Category Archives: Chamber Ensemble

Zerstreutes Hinausschaun 《窗前恍惚》 (2017)

for soprano saxophone, alto saxophone and orchestra (or piano) premiered by Timothy Sun, Hugo Loi and Macau Youth Symphony Orchestra in Macau Cultural Centre, 1 January, 2018. Programme Notes The work “Zerstreutes Hinausschaun” (Absent-minded Window-gazing), written for soprano saxophone, alto

Zerstreutes Hinausschaun 《窗前恍惚》 (2017)

for soprano saxophone, alto saxophone and orchestra (or piano) premiered by Timothy Sun, Hugo Loi and Macau Youth Symphony Orchestra in Macau Cultural Centre, 1 January, 2018. Programme Notes The work “Zerstreutes Hinausschaun” (Absent-minded Window-gazing), written for soprano saxophone, alto

《裊雄說》The Emperor’s Soliloquy (2017)

for alto saxophone and guitar The Emperor’s Soliloquy, for alto saxophone and guitar, premiered by Rosetta Contemporary Ensemble (Japan) in Kyoto Art Center, 12 February, 2018.

《裊雄說》The Emperor’s Soliloquy (2017)

for alto saxophone and guitar The Emperor’s Soliloquy, for alto saxophone and guitar, premiered by Rosetta Contemporary Ensemble (Japan) in Kyoto Art Center, 12 February, 2018.

Urban Construction (2017)

Urban Construction, for 2 vibraphones, 2 marimba and a dancer, Amphitheatre, HKAPA, presented by Toolbox Percussion, 8 October, 2017. Programme Notes Inspired by Kafka’s short story “On the Tram”, “Urban Construction” depicts the sense of helplessness of people who lives in

Urban Construction (2017)

Urban Construction, for 2 vibraphones, 2 marimba and a dancer, Amphitheatre, HKAPA, presented by Toolbox Percussion, 8 October, 2017. Programme Notes Inspired by Kafka’s short story “On the Tram”, “Urban Construction” depicts the sense of helplessness of people who lives in

《鷹眼》Wind Quintet No.1: Eagle Eyes (2016)

For wind quintet – flute, oboe, clarinet in Bb, horn and bassoon Premiered in Auditorium, Maggagno, Italy on 10 July, 2016 (simplified version) Performed by Mirna Ackers, Helmke Jansen, Jelmer de Moed, Banri Hoshi and Joseph Betts in Leeuwenbergh Church,

《鷹眼》Wind Quintet No.1: Eagle Eyes (2016)

For wind quintet – flute, oboe, clarinet in Bb, horn and bassoon Premiered in Auditorium, Maggagno, Italy on 10 July, 2016 (simplified version) Performed by Mirna Ackers, Helmke Jansen, Jelmer de Moed, Banri Hoshi and Joseph Betts in Leeuwenbergh Church,

String Quartet No.5: Time Motor (2017)

String Quartet No.5: Time Motor, for string quartet, performed by Mivos Quartet, 8 July, 2017, Auditorio del Conservatorio Superior “Joaquín Rodrigo”, Valencia, Spain. Programme Notes “Time Motor” is inspired by the concept of time perception, which refers to the subjective

String Quartet No.5: Time Motor (2017)

String Quartet No.5: Time Motor, for string quartet, performed by Mivos Quartet, 8 July, 2017, Auditorio del Conservatorio Superior “Joaquín Rodrigo”, Valencia, Spain. Programme Notes “Time Motor” is inspired by the concept of time perception, which refers to the subjective

《為》String Quartet No.1: BE (2015)

For string quartet Premiered in Kaohsiung City Music Hall on 7 May, 2015. Performed by Lee Shi Mei, Siew Yi Li, Jonathan Lee and Dylan Lee in Recital Theatre, The Esplanade on  8 December, 2015 during 1st Singapore Asian Composers

《為》String Quartet No.1: BE (2015)

For string quartet Premiered in Kaohsiung City Music Hall on 7 May, 2015. Performed by Lee Shi Mei, Siew Yi Li, Jonathan Lee and Dylan Lee in Recital Theatre, The Esplanade on  8 December, 2015 during 1st Singapore Asian Composers

《合》Fuse (2016)

For erhu, harmonica and harp Commissioned by Yao Yue Chinese Music Association Premiered by Gordon Lee, Alex Lee and Isis Chao in JCCAC Black Box Theatre on 10 April, 2016. Programme Notes 為口琴、二胡及豎琴創作,是一個很大的挑戰。因為雖然已屆二十一世紀,但如此組合還是不常看到(或者根本未曾出現過),所以在樂樂國樂團委約之初,腦海裡根本沒有浮現任何聲響。後來,在創作過程中,考慮到既然各自的特色如此明顯,倒不如就把它們混合使用,例如以豎琴演奏具東方色彩的前奏、以二胡演奏西方古典音樂的音階、及運用口琴能吹奏和弦的特性,將三件樂器融為一體。這種將多元文化結合在一起的創作手法,正如作曲家所處的香港一樣,和而不同。

《合》Fuse (2016)

For erhu, harmonica and harp Commissioned by Yao Yue Chinese Music Association Premiered by Gordon Lee, Alex Lee and Isis Chao in JCCAC Black Box Theatre on 10 April, 2016. Programme Notes 為口琴、二胡及豎琴創作,是一個很大的挑戰。因為雖然已屆二十一世紀,但如此組合還是不常看到(或者根本未曾出現過),所以在樂樂國樂團委約之初,腦海裡根本沒有浮現任何聲響。後來,在創作過程中,考慮到既然各自的特色如此明顯,倒不如就把它們混合使用,例如以豎琴演奏具東方色彩的前奏、以二胡演奏西方古典音樂的音階、及運用口琴能吹奏和弦的特性,將三件樂器融為一體。這種將多元文化結合在一起的創作手法,正如作曲家所處的香港一樣,和而不同。