of the International Society for Contemporary Music. It also co-operates with RTHK to send a
composer as representative to the International Rostrum of Composers organized by UNESCO in Paris each year.
The Guild’s predecessor is the Hong Kong Section of the Asian Composers' League which was founded in 1973. With
the leadership of the former and present Chairmen Doming Lam (1973-1983), Richard Tsang (1983-1993), Chan Wing-
wah (1993-2004) and Joshua Chan (2004-), the Guild has hosted the following cultural events which have contributed
significantly to the musical development of Hong Kong:

1973 The First Asian Composers’ League Conference/Festival

1981 The Seventh Asian Composers’ League Conference/Festival
1986 The First Contemporary Chinese Composers' Festival
1988 ISCM-ACL World Music Days Festival 1988
1989 - present New Generation – Student Composers’ Showcase
1990 & 1991 New Music Hong Kong Concert Series
1990 - present Schools Creative Music Showcase
1992 - present Musicarama – International Contemporary Music Festival
1999 - 2001 Creative-music Making Workshops
2001/02 The ISCM World Music Days 2002 Contemporary Music Education Campaign
2002 ISCM World Music Days Festival 2002
2003 2003 Chinese Composers’ Festival
2005/06 Tsuen Wan Town Hall Artist-in-Residence Project: Interactive Composition Workshops and Concert
Series
2006/07 Tsuen Wan Town Hall Programme Partnership Scheme Project: Understanding Composition and
Contemporary Music
2006 - 2008 2007 ISCM-ACL Music Creativity Education Campaign
2006 - 2008 Cadenzas of Hong Kong – Hong Kong Chinese Orchestra commissions, field trips in Guangdong,
orchestration workshops for composers
2007 Creative Music Contest for Composition-cum-Performing Groups
2007 ISCM-ACL World Music Days Festival 2007
2008 Vocal Music Development Symposium
2008 Hong Kong Central Library Exhibition: From Tradition to Innovation: The Vitality of Modern Music
Composition in Hong Kong
2008 Composition Workshop with Ensemble Modern
2008/09 LCSD School Arts Animateur Scheme Project: Creative Sounds and Creative Music
2009 Young Composers Programme
2009/10 LCSD School Arts Animateur Scheme Project: Creative Music with Individulity
2009 - 2011 Experiencing Composition and Contemporary Music: A Series of Interactive Workshops, Training
Classes, and Concerts facilited by Hong Kong Composers

With its outstanding track record of musical contribution, the Hong Kong Composers’ Guild is highly respected by
the international community of composers. Besides having Hong Kong composers' works frequently featured in
international music festivals, the Guild’s Honorary President Doming Lam was named the ISCM Honorary Member in
2007. Its Founding Chairman Richard Tsang was elected as the ISCM President in 2002 and 2005. Its present Chairman
Joshua Chan was elected as the ACL Chairman in 2007 and 2009. The Guild's former Chairman Chan Wing-wah also
served the ACL as the Vice-Chairman and Executive Committee member on various occasions.

The daily operations of the Guild have been carried out with voluntary services by its council members who are
elected once every 2 years. In order to ensure the best financial accountability, the Hong Kong Composers’ Guild, as
a non-profit-making organization, has registered as a company limited in 2001. In July 2010, the Guild has been given
the first time an One-year Grant by the Hong Kong Arts Development Council, which would enable the Guild to hire a
part-time staff and rent a small office.
13
 名譽會長 ： 紀大衛教授、林樂培教授
名譽會員 ： 林聲翕教授、黃友棣教授、閻惠昌先生 BBS
創會主席 ： 曾葉發教授
前任主席 ： 陳永華教授JP
名譽會計師 ： 莫境堂先生
名譽法律顧問 ： 何劍雄先生

現任理事會
主席 ： 陳錦標博士
副主席 ： 盧厚敏博士
秘書（行政） ： 黎雅婷博士
秘書（會員事務） ： 鄧慧中博士
財政 ： 吳俊凱博士
理事 ： 張珮珊博士、許翔威先生、黎尚冰博士、梅廣釗博士、鄧文藝先生、曾耀君先生

