The Pro-Musica Society of Hong Kong 香港雅樂社合唱團

  • Increase font size
  • Default font size
  • Decrease font size
Home Performance 演出 2000-2009 A Showcase of Vocal Music by Richard Tsang 曾葉發聲樂作品音樂會

A Showcase of Vocal Music by Richard Tsang 曾葉發聲樂作品音樂會


13 Decemeber 2002 (Fri) 8:00pm
Concert Hall, Hong Kong City Hall
2002年12月13日 (星期五) 晚上8時正
香港大會堂音樂廳

Poster 海報
Guest Conductor 客席指揮:曾葉發 Richard Tsang
Soloists 獨唱:梁頌儀 Jovita Leung (Soprano 女高音)
柯大衛 David Quah (Tenor 男高音)
Chorus 合唱團:The Pro-Musica Chorus of Hong Kong 香港雅樂社合唱團,
Members of Cantacore Society 雅謌合唱團成員,
Hong Kong Children's Choir 香港兒童合唱團
Accompanists 伴奏:何素珊 Suzanna Ho
羅乃新  Nancy Loo (Piano 4 hands 鋼琴四手聯彈)
連思詠 Wendy Lin (Piano 4 hands 鋼琴四手聯彈)
New Art String Quartet 香港演藝弦樂四重奏
(馬忠為 Michael Ma, 范丁 Fan Ting, 
梁建楓 Leung Kin Fung, Ray Wang 王磊)
馮榕 Feng Rong (Double Bass 低音大提琴)
Tickets 票價:$130, $100, $80

Presented by The Pro-Musica Society of Hong Kong
Supported by Hong Kong Arts Development Council
Venue and Ticketing Services Sponsored by the Leisure and Cultural Services Department
Official Radio Station HMV 864 Am Radio
Organized by RhapsoArts Management Ltd
雅樂社主辦
香港藝術發展局資助
康樂及文化事務署贊助場地及售票服務
指定電台HMV 864 Am Radio
華意堂藝術策劃有限公司統籌

Programme 程序表
  • 「一九七三年全港公開業餘作曲比賽」頒獎典禮 Prize-Giving Ceremony
    •  Guests 嘉賓:張敏儀 Cheung Man Yee, 費明儀 Barbara Fei 
  • Mixed Chorus 混聲合唱
    •  Lux Aeterna (永恆之光)
      •  Piano 鋼琴:何素珊 Suzanna Ho 
  • Tenor Solo & Women Chorus 男高音獨唱及女聲合唱 -- 柯大衛 David Quah 
    • Arise, My Love, My Fair One (我的良人請起來 取自聖經雅歌)
      • Piano 4-hands 鋼琴四手聯彈:羅乃新 Nancy Loo, 連思詠 Wendy Lin
  • Children's Choir 童聲合唱 
        Piano 鋼琴:連思詠 Wendy Lin
    • Lullaby from musical "Robot Adventure" (安眠曲 選自音樂劇「機械人奇遇記」)
    • 四季歌 (Song Of Four Seasons)
  • Mixed Chorus 混聲合唱
        Piano 鋼琴:羅乃新 Nancy Loo
    • October from pastoral cantata "A Boy's Will" (十月 選自 田園清唱曲《男兒之志》) 
  •  -- intermission 休息 --
  • Mixed Chorus 混聲合唱
        Piano 鋼琴:羅乃新 Nancy Loo
    • 小耶穌,甜美的嬰孩 (Sweet Little Jesus)
    • 陽關三疊 (Song Of Yang Kwan)
    • 如夢令 (Ru Meng Ling)
  • Soprano Solo 女高音獨唱 -- 梁頌儀 Jovita Leung
        Piano 鋼琴:羅乃新 Nancy Loo
    • 雨戀 (Love Under The Rain)
    • 茫 (Mang)
    • 客中 (Ke Chung)
  • Mixed Chorus 混聲合唱
         Piano 鋼琴:羅乃新 Nancy Loo
    • 當我死時 (And When I Die)
  • Children's Choir 童聲合唱
         Piano 鋼琴:連思詠 Wendy Lin
         String Quintet  弦樂五重奏
    • 下雨天 (Rainy Days) 
  • Joint Chorus 大合唱
         Piano 鋼琴:羅乃新 Nancy Loo
         String Quintet 弦樂五重奏
    • 全賴愛 (All For Love) 

