For Chinese orchestra 為中樂團而作
10 min.
World premiere: Hong Kong Chinese Orchestra; Hippocrates Cheng, overtone singing soloist; Chew Hee Chiat, conductor, 13 May 2017, HKCO Recital Hall, HK
世界首演: 香港中樂團; 鄭靖楠, 泛音詠唱; 周熙杰, 指揮, 2017年5月13日, 香港中樂團演奏廳, 香港
Programme note
In spite of its small size, Hong Kong is a metropolis that brings together East and West. In writing The Walled City for the Hong Kong Chinese Orchestra, I tried to take a revolutionary approach that would depict modern Hong Kong, through creating concrete images of Chinese and Western music cultures and blending them in an orchestral voice. New compositional techniques and orchestration in both Chinese and Western music are used to highlight the timbre and characteristic of each Chinese musical instrument, which may be likened to projecting the characterful voice of each and every HongKonger coming from diverse backgrounds. In this piece, the musical instruments no longer retain their traditionally assigned roles; each is a protagonist, just like every individual person in the community of Hong Kong, and each is indispensable. Special acoustic effects are used in some instruments to add interest to the iconic images of Hong Kong.
Towards the middle part, there is an interactive passage realized by orchestral panning. Launched by the conductor and responded by the musicians, a dynamic, three-dimensional sound effect is achieved. Then it comes an overtone singing passage (sung by me the composer), which is delivered in an impromptu contrapuntal run with the orchestra. The purity of voice as an instrument aims to be a cleansing, soothing spray on the irritated, stressed-out souls of the HongKongers. As the music moves into the last section, the primitive sounds and forthright character of the traditional instruments are given full play in a rhythmic showcase of corralled cacophony, finally settling into an impressive oneness in form.
I hope the audience will be inspired to engage in a whole new perspective of their own Walled City when listening to this piece.
中段加插了一個互動環節 (orchestral panning),由指揮策劃,與樂手互動和製造立體音聲的效果。中末段更加設了一個特別環節,由呼麥演唱者 (作曲家本人) 在樂隊襯托下呼麥即興 (overtone singing),運用呼麥唱出自然泛音,與其他樂器產生共鳴,更猶如洗滌港人煩躁的心靈,在城市中的一口清泉。末段運用極端和富節奏感的創作手法,以傳統樂器原始、爽直的音色和姿態,造成百家爭鳴,各有千秋又同時渾然一體的效果。


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