President’s Words

Welcome to Hong Kong Youth Choir’s Winter Concert 2016, “A Choral Panorama – The Local Sound”.

In the second half of 2015, we completed the J. S. Bach Lutheran Mass Series, Magnificat by Cecilia McDowall and

Gospel Magnificat by Robert Ray. Now we put ourselves even deeper in the contemporary period by singing choral

works composed by local composers in Hong Kong.

One of the missions of HKYC is to provide a platform for young people in Hong Kong, not necessarily

majoring in voice or music, to learn and sing choral music from different periods. Indeed, the music in this

concert gives our singers new experience in contemporary music and it requires us to think about the whole

picture in the beginning of every piece so as to create the right atmosphere for conveying the underlying

messages to the audience.

I would like to take this opportunity to thank all of you for your continuous support to Hong Kong Youth

Choir and I hope to see you again in our next concert, A Midsummer Night’s Broadway, on 17th July 2016 in the

Concert Hall of Hong Kong Cultural Centre.

Jason Tang

President

Hong Kong Youth Choir

Program

Love Song/Reminiscence CHAN Wing-wah

Songs from “Shijing” Victor CHAN

Fuyi

Jigu

Caige

Five Folk Songs for Frolic arr. Daniel LAW

Speak of Huangdi

The School Boy

Song of the Wagon Driver

The Region Beyond

The Red Ribbon Gal

The War Bridge Doming LAM

Hong Kong Youth Choir

Music Director: Christopher CHENG

Baritone: Alex CHEN

Piano Accompanists: Cynthia CHAN, Sharon CHENG

Guest Choir: Aqua Voice

House Rules Dear Patrons,

In order to make this performance a pleasant experience for the artists and other members of the audience,

please refrain from recording, filming, taking photographs, and also from smoking, eating or drinking in the hall.

Please ensure that your mobile phones and other sound and light emitting devices are switched off before the

performance. Thank you for your kind co-operation.

Program Notes

Love Song/Reminiscence CHAN Wing-wah

(b. 1954)

The Composer

Professor Chan Wing-wah is a composer and conductor whose music compositions include 8 symphonies, other

orchestral and chamber works, choral music, children songs, etc. 7 Symphonies were on CD by Hugo

Productions, full scores of two symphonies were published by People’s Music Publishing House, Beijing. His

music has been regularly performed here and in overseas. He regularly conducts both Chinese and western

orchestras and choirs. The HK Government appointed him Justice of the Peace in 2000. He was invited to

become a member of the Chinese Musicians Association in 2009. He has received composition awards from

USA, Japan and Mainland China. Locally he was awarded Artist of the Year and Outstanding Young Person’s

Award. His biography is included in the New Grove Dictionary of Music & Musicians Online.

Chan graduated from the Chinese University of Hong Kong, later received Master and Doctor of Music degrees

from the University of Toronto on a Commonwealth Scholarship. He had been Professor of Music and

Associate Dean of Arts at the Chinese University of Hong Kong. He is now Deputy Director at the School of

Professional and Continuing Education, The University of Hong Kong (HKU SPACE). He is also Chairman of

the Composers and Authors Society of HK and Music Director of the Hong Kong Oratorio Society.

The Music

The original version of Reminiscence, written for Madam LI Bing when she was making a recording of Chinese

love songs, is a collaborated work written by Sonia NG and CHAN Wing-wah.

The version dedicated to Madam LI belongs to the genre of Art Song. It bloomed in the Romantic Period

(nineteenth century) Germany and is a vocal genre to be performed by a voice and a piano which they share

equal importance. Words are usually chosen from a pre-existing poem before the composition of music. The

piano part may reflect the mood of the poem and the poetic imagery.

NG wrote the lyrics after a gathering in the Chinese University of Hong Kong, singing oldies like Song of the

Great Wall (《長城謠》), O Mother Country of Mine (《我的祖國》) and The Never Setting Sun Has Risen above the

Grassland (《草原上升起不落的太陽》). To the university students in the 70’s, China was close yet detached and

students were dreaming of it. Songs about relationships between China and students could be like love affairs.

Dreams and sentiments might have been broken and forgotten, yet the youthfulness of students was so

adorable.

Reminiscence employs Chinese pentatonic scale and is in through-composed form, in which open fifths, parallel

chords and octaves are easily found.

The most noticeable difference between the solo and choral version is the harmonic and textural supports

provided by the accompanying voices. After the improvisatory introduction, tenor introduces the opening theme.

Soprano doubles the opening theme in its second appearance with harmonic and textual supports, later

reinforced by the lower voices. The music is then changed into 4/4 time with more changes in textures. One

may observe that voices often join in the middle of a phrase after its announcement. The work finishes with

moving eighth notes in inner parts to echo the intention of the moving piano part in the beginning.

The Lyrics

吐露凝波，春來曉霧重；

鞍山縹緲，雲擁江峰迷濛。

已迷濛，憶縱酒，狂歌少年夢；

夢到長城飛渡，夢出陽關千里，

黃河九曲水迢迢，寒山寺冷，鐘聲暖客心，

南國草長，遊子總多情。

喝一口長江水，拾一片香山如血丹楓，

披一身江南煙雨。野遊夢重尋，誰相共？

輕歌攜手與君從！

The languid waters of Tolo Harbour, the dense morning

vapour of spring;

The misty contours of Ma On Shan, the engulfing clouds

obscure.