香港作曲家聯會成立於1983年，是本地嚴肅音樂作曲家為培育及推介音樂創作而成立的一個專業組織，現
有超過90名會員。除定期舉辦新作品音樂會、出版樂譜及唱片錄音外，香港作曲家聯會更致力提高大眾、特
別是青年人對作曲的興趣，及在香港將音樂作為一種極為重要的創意藝術來推動其各方面的發展。香港作曲
家聯會已經與許多國際組織建立緊密的聯繫，並在國際現代音樂交流方面擔當一個非常重要的角色。

香港作曲家聯會除了是亞洲作曲家同盟創會成員國（地區）外，也是國際現代音樂協會的會員國（地區）。香
港作曲家聯會更與香港電台合作，每年派出一名作曲家代表香港出席巴黎舉行的聯合國文教科學組織「國
際作曲家論壇」。香港作曲家聯會的前身是成立於1973年的亞洲作曲家同盟香港分會。在歷任主席林樂培
（1973-1983）、曾葉發（1983-1993）、陳永華（1993-2004）及陳錦標（2004-）的領導下，聯會共在香港主
辦了以下多項音樂盛會。這些活動對推動香港的音樂發展作出了顯著的貢獻。

1973 第一屆亞洲作曲家同盟會議及音樂節
1981 第七屆亞洲作曲家同盟會議及音樂節
1986 第一屆中國現代作曲家音樂節
1988 國際現代音樂協會世界音樂日暨亞洲作曲家同盟會議及音樂節
1989至今 音樂新一代：青年作曲家作品匯演
1990及1991 香港音樂新環境音樂會系列
1990至今 學校音樂創藝展
1992至今 音樂新文化：國際現代音樂節
1999至2001 學校音樂創意研習系列
2001/02 國際現代音樂協會世界音樂日前奏：學校「現代音樂教育推廣計劃」
2002 國際現代音樂協會世界音樂日
2003 2003華人作曲家音樂節
2005/06 荃灣大會堂藝術家駐場計劃：「互動作曲工作坊與示範音樂會系列」
2006/07 荃灣大會堂節目夥伴計劃：「作曲與現代音樂多面體」
2006至2008 2007年香港國際—亞太現代音樂節「音樂創意推廣計劃」
2006至2008 香江華采：香港中樂團委約創作、潮汕惠深采風、作曲家配器工作坊
2007 創作兼演出組合音樂大賽
2007 2007年香港國際—亞太現代音樂節
2008 聲樂發展研討會：20世紀下半葉聲樂發展概況
2008 香港中央圖書館展覽：「從傳統到創新：香港現代音樂創作的生命力」
2008 德國現代合奏團作曲工作坊
2008/09 康文署學校藝術培訓計劃：「創意聲響與創意音樂」
2009 青年作曲家工作坊
2009/10 康文署學校藝術培訓計劃：「個性化的創意音樂」
2009至2011 作曲與現代音樂實踐及表演系列

建基於其出色的工作及對推動音樂的積極貢獻，香港作曲家聯會多年來得到國內及國外作曲界朋友的充份
認可。除了很多香港作曲家的作品在外地多個重要音樂節及無數音樂會中得到選演外，本會名譽會長林樂培
更於2007年獲選為國際現代音樂協會名譽會員；本會創會主席曾葉發於2002年及2005年獲選為國際現代
音樂協會的主席；本會現任主席陳錦標於2007年及2009年獲選為亞洲作曲家同盟的主席。本會前任主席陳
永華也曾於不同時期擔任亞洲作曲家同盟的副主席及執行委員會成員。

香港作曲家聯會每兩年選舉一次，日常事務均由各理事會成員義務處理。為能確保具備最佳的財政問責，聯
會作為一個非牟利團體於2001年註冊成為「香港作曲家聯會有限公司」。2010年7月起，香港作曲家聯會獲
香港藝術發展局一年資助。

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