Prize-Giving Ceremony 頒獎典禮 

All for Love 全賴愛 

曾葉發 Richard Tsang

House Programme 場刊 

Lux Aeterna 永恆之光

Lux Aeterna is a commission from the Hong Kong Composers' Guild for performance in its 1997 Musicarama. The work is a tone picture of an abstract nature, without any particular literary meanings. The title reflects the composer's emotional affiliation with the music, which, for him, suggests feelings of peace, light, hope and tranquility. Although tonal in nature, the composer has experimented various treatments of dissonance irrespective of the prevailing tonal background. It is also a song without words, in which members of the choir enjoy freedom in the vocalization of the music. Reinforcement during the performance by the organ or piano is also possible.

《永恆之光 》是應香港作曲家聯會邀約,為「音樂新文化1997」所創作的歌曲。這首作品富於抽象色彩,本身不具任何特定的文學意義。曲目正好反映了作曲家與作品在情感上的交匯與共鳴;對作曲家來說,《永恆之光 》體現的是和平、光明、期昐和安寧的情懷。雖然這首歌曲屬於調性音樂,但作曲家仍在這種音樂基追調上嘗試融入各種不協和音的元素。此外,《永恆之光 》亦是一首無言之歌,即合唱團成員可以在樂曲的聲樂部分自由發揮。它也可加入管風琴或鋼琴伴奏,以加強音樂效果。

Arise, My Love, My Fair One 我的良人請起來

This chant of celebration was written in 1977 in dedication to the composer's wife at their wedding in the same year. In this work, the composer has set to music texts from Songs of Solomon in the Old Testament, a popular text to celebrate the joy of love and union. Scored for tenor solo, female chorus and piano four-hands, the work is structured in a rondo-like form in which the theme "Arise My Love, My Fair One" is juxtaposed with various verses sung by the soloist. The composer was finishing this piece in the springtime of 1977 while studying in northern England. The elated feeling of springtime after the long cold winter was augmented by his excitement of marrying his wife in the coming summer.

作曲家在1997年完成這首頌歌,並在同年的婚禮中將它獻給新婚妻子。他在作品中採用了《舊約》的「所羅門之歌」,該段文字常用於歌頌愛與婚姻的喜悅。這首作品是為男高音獨唱、女聲合唱和鋼琴四手聯彈所寫,曲式近似名迴旋曲,演唱時「我的良人請起來」這一主題與獨唱部分的多首詩歌重疊交錯、相互呼應。作曲家於1977年春在英格蘭北部遊學時完成這首作品。當時他為即將於夏天與妻子共諧連理雀躍不已,所以在漫長的嚴冬後春回大地之際倍感歡欣鼓舞。

Lullaby 安眠曲 (from the musical "Robot Adventure" 選自音樂劇「機械人奇遇記」)

A simple tune in which the robot sings a lullaby to his boy owner friend, having been punished earlier for raising havoc through rallying other toys for more independence. The tune is a bit melancholic in nature, reflecting the mood of the boy. The present setting is for two voice treble choir with piano accompaniment.

這首曲調簡單的安眠曲由機械人向他的男孩小主人唱出,他早些時候因動員其他玩具爭取獨立自主而引起了軒然大波,更為此而受罰。作品整體的調子略帶傷感,與男孩的心情互為呼應。它由鋼琴伴奏,是為高音雙聲合唱所寫。

四季歌 Song of Four Seasons

This is a setting of two poems of love and hope by contemporary poet Le Zhuyan in which the relationship between mother and child is depicted. The first poem compares the beauty of youth with the "young" seasons of spring and summer; while autumn and winter reflect the maturity of motherly love and wisdom. In the second, a sleeping baby is holding a budding willow leaf, a powerful symbol of the potentials of life. "My dear child, do you want to bring springtime into your dream? Or do you want to keep it for tomorrow?"