In the clouds we recall the days of carouse and boyish

dreams.

We dreamed of flying over the Great Wall, a thousand

miles from Yangguan.

The Yellow River meandered and stretched far across; the

shivering travelers’ hearts warmed by the chiming bells

of Hanshan Temple.

The long grass of the Southern meadow stirred the

wanderers’ sentiments.

Take a drink from the Yangtze River, pick up a red maple

leaf from Xiangshan,

wear a coat of Jiangnan's rain and mist. We shall wander in

the wild and chase after our dream again, who shall go

with me?

I sing softly and take your hand, and you shall go with me.

Songs from “Shijing” Victor CHAN

(b. 1959)

The Composer

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.

From 1997 to 2000, Victor Chan was appointed 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, having served as Professor in Composition, Dean

of General Education and Head of the Chung Chi College.

(Personal Homepage: http://victorchan.hk)

The Music

Songs from “Shijing” performs in the form of a series of choral miniatures. The set consists of three different

items taken from the ancient Chinese Book of Songs and the context of the passages is about lives of ancient

Chinese. Piano accompaniment is used throughout the piece as to provide harmonic supports (and often

doublings) to the choir. Extended chords are always found to add harmonic flavors. Changes in configuration

can be found in the set: “Fuyi” is scored for soprano I, II and alto; “Jigu” is scored for tenor I, II and Bass;

while “Caige” is scored for an SATB choir.

The Lyrics

《詩經》是中國最早的詩歌總集，收入自西周初年至春秋中葉五百多年的歌謠作品和宗廟樂章共三百

零五篇，又稱《詩三百》。內容分為風、雅、頌三大類，為中國文學總集之祖，代表當時北方文學。《風》

又稱《國風》，共十五組，大多數為來自不同地域的民間詩歌。《雅》共一百零五篇，分為《大雅》三

十一篇及《小雅》七十四篇；前者為上朝與盛會之樂，後者則為宴請賓客所奏的音樂，內容多以政治

為題材。《頌》是宗廟祭祀詩歌，在演奏時要配以舞蹈，共四十篇。

Shijing, also known as the Book of Odes (or Book of Songs), is the oldest existing collection of Chinese poetry,

comprising 305 works dating from the 11th to 7th centuries BC. The content of the Book can be divided into

three main parts: Feng (Airs of the States), Ya (hymns) and Song (eulogies). Feng, 15 groups in total, are shorter

lyrics in simple language that are generally ancient folk songs recording the voices of the common people. Ya

(105 pieces) and Song (40 pieces) tend to be longer ritual and sacrificial songs, the former are usually in the forms

of courtly panegyrics and dynastic hymns praising the founders of the Zhou dynasty, while the latter are used in

sacrificial rites and songs used by the aristocracy in their sacrificial ceremonies, performed with dance

movements.

《詩經·國風·周南·芣苢》

這是一首充滿南國風味、洋溢濃郁生活氣息的民歌。詩歌以對一群女子看見滿山芣苢（即車前子）而

採之的描寫，展現了中國古代盛世時期女子的平和之美。古時，有說婦人食用車前子對懷孕及生子有

莫大裨益，因此她們會不時上山採摘回家備用。而盛世之間，已婚婦女相約採果，哼著輕快的勞動歌，

可見其生活恬靜而悠然自得。

“Fuyi”

This piece served as a vivid description of lives in the Southern kingdoms. By portraying a group of young

women picking fuyi (plantains) up on a hill, the writer presented the gentleness and grace of young ladies during

the flourishing ages. Women in ancient times believed that fuyi is a magical kind of plant, and would be

conducive to pregnancies, especially giving birth to boys. They would then go uphill frequently and gather the

plant for household uses. In halcyon years, young women were calm and content; they went around together

singing songs of the commons.

芣苢

采采芣苢，薄言采之。

采采芣苢，薄言有之。

采采芣苢，薄言掇之。

采采芣苢，薄言捋之。

采采芣苢，薄言袺之。

采采芣苢，薄言襭之。

Fuyi

Gathering plantain, here we go plucking it;

Gathering plantain, here we go plucking it.

Gathering plantain, quick fingers strip it;

Gathering plantain, by handfuls pull it.

Gathering plantain, here we fill skirts with it;

Gathering plantain, belt up full skirts!

《詩經·國風·邶風·擊鼓》

此詩描寫兵士久戎不得回家之情，按時間順序寫軍人出征南行，戰後遲遲未能歸家之苦，再寫當初與

親人執手別離相約再見的回憶。有人評此為一首反戰詩，它通過遠征將士之口，控訴無休止的兵役為

人民帶來的災難，以及有家歸不得的無奈。而詩中名句「死生契闊，與子成說／執子之手，與子偕老」

則成了傳世的經典誓言。

“Jigu”

A soldier serving near the border of two states possibly wrote this poem. He wrote about the expedition, and

the anxiety of losing his life and never going back home. Amidst all the mess and desperation, he looked back

on his own elated moments when his family bade him farewell and vowed for reunion. Critics judged this piece

as an anti-war poem. The poet questioned the evitable disasters to the people in wartime, and bespoke the

anguish of longing for home. The famous lines from the poem, on the other hand, serves as the legendary

marriage vow for two thousand years:

For life or for death, however separated, to our wives we pledged our word.

