Drum Prestige | 《鼓威》

Wang Yidong | 王以東

Chinese Drum Solo | 鼓獨奏

The music expresses the power, charm and rhythm of Chinese drums. The whole song contains traditional rhythm and performance techniques, as well as Western music rhythm elements. After the author’s clever processing, arrangement and combination, it has reached a new level and fully expresses the unique power and rhythm of Chinese drums.

樂曲表現了中國鼓的神威、韻味與律動。全曲素材既有傳統的節奏與演奏技法，也吸收了西方音樂節奏元素，經過作者巧妙的加工整理與組合貫穿，使之達到一種新的境界，把中國鼓所特有的威力與韻律表現的淋漓盡致。

Chinese New Year Suite | 《新春組曲》

Sierra Tse arrangement | 謝倩雯編曲

Cello, Clarinet, Guzheng, Percussion and Sheng | 笙，單簧管，古箏，大提琴，敲擊五重奏

This composition has been specially arranged for this concert, featuring a selection of well-known Chinese New Year melodies throughout. It is intended to congratulate and wish all of you a joyful, peaceful, and healthy Lunar New Year celebration!

這作品是為此次音樂會特地編曲，全首包括多首耳熟能詳的新年樂曲，用以恭賀及祝福各位新春快樂，平安健康！

Joyful Canton Teahouse | 《歡樂茶館》

Sierra Tse | 謝倩雯

Cello, Clarinet, Guzheng, Percussion and Sheng | 笙，單簧管，古箏，大提琴，敲擊五重奏

Joyful Canton Teahouse is a short musical composition created by the composer, inspired by the appearance of old-style Cantonese “teahouses” found in films, vintage photographs, and historical records.

The tradition of “Lingnan Cantonese tea-drinking” has been included in the eighth batch of provincial-level intangible cultural heritage representative project lists. The composer has attempted to depict the vibrant scenes within the “teahouse” through music. For example, in the days of old, when the older generation visited traditional Cantonese teahouses, they would carefully place their pet birds, often thrushes, in beautifully crafted birdcages and gather with three or five friends. They would enjoy tea, indulge in snacks, and proudly display their prized birds. Additionally, teahouses would sometimes feature musicians performing “folk or popular tunes,” and tea patrons would show their appreciation by tipping the musicians. Waitstaff would bustle about, creating a unique atmosphere characteristic of Lingnan-style “teahouses.”

The original piece was performed using instruments such as qudi, sheng, dulcimer, erhu, and percussion. However, it has now been adapted into an ensemble that combines Chinese and Western styles. The melody is inspired by traditional Cantonese folk music and consists of two modes. Initially, the main melody is played by the cello, then it is taken up by the clarinet and sheng. The rhythm created by the guzheng and percussion conveys the constant movement and busyness within the teahouse. The entire piece is played at a lively pace, radiating a joyful and bustling atmosphere.”

《歡樂茶館》是作曲者從電影，老照片及文獻歷史裡，受到舊式廣東「茶樓」的風貌啟發，而創作的小品樂曲。

「嶺南廣府飲茶」已成為第八批省級非物質文化遺產代表性項目名錄；作者嘗試用音樂去描繪「茶樓」裡的鮮活場景：如老一輩去傳統廣東茶樓時，會將精心飼養的鳥兒（通常是畫眉鳥），放到精美的鳥籠中，去和三五朋友相聚，品茗和吃點心，並互相炫耀自家的竉兒；除此以外，「茶樓」有時會有樂手來演唱「小曲」，茶客對樂手打賞，店小二穿梭在中間等等畫面，表達出嶺南「茶樓」的特色。

原曲是由曲笛，笙，揚琴，二胡及敲擊演奏，而現在則改編成中西合奏的版本。旋律是由傳統廣東小調音樂啟發，並由兩個調式組成。主旋律先由大提琴奏出，再由單簧管與笙繼續。而古箏和敲擊的節奏，表達出茶樓人來人往，忙碌不停的感覺。全曲速度頗快，充滿歡樂熱鬧氣氛。

Fighting Typhoon | 《戰颱風》

Wang Changyuan | 王昌元

Guzheng Solo | 古箏獨奏

Wang Changyuan composed a guzheng solo in 1965, when she was still a student at the Shanghai Conservatory of Music and experiencing life at the Shanghai port. Inspired by workers fighting against the typhoon, she composed the piece.

When “Fighting Typhoon” was created, the musical instrument reform team led by Wang Changyuan’s father, Mr. Wang Xunzhi, a guzheng professional tutor at the Shanghai