《四季歌》以當代詩人雷抒雁兩首關於愛和希望的詩入樂,詩中描繪的是母親與孩子之間的感情。第一首詩將青春之美與春夏兩個「年青」的季節對比映襯,而秋冬兩季比喻母愛與智慧煥發的成熟之美。在第二首詩中,酣睡的嬰兒手持一葉柳芽,強而有力地象徵了生命蘊藏的無窮生機 ─「孩子噢!你要把春天帶進夢中,還是要把它帶到明天?」

October 十月 (from pastoral cantata "A Boy's Will" 選自 田園清唱曲《男兒之志》)

Taken from a movement in the composer's Pastoral Cantata A Boy's Will based on poems by American poet Robert Frost, October is a poetic depiction of the coming of autumn. Set in a loose rondo form, an urging main theme over a pulsating ostinato rhythm portrays the approach of autumn. The middle sections, in contrast, are slower and more lyrical, pleading sentimentally for the delay of the onslaught of winter. The piece ends quietly, still persistent in its pledge: "For the grapes' sake along the wall..."

《十月》選自作曲家的田園清唱曲《男兒之志》中的一個樂章,其歌詞源自羅伯‧弗洛斯特的詩集。《十月》描寫的是秋意漸濃時如詩般的景致。歌曲風格近似迴旋曲,緊湊的主旋律在起伏有致的固定音型節奏襯托下,描繪出秋天掩至的情景。樂曲中段節奏轉慢,抒情調子漸濃,尤如淒切地懇求寒冬遲些來臨。樂曲以低沉的調子作結,但哀告聲仍婉轉低迴:「就請看在沿牆而生的葡萄份上吧......。」

小耶穌,甜美的嬰孩 Sweet Little Jesus

The work was composed in 1975 at a request by the BBC World Service in a special programme featuring Chinese Christmas music. The composer has translated from the German text of a Christmas carol of the same title and set it to music using a specifically pentatonic harmonic style. True to the chorale style of the lyrics, the music is set in stanza-form with different settings for each of the stanzas. The use of discrete chromatic treatment among the prevailing pentatonic harmonic setting makes the work stand out from other music of the same genre.

這首作品是應英國廣播電台邀約,於1975年為一個介紹具中國特色的聖誕音樂特別節目所創作的。作曲家把同名的德文聖誕歌曲譯為中文,再將之以風格鮮明的五音和聲曲式入樂。他在創作時採用了段落式曲法,每個段落之間皆有變化,力求忠實地反映歌詞的讚美詩風格。由於作曲家在五音和聲的基調上融入了獨立分散的半音元素,使樂曲聽來與其他同類型作品大異其趣。

陽關三疊 Song of Yang Kwan

Among the earliest choral works of the composer, this piece won the choral writing competition organized by the Hong Kong Music Institute in 1976. The setting of this famous Tang Dynasty poem is true to its original form, i.e. three utterances of the same melancholic poem depicting the sorrow of departure among family members, lovers and friends. Wang Wei's original poem's protest against the cruelty of war is depicted musically by the use of a steady military-like drone, as if it is a funeral march of no return once passing the Gate of Yang Kwan.