We held their hands; We were to grow old together with them.

擊鼓

擊鼓其鏜，

踴躍用兵。

土國城漕，

我獨南行。

從孫子仲，

平陳與宋。

不我以歸，

憂心有忡。

爰居爰處？

爰喪其馬？

於以求之？

於林之下。

死生契闊，

與子成說。

執子之手，

與子偕老。

於嗟闊兮！

不我活兮！

於嗟洵兮！

不我信兮！

Jigu

Hear the roll of our drums!

See how we leap about , using our weapons!

Those do the fieldwork in the state, or fortify Cao,

while we alone march to the south.

We followed Sun Zizhong,

peace having been made with Chen and Song;

He did not lead us back,

and our despairing sorrowful hearts.

Here we stay, here we stop;

Here we lose our horses;

And we seek for them,

among the trees of the forest.

For life or for death, however separated,

to our wives we pledged our word.

We held their hands;

We were to grow old together with them.

Alas for our separation!

We have no prospect of life.

Alas for our stipulation!

We cannot make it good.

《詩經·國風·王風·采葛》

本篇以一句「一日不見，如三秋兮」而流芳，表現淒切的相思之情，但因當中具體內容隱晦，所以舊

說隨意性頗大。有說此為「懼讒」之作，表達官場上對讒言的不滿，亦有說此為懷友憶遠之詩。而近

人則多主戀歌說，透過融入葛、蕭、艾三種植物的生長特性，把對情人纏綿難捨、朝思暮想之情寫得

淋漓盡致。

“Caige”

This poem is best known for its pleading quote that reads:

I miss her whom I cannot see.

One day seems long as seasons three.

The yearning for reunion is apparent, yet the context has been so ambiguous that explanations are very diverse.

Some said this is a work for the officials to express their discontent about hearsays, while some reckoned it as an

ode to old friends and long-lasting companionships. Modern interpretations take this poem as a love song. The

poet wrote about their long hankering through illustrating the characteristics of the three ancient types of

plants.

采葛

彼采葛兮，

一日不見，

如三月兮！

彼采蕭兮，

一日不見，

如三秋兮！

彼采艾兮，

一日不見，

如三歲兮！

Caige

To gather vine goes she.

I miss her whom I cannot see.

One day seems longer than months three.

To gather reed goes she.

I miss her whom I cannot see.

One day seems long as seasons three.

To gather herbs goes she.

I miss her whom I cannot see.

One day seems longer than years three.

Five Folk Songs for the Frolic arr. Daniel LAW Ping-leung

(b. 1946)

The Arranger

For fifty years, the arranger of this piece, Daniel Law, has been renowned in the fields of composition,

conducting, musicology, architectural acoustics, music theory, church music and worship. He was the Dean of

Arts (2001-2007) and Professor in the Department of Music at the Chinese University of Hong Kong

(1976-2010). Academic pursuits led him to become, visiting scholar and visiting research professor of other

Universities abroad including the Department of Music at Harvard University (1984-85), Center for Research in

Acoustics and Music (CCRMA) at Stanford University (1991-92), University of California at Berkeley (1998) and

School of Theology at Boston University (2010-13). Throughout the years he was also engaged in many public,

academic and church related services. He is now a Senior Research Fellow and Adjunct Professor at the Chinese

University of Hong Kong. More than 80 chamber and symphonic works of Daniel Law have been

commissioned and publicly performed. The set of “Five Folk Songs for Frolic” represents the non-serious side

of the composer and he even wrote the humorous lyrics of the first song while studying the history of ancient

Chinese Music in 1966.

The Music

The arranger found the lack of entertaining choral pieces in his college years and he was motivated to arrange a

number of tunes. The set is the more performed among many such compositions and arrangements.

“Speak of Huangdi” was written when the composer was bored by studying ancient Chinese music history. With

the reference of his teacher WONG Wing-hee’s arrangement of Flower Song from Fengyang, he composed another

setting to the tune and made his own lyrics. Syncopated rhythm and chromatic harmony upon diatonic melody

characterize this number. The arranger arranged “The School Boy” as a response to his fellow classmates

missing classes. The origin of the tune is Guizhou and it is wildly sung, performed and arranged in Hong Kong.

Jumpy articulation, syncopated rhythm, vibrato in wide range and glissando are found in this setting. Only

soprano, mezzo-soprano and alto are employed.

The arranger was in a double male quartet and he composed the last three numbers for the group. On an

occasion of running-out of repertoire he arranged these three love-themed numbers. It was also the time when

one of the members was undergoing despair in his love affairs. “Song of the Wagon Diver” is in

modified-strophic form with a short introduction and coda. At most of the time, only one part of the four sings

the melody while others provide nonsense syllables as the accompanying figures, yet the texture changes

whenever the men sing “if you are to marry, do not marry someone else, you have to marry me” （你想要嫁人，

不要嫁給別人，一定要嫁給我。）. Irregular meter is found in the last appearance of the theme. Performances

of “The Region Beyond” were once forbidden because they were considered to put social morality at risks.

After the first statement of the theme, both tenor parts sing phrases like “face”, “sun” and “eye” in staccato

syncopations to echo the theme sung by baritone. Marked con spirito, “The Red Ribbon Gal” is a Suiyuan

Folksong. Unlike the previous numbers, most of the melodic elements are presented in chordal style with an

exception of an augmentation treatment of the theme in the middle.

話說黃帝

說黃帝，找蘆笛，

找著川竹作試驗。

一管切去三分一，

吹來鳳凰五度生。

鑄出黃鐘樂律鏗；

筑鎛鑼鼓箏，

簫琴磬笛笙，

叮噹，鐘鳴，

歡樂創作研譜調琴到五更。

話文王，尋詩經，

尋得「鹿鳴」伴旨酒。

作來周頌敬神靈，

唸風雅頌無憂愁。

窈窕淑女君好逑；

周曹唐齊秦，

魏鄭衛王陳，

詩詞，書評，

今古文明華夏禮樂教育囿。

讀書郎

小瑪小兒郎，

背著那書包上學堂，

不怕太陽晒，

不怕那風雨狂，

只怕先生罵我懶呀，

沒有學問咯，

回家無臉見爹娘。

馬車夫之歌

啲得，啲得，

大板城的石路又硬又平呀，

西瓜大又甜呀。

那裡住的姑娘辮子長呀，

兩個眼睛真漂亮！

妳要想嫁人，

不要嫁給別人，

一定要嫁給我。

帶著百萬錢財，

領著你的妹妹，

趕著那輛馬車來。

Speak of Huangdi

Speak of Huangdi, find the reed flutes,

bring those Sichuan bamboos and try them out.

Cut off one-third,

and play the old enchanting fifths.

Huangzhong is made, and the temperament sound.

Zhu, bo, luo, gu and zheng,

xiao, qin, qing, di and sheng (ancient Chinese musical instruments);

di-dang, as the bells ring, we compose music,

read the scores, tune our instruments till morning in joy.

Talk of King Wen of Zhou, search for the Book of Odes,

we got Luming for our fine wines.

Compose the Odes of Zhou to worship the gods;

always a pleasure reading feng, ya, song from Shijing.

A good young lad loves a maiden fair.

From Zhou, Cao, Tang, Qi, Qin,

to Wei, Zheng, Wei, Wang, Chen dynasties,

Poetries, critiques,

this is the spot where thousand years of rituals collide.

A Little Schoolboy

The little boy

Goes to school with his schoolbag

He's not afraid of a sunburn,

He's not afraid of rainstorms,

He's just afraid of the teacher calling him lazy,

He is ashamed to see his parents

if he doesn't learn anything.

Song of the Wagon River

di-de, di-de

Stony roads in Dabancheng are hard and flat,

watermelons big and sweet.

There live maidens with their long ponytails,

their liquid eyes so fair.

If you are to marry,

do not marry someone else,

you have to marry me.

Bring the million gold,

take your sister,

come along with the wagon.

在那遙遠的地方

在那遙遠的地方有位好姑娘，

人們走過她的帳旁，

都要回頭留戀的張望。

她那粉紅的小臉像紅太陽；

她那活潑動人的眼睛，

好像晚上明媚的月亮。

我願拋棄了財產

跟她去放羊，

每天看著那粉紅的小臉

和那美麗金邊的衣裳。

每天看著那粉紅的小臉，

我願做一隻小羊跟在她身旁，

我願她拿著細細的皮鞭，

不斷打在我身上。

紅綵妹妹

紅綵妹妹嗯唉嗨喲，

長得好那麼嗯唉嗨喲，

櫻桃小口嗯唉喲，

一點點那麼嗯唉嗨喲。

三月裡來桃花開，

我和妹妹成恩愛。

八月中秋月正圓，

想起了妹妹淚漣漣。

The Region Beyond

In the region beyond, there was a fair maiden.

Those who passed her by

would look back and linger around.

Her pinkish cheeks shimmered like the glorious sun,

her charming eyes the gleaming moon

in the night.

I would give up my property,

just to go grazing with her.

Everyday, I would just look at those pinkish cheeks,

and her pretty clothes with golden hemline.

Everyday, I would look at her face,

wishing I were a sheep running by her side,

and that in her hand a thin small crop,

whipping me gently without a stop.

The Red Ribbon Gal

The red ribbon gal

looked so fine

with her pretty cherry lips!

When March came, the peach tree blossomed;

the gal and I loved each other.

When August came, on the day of Mid-Autumn, the moon was so full,

I thought of my gal, and my tears fell non-stop.

The War Bridge Doming LAM

(b. 1926)

The Composer

Born in 1926 in Macau, Lam is a former composer-in-residence of the University of Hong Kong, and the

winner of 2010 and 2012 CASH Golden Sail Music Awards. He is the Founding Director of the Asian

Composers’ League, The Composers and Authors Society of Hong Kong and the Hong Kong Composers’

Guild. Lam studied music in Canada, the US and Darmstadt (Germany). From 1964 to 1994 he worked in Hong

Kong, where he composed, conducted, taught, and produced music programmes for radio and television. A goal

of Lam’s is to create new Chinese music by instilling avant-garde techniques into traditional sensibilities. His

music has been performed in over 50 cities and has influenced many younger musicians.