這屬於作曲家最早期的聲樂作品,它贏得了香港音專於1976年舉辦的聲樂創作比賽。這首以王維的著名唐詩為題的歌曲力求忠於原作,保留了將傷感的詩歌反覆吟唱三遍的傳統手法,刻劃出與至愛親朋入傷別之情。為了重現原作對無情戰火的控訴,作曲家在音樂上運用了沉穩如軍樂般的連續低音,聽來恍若一隊送葬的行列正緩緩地踏上西去陽關的不歸之路。

如夢令 Ru-Meng-Ling

Based on two poems of the same "Lyric Title" by Song Dynasty poetess Li Qingzhao, whose famous lyrical expressiveness and feministic style of writing has become a major hallmark of Song Dynasty literature. The general idea is to experiment on the reverse practice in the Song Dynasty: whereas it was the norm to set lyrics against the same "Lyric Title", here known as Ru-Meng-Ling (or “Dream-like poem”), the composer now re-sets the two different poems with the same melody, with a view to try to "rediscover" the original flavour of Song Dynasty music. The two poems portray respectively the longing of the poetess for the return of her husband, and the serenity of a scenic boat-ride on the lake. The two poems are tackled appropriately by the female and male voices.

此曲是由李清照兩闋相同詞牌的詞結合而成。李清照多愁善感,每能體味別人所忽略的情事。由於她頗好杯中物,醉後往往酒入愁腸,更添愁緒。她在落花深處的悲嘆,或是酒醒後對著被風雨所嶊殘的海棠的無限感觸,凡此種種愁緒,作曲者除了嘗試根據歌詞音韻,以現代人的角度模擬宋詞曲牌而譜寫出仿古風的旋律,運用仿中樂器效果的伴奏及調式和聲來處理外,更在樂曲的末段,以「呀」的一聲長嘆,抒發女詞人詞外之意。

雨戀 Love Under the Rain

This song represents the composer's first serious composition, written in 1973 and won the first prize in the Art Song Composing Competition organized by the Grove Magazine. Although the lyric is kind of cliche in the sense that it is reminiscent to the prevailing popular music of the era, the composer nevertheless manages to inject a sense of deep emotional affiliation through the music. As the composer's first attempt in serious composition, the use of late-romantic chromatic harmony and rich emotional attachment is quite unique.
這首1973年的作品是作曲家首個嚴肅的音樂創作,並為他在《文林》雜誌的藝術歌曲比賽中贏得了第一名。雖然歌詞與當時的時代流行曲同出一轍,聽來略欠新意,但作曲家卻在音樂中貫注了深切的個人體會。作為作曲家首次嚴肅的音樂創作,曲中具後浪漫色彩的變化和聲與豐富的情感內涵仍頗具特色。

茫 Mang

As a great admirer of the work of Taiwanese poet Yu Kuang-chung, the composer is much inspired by the rich symbolism and powerful word play in this poem, one of Yu's best. The poem is about the ultimate feeling of love, in which one would have lost all senses of time and space. In this cosmic existence, one only lives for the other, and the natural consequence of this ultimate union would be to leave behind this plane of space-time existence altogether. Musically, the composer deliberately uses a strict diatonic treatment, with a strong impressionistic modal flavour. Only in the very last utterance of the singer is the note A-sharp introduced, alien to the prevailing tonal plane of D major, as a signal to the departure of the lovers' spirits from this universe.

作曲家對台灣詩人余光中的作品推崇備至,《茫》是余氏最優秀的作品之一,詩中意象紛呈、用詞巧妙,對作曲家有莫大的啟發。這首詩描寫的是情到深處所有時空概念皆蕩然無存的感覺。在這個愛的廣袤天地裏,人們只會為愛侶而活,這種水乳交融的境界最必然會使人將所有時空概念皆拋諸腦後。作曲家在音樂上特意選用嚴謹的自然音階形式,並帶有強烈的印象主義調式風格。曲終之際升A音符驟然出現,聽來與D大調的整體調性格格不入,藉此暗喻愛侶魂魄已離開塵世。

客中 Ke-Chung

This love song is written on a request by mezzo-soprano Lee Bing in 1993 and was included in her first CD release in that year. Based on the poem of the same title by Zu Zhimo, a lyrical poet and writer at the turn of this century, the song depicts the nostalgic emotional reflections of a rambler who have fond memories of his past love. Written in stanza form and using a plain modal harmonic language, the composer captures the subtle mood of resignation of lost love and the lonely feelings of the rambler on his journey.