His compositions are in the collection of the Music Library of the University of Hong Kong. The New Grove

Dictionary of Music and Musicians (2001) includes a detailed biography of Lam.

The Music

The original version calls for solo baritone, mixed choir and two pianos. Tonight’s version is an adaptation for

one piano four hands by Galison LAU, a good friend of Hong Kong Youth Choir, endorsed by the composer.

The intention of the work is to promote love, peace and friendship. As a composer, whose most powerful and

effective weapon is music, LAM wrote the work as he saw the irony of how hurting and brutal experiences wars

have given to men yet battles between nations are still found.

This dramatic work is based on the poem Chariots Rattle On by the great Chinese poet DU Fu in Tang dynasty.

LAM added his words to superimpose the poem with his interpretation, which is frequently sung by the solo

baritone.

Both singers and pianists need to perform with extended techniques from their parts. For the singers, they have

extensive use of glissando, usually to an indefinite pitch or a nonsense syllable, repeated whispering or recitation

of spoken phrases and quite a lot of shouting. Spatial element is also considered as the piece calls for the choir

to speak the word “who” （誰）from one side to the other side of the choir in various places, regardless of pitch,

rhythm and voice types. As for the piano, cluster, and glissando on the strings inside the piano rather than on

the keys are also employed.

The composer also suggested the use of “luan-sheng” （亂聲） to a large degree. Similar to aleatoric (chance)

music, the composer (not even the performer!) cannot control how the music will exactly sound in the

performance. The call is left for each performer, resulting in varied levels of differences in each performance of

the work. Singers are at places indicated to repeat a melodic or rhythmic figure (ostinato) notated on the music

and will have to take the liberty on deciding how and when the entries are to be made.

However not all ostinatos are treated in that fashion. The choir also sings ostinato-like figures in the beginning

of the piece and enters the stacks together to increase the thickness of texture within a significant period of time

to create excitement, all notated for the performers to execute.

The Lyrics

曲中詞以《兵車行》為藍本，是詩聖杜甫對唐玄宗天寶年間連年征戰開拓邊疆，以致民不聊生的控訴。

《兵車行》大約寫於天寶十載（751 年），這正是安史之亂前夕，大唐帝國表面上處在歌舞昇平的全

盛時期，實際上卻已危機四伏。唐玄宗自以為大功竟成，沉迷於歌舞酒色之中，過著窮奢極欲的生活，

把大權先後交給李林甫和楊國忠。李、楊把持朝政，胡作非為，窮兵黷武，把龐大軍費開支及沉重賦

稅，轉嫁到勞動人民身上；徭役、征丁使田野荒蕪，鄉村蕭條。玄宗永無休止的東征西討，與杜甫「致

君堯舜上，再使風俗淳」的政治抱負背道而馳。作為一位愛國詩人，杜甫親睹徵兵征夫生離死別的場

面，不禁悲從中來，《兵車行》便應時而生。

“The War Bridge”

Lyrics of this piece are drawn from Chariots Rattle On by DU Fu, the great “poet-sage” who wrote works as

protests towards Emperor Xuanzong of Tang. During his late Tianbao years, Emperor Xuanzong, aloof and

pompous, was keen on further expanding territories to consolidate the empire. Chariots Battle On was possibly

written in 751 AD (Tianbao 10), right before Lushan Rebellion. The Tang empire, disguised as extravagant and

peaceful, was in fact in peril. Obsessed with his past victories, Emperor Xuanzong indulged himself in

debauchery and revelry. He paid less attention to the running of the empire, and much of his power fell into the

hands of the corrupt LI Lin-Fu and YANG Guo-Zhong. With their machinations, LI and YANG

enthusiastically encouraged the Emperor on his expeditions, fueling the imperial treasury by imposing special

taxes and levies on the common people. Witnessing wars everywhere, fields abandoned, village destroyed, the

patriotic DU Fu was despondent. Chariots Rattle On thus performed as a powerful outcry to the egregious ruling

of Emperor Xuanzong.

塵埃不見咸陽橋

車轔轔，馬蕭蕭，

行人弓箭各在腰，

爺孃妻子走相送，

塵埃不見咸陽橋。

咸陽橋，

你怎麼能負荷，

那千軍萬馬，

那沉重的步伐，

揚起了陣陣塵埃，

把你遮蓋。

The War Bridge

Carts rumble. Horses whinny.

Conscripted men, bows and arrows on each waist.

Fathers, mothers, wives and children walk to see them off.

Through the dust and dirt, one cannot see Xianyang bridge.

Xianyang bridge,

you are overburdened

with thousands upon thousands of army forces

with the arduous footsteps;

The ashes and dusts they cast

blinds you.

那混沌的、血腥的、塵埃，

把你完全遮蓋。

咸陽橋，

排著弓箭的人們都走過了嗎？

那沉重的步伐，

拖著疲倦的身軀，

流著閃亮的淚水，

沒有感覺，只有汗水。

你問我，哪裡去，

到哪裡，為了誰？

名冊有名就要去，

不論去時只有十五歲，

去到黃河防蕃擾，

頻頻征戰，月月長驅。

名冊有名就要去，

東征西討到打四十歲；

還要調到丐邊去營田。

哪知何時可以回老家？

何時可以回老家團聚？

唉為了誰？

你問我，我問誰？

怎知道，為了誰！

邊亭流血成海水，

武皇開邊意未已。

君不見青海頭，

古來白骨無人收。

君不聞漢家山東二百州，

千村萬落生荊杞。

新鬼煩冤舊鬼哭，

天陰雨濕聲啾啾。

The murky, gory, blood-soaked dusts

blinds you utterly.

Xianyang bridge,

Have those with arrows on their hands gone past you?

Those arduous footsteps,

their frail bodies,

those shimmering teardrops.

Senseless, they know only sweat.

You asked me where to go.

Where to go, and all for whom?

Go when your name appears on the register.

No one cares if you are only fifteen.

Go take a watch on the Yellow River, fight the barbarians;

ceaseless fighting, endless expeditions.

Go when your name appears on the register.

East and west you go, till you are forty and frail;

take the watch at the borders and guard the farmlands.

How would I know when I could go home?

When could I go back home for my family?

Oh all for whom?

You asked me, whom should I ask?

How would I know, that it is all for whom?

At the border outposts, the flowing blood forms an ocean.

Emperor Wu’s desire to expand the borders has not yet ceased.

Sir, have you not seen the Qinghai shores?

From old come forth white bones, and no one to collect them.

Sir, have you not heard, in the Han nation, east of the mountains, in two

hundred prefectures,

In thousands of villages and ten thousand hamlets grow thorns and

brambles.

The new ghosts are vexed by their grievances, the old ghosts weep.

From the sky, overcast, the rain wets the voices, wailing, wailing.

縱有健婦把鋤犁，

禾生隴畝無東西。

縣官急索租，

租稅從何出？

況復秦兵耐苦戰，

被驅不異犬與雞。

要知生男惡，

反是生女好。

咸陽橋！

Even if there are healthy women to handle the hoeing and ploughing,

The crops grow in fields but there’s no East or West.

The county officials urgently seek taxes;

But these land taxes - from where can they come?

Moreover for Qin soldiers, who can endure bitter warfare,

and are driven on, no different to dogs or fowl.

Truly, know that bearing a son is bad.

On the contrary, it is bearing a daughter that is good.

The War Bridge!

Hong Kong Youth Choir

Established in 1998, Hong Kong Youth Choir (HKYC) is an energetic choir in Hong Kong which has an

inclusive repertoire from Baroque oratorios to Broadway musicals, and also dedicates itself in championing local

and Asian premieres of choral works by various composers. Under the directorship of its five Music Director

Laureates, and of the current Music Director Christopher Cheng, the choir has produced and performed an

expansive repertoire including no less than ten Hong Kong or Asian premieres of major contemporary choral

works.

The choir has also collaborated with many leading local artists including renowned choral conductors, soloists

and organists. One of its recent projects was Les Misérables in Concert in December 2014. Performance of the

whole work was in collaboration with Sean Oliver, Apollo Wong, Carol Lin, Dr. Melody Sze as well as other

renowned singers in Hong Kong, the project affirmed the ability and versatility of the choir while receiving

highly promising comments from the Hong Kong Arts Development Council.

Demonstrating its commitment in nourishing local musicians, the choir strives to promote new commissions

and collaborations with local artists. Currently, the resident composer and resident artist of the choir are

Raymond Cheng and Alex Tam respectively.

In recognition of its contribution to serving the community with quality music, in December 2001, HKYC was

featured in a 60-minute programme broadcast on RTHK Radio 4. In December 2004, the choir was once again

featured on RTHK 4 in a 60-minute programme of Christmas carols, and has also been invited to perform at the

annual Christmas Concert in the Park organized by RTHK Radio 4 from 2009 to 2011.

As a registered non-profit making charitable organization, the choir has participated in fund raising activities

regularly for the benefit of other charitable organizations. With around 40 young, energetic and dedicated

members, the choir will always strive for its best to enrich the cultural life of Hong Kong with quality music.

Music Director and Conductor | Christopher CHENG

Christopher CHENG graduated from Hong Kong Baptist University and Chinese University of Hong Kong

with BA, PgDE and MA degrees in music. He holds DipABRSM and LRSM (percussion) and certificates

(singing and piano) with distinctions. He also holds an American Guild of English Handbell Ringers Level I

Handbell Director’s Certificate. He majored in percussion performance under the supervision of Dr. LUNG

Hung Wing while he was at HKBU. He studied choral and orchestral conducting with Prof. Carmen KOON

and practiced voice with Rosaline Pi. He received choral training from Die Konzertisten, HKBU Choir, HKBU

Girls’ Choir and Hong Kong Chamber Choir.

Cheng is selected to be one of the conducting fellows in Die Konzertisten Contemporary Choral Music

conducting masterclass 2015, following CHEN Yun-hung, World Youth and Children’s Choir Festival Hong

Kong 2015, following Dénes Szabó and conducting Cantemus Pro Musica Girls' Choir (Hungary); 2015 Hong

Kong SingFest, following Dr. Stephen Coker; 2014 Hong Kong SingFest, following Rolf Beck and Helmuth

Rilling; 2013 Hong Kong SingFest, following Helmuth Rilling (in collaboration of Hong Kong Sinfonietta);

2012 Die Konzertisten Counterpoint Festival Conducting Masterclass, following Stephen Layton and 2012

Vancouver Chamber Choir National Conductors’ Symposium, following Jon Washburn. He has performed with

choir Die Konzertisten in The Britten 100 Project and Tanztheater Wuppertal Pina Bausch Iphigenia in Tauris

in Hong Kong Arts Festival 2013 and 2014 respectively.