此曲乃作者於1993年應香港著名女高音李冰女士邀約創作,收錄於她的首張個人唱片《愛的頌歌》之中。

詩人徐志摩的《客中》一詩,富有感懷舊日失落的愛的情緒,借半月、殘花、夜鶯等寄物抒情,在意境上有神來之筆。作曲者用了傳統的段落曲法,配合調式和聲技巧,平淡卻巧妙地表現出詩中失落及對往日愛情追憶的感情。

當我死時 And When I Die

This is another setting of a poem by poet Yu Kuang-chung. The work was premiered by the Hong Kong Chinese University Choir in 1975 with the presence of the poet who chose to recite the poem before the performance. A very bold approach in the use of this "sensitive" title adds to the drama of the poem, which reflects the poet's deep longing for re-union with his motherland at a time when political reality prohibits it from happening. Musically, a haunting soprano melody runs through the main part of the song to tie in with the poet's aesthetic approach. The work is concluded by an extended coda in which chromatic contrapuntal interplay among the voices are supported by a steady funeral-march drone. The use of tritones and semitones is paramount throughout this work to give it its distinctly poignant flavour.

這是另一首以余光中詩作入樂的作品。香港中文大學合唱團在1975年首演這首歌曲時,詩人亦有出席,並在演出前朗誦該首作品。

詩人大膽用這個「敏感」的標題,為詩歌平添了幾分戲劇效果。詩中描寫的是當時的政治環境雖然限制重重,但詩人仍深切期盼重投祖國的懷抱。從音樂上來說。一段令人不安的女高音演唱穿插於歌曲的主要部分,與詩人的藝術表現方式相互配合。這首作品以一段加長尾聲作結,在葬禮進行曲般沉穩的持續低音襯托下,歌聲中半音對位的唱和更為突出。歌曲中採用了大量的三全音和半音,為作品營造了一抹特有的沉重愁慘意味。

下雨天 Rainy Days

Commissioned by the Hong Kong Children's Choir, Rainy Days is originally scored with orchestral accompaniment and forms part of a trilogy of songs to a setting by local lyric writer Leung Po-wah. The simple lyrics are echoed by a very simple melodic treatment of pleasant harmonic nuances.

《下雨天》是應香港兒童合唱團邀約創作的歌曲,它原以管弦樂伴奏,節錄自本地作詞人梁寶華填寫的一組三步曲。演出中,簡明的歌詞與簡單悅耳的和聲旋律變化互為呼應、相映成趣。

全賴愛 All For Love

Composed in 2000 at a request by the Hong Kong Treble Choirs Association, this simple song is not dissimilar to some religious hymns, although it is not the composer's intent to write one. As an attempt to compose choral works to be sung in Cantonese, the composer chooses to write the lyrics himself, paying respect to the tonal inflections of each vocal melody when setting the words. As a result, all voices sing lyrics which are meant to be understood in Cantonese, unlike many prevailing Cantonese choral settings in which only the melodic line enjoys this important characteristic.

《全賴愛》是2000年應邀為香港童聲合唱協會所寫,雖然這首簡單的歌曲風格近似某些宗教讚美詩,但這絕非作曲家的創作意圖。他為了致力創作以廣東話演唱的聲樂作品,遂決定親自譜詞,填詞時細意雕琢每組聲樂旋律在聲樂旋律在聲調上的抑揚變化。如此一來,作品中的每句歌詞都以廣東話演出作為創作的依歸,而當前的主流聲樂作品只有主旋律才會展現這個重要特色,可見兩者的處理手法大相徑庭。

Programme notes provided by Richard Tsang, the composer
樂曲簡介由作曲家曾葉發提供
 

Member Login