Cheng has given the Hong Kong Premieres of Rutter’s Feel the Spirit and The Sprig of Thyme, and Asia Premiere of

Cecilia McDowall’s Magnificat and Kong-Yu WONG’s Magnificat. A recent project of his includes a concert

version of Schönberg’s musical Les Misérables with Sean Oliver, Apollo Wong, Carol Lin, Melody Sze and Alan

Tsang. Hong Kong Youth Choir and he will perform a concert of Broadway musical medleys in July 2016, and a

multimedia project of contemporary American choral pieces in December 2016.

Baritone | Alex CHEN

Baritone Alex CHEN has performed with numerous opera companies in Hong Kong and the United States. His

roles include Schaunard in la bohème, Figaro and Dr. Bartolo in The Marriage of Figaro, Dr. Falke in The Bat, Moralès

in Carmen and John Styx in Orpheus in the Underworld. He has also performed song cycle Dichterliebe by Schumann,

Songs of Travel by Vaughan Williams and Don Quichotte à Dulcinée by Ravel in New York city. Apart from operatic

performances and recitals, Alex has appeared lately at the Hong Kong City Hall with Ponte Singers & Orchestra

as the baritone soloist in the premiere performance of Vaughan Williams' A Sea Symphony in Hong Kong, and as

bass soloist in Bach’s BMV 248 Christmas Oratorio, co-presented by Hong Kong Academy for Performing Arts

and SingFest Hong Kong, conducted by Helmuth Rilling.

As a recipient of varies scholarships, Alex completed his Bachelor of Music in Voice at Manhattan School of

Music in New York City and a Master of Music in Voice at the HKAPA. He is currently a voice teacher at the

HKAPA Junior section, and visiting student at the Academy studied under the tutelage of soprano Nancy

YUEN.

Piano | Cynthia CHAN

Cynthia CHAN earned a Master of Music Degree in Piano Accompanying from the San Francisco

Conservatory of Music, where she studied with Timothy Bach. She also studied the piano with Mack McCray

and 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.

Piano | Sharon CHENG

Sharon CHENG is pursuing the Bachelor of Education (Music) degree at the Hong Kong Institute of Education,

majoring in piano under the tutelage of Tino Maxwell. She is the awardee of the HKSAR Government Scholarship

Fund and recently selected as the Student Pro-Artist by the Department of Cultural and Creative Arts at the Hong

Kong Institute of Education.

Sharon devotes herself in collaborative piano and actively participates in various instrumental ensembles and choirs.

She is currently the chairlady of the iLOrk, a laptop and mobile device ensemble. Sharon also actively engages in the

field of musical education for children.

Guest Choir | Aqua Voice

Aqua Voice is a chamber choir formed in 2011 by a group of undergraduate students at the Music Department

of The Chinese University of Hong Kong (CUHK), who are all keen choral music lovers. “Aqua Voice” means a

pure and flowing sound, which is essential for hydrating the thirsty desire for pleasant music.

In September 2012, Aqua Voice joined the Learners Chorus’ production of Verdi’s Requiem in Hong Kong City

Hall Concert Hall, under the baton of Apollo Wong. Aqua Voice also presented the concert "Around the world

in 80 minutes" with Die Jungen Konzertisten in St. John's Cathedral in July 2013.

Other than its annual concerts, Aqua Voice has been invited to perform in various events on (CUHK) campus,

including the Grand Opening of the Yasumoto International Academic Park, a Chung Chi College assembly

titled “Appreciation for Organ Music” and FM530.

Hong Kong Youth Choir

Soprano Tenor

Cheng Lok Sze, Sharon

Chiu Hoi Ching

Chung Wing Sum

Lam Chung Hin, Chloe

Pun Tsz Yan, Tracy

Sun Wanlu, Iris

Tsang Yuen Shan, Sally

Wong Yim Ting, Sarah

Wu Hiu Sze, Vera

鄭樂詩

趙愷晴 *

鍾穎琛

林頌騫

潘芷茵

孫宛露

曾婉珊

黃琰葶

胡曉思

Chan Chak Yin, Marco

Fong Lok Chi, Roger

Hung Kyle

Lau Wai Lun, Allain

Li Wan Lung, David

Peck Marcus De Quan

So Chin Pang, CP

Wong Tsz Kiu, Casper

陳澤然

方樂知

洪燕荻#

劉偉麟

李雲龍

白德全 *

蘇展鵬

王子翹

Alto Bass

Chan Wai Yu

Ho Hiu Chong, Valerie

Iu Oi Yan

Lam Bik Yan, Ada

Leung Wing Sze, Susanna

Li Kwok Fung, Johnathan

Tsang Pui Kei, Veonsie

陳蕙瑜

何曉莊

姚藹恩

林碧欣 *

梁頴思

李國楓

曾珮琪

Cheung Ka Sang, Artus

Shum Pok Man, Ximple

Tang Pak Yau, Jason

Wong Chun Him, Samuel

Yuen Yen Ping, Jonathan

張嘉笙 *

沈博文

鄧百佑

王俊謙

阮恩平

* Part leader 聲部長

# Guest singer 客席演出

Aqua Voice

Soprano

Chu Yen Yu, Agnes

Lam Pui Yee

Ng Cheuk Yan

Tsui Kit Ying

朱彥如

林佩頤

吳卓欣

徐潔瑩

Alto

Keung Hoi Tong

Kwok Siu Ying

Kwok Shin Ching

姜凱唐

郭小櫻

郭倩晴

Tenor

Cheng Hon Lam, Teddy

Lau Tsz Ho

鄭翰林

劉子豪

Bass

Lau Yik Long

Wong Chun Him, Samuel

Yung Pok Yin

劉奕朗

王俊謙

容博賢

Artistic and Administrative Team

Music Director

Christopher Cheng

Resident Composer

Raymond Cheng

Resident Artist

Alex Tam

Music Advisors

Ms. Barbara Fei

President, The Hong Kong Choirs Federation

音樂總監

鄭智山

駐團作曲家

鄭凱聰

駐團藝術家

譚天樂

音樂顧問

費明儀女士

香港合唱協會主席

Prof. Daniel Law

Former Dean of the Faculty of Arts, The Chinese

University of Hong Kong

羅炳良教授

香港中文大學文學院前院長

Dr. Richard Tsang

President of the International Society for

Contemporary Music

曾葉發博士

國際現代音樂協會會長

Mr. Kenneth Lee

President of the Hong Kong Youth Choir

(1998-2006)

李冠輝

香港新青年合唱團主席 (1998-2006)

Ms. Josephine Li

Music Director of the Hong Kong Youth Choir

(2002-04, 07-08)

李鳳儀女士

香港新青年合唱團音樂總監 (2002-04, 07-08)

Executive Committee

President

Jason Tang

Vice President

Sarah Wong

Roger Fong

Honorary Treasurer

Herbert Tam

Treasurer

CP So

External Affairs Secretary

May Chan

Internal Affairs Secretary

Anna Chiu

Membership Secretary

Artus Cheung

Vice Membership Secretary

Wing-sum Chung

Vincent Tsang

Concert Manager

Ximple Shum

Sponsorship and Promotion Secretary

Valerie Ho

Vice Sponsorship and Promotion Secretary

Ryan Pang

主席

鄧百佑

副主席

黃琰葶

方樂知

義務司庫

譚志豪

司庫

蘇展鵬

外務秘書

陳德美

內務秘書

趙愷晴

會員事務

張嘉笙

副會員事務

鍾穎琛

曾啟瑀

音樂會統籌

沈博文

贊助及宣傳事務

何曉莊

副贊助及宣傳事務

彭正為

Hong Kong Youth Choir Recruitment 2016

We welcome singers (16 years old or above) to join our choir!

Please send the following details to info@hkyc.org with subject "HKYC Recruitment 2016"

English Name

Chinese Name

Gender

Email Address

Contact Number

Date of Birth

Voice Part

Choral Experience

Music Qualification

Vocal Training

Other Music Experience

* You may fill in the online application form at http://hkyc.org/join_us.html

Regular Rehearsal

Time: Wednesday 19:30~21:30

Venue: Li Hall, St. John Cathedral

Subscription Fee

The subscription fee for each season (April-March) is $250.

Enquiry

Jason Tang 9046 2143 / Artus Cheung 9773 8782

Email: info@hkyc.org

Website: www.hkyc.org

Upcoming Projects

1. A Midsummer Night’s Broadway Date: 17th July, 2016 (Sunday) Time: 20:00 Venue: Concert Hall, Hong Kong Cultural Centre 2. Singapore Choral Festival 2016 Date: 10th – 13rd August, 2016 3. Lunchtime Concert at St. John’s Cathedral – A Selection of Contemporary Arias and Songs Date: Late August, 2016 Time: TBC Venue: St John’s Cathedral 4. When Senses Converge – Contemporary American Choral Music turns Visual Date: 20th December, 2016 (Tuesday) Time: 20:00 Venue: Theatre, Hong Kong City Hall Guest Choir: Die Jungen Konzertisten

Stay tuned for more details and we hope to see all of you again in these concerts!

Patrons Gold Patron

Rita Chan

PC Iu

Simon Wong and Family

Silver Patron

Enico Luk

Bronze Patron

Polyanna Lam

Subscriber

Mary Chen

Acknowledgements

The Very Reverend Matthias Der

Mrs. Viola Ip

Staff of St John’s Cathedral

The Chinese University of Hong Kong

St Joseph’s College

Ma On Shan Methodist Church

Aqua Voice

Professor Chan Wing-wah

Professor Victor Chan

Professor Daniel Law

Mr. Doming Lam

Mr. Galison Lau

Mr. Alex Chen

Ms. Cynthia Chan

by the kind permission of the Hong Kong Dance Company

Ms. Sharon Cheng

Ms. Iris Sun (Chinese Coach)

Mr. Isaac Cheung

Mr. Kenny Lam

Mr. Herbert Tam

Ms. Yuki Chiu

Ms. Janice Li

Ms. Helen Li

Mr. Ryan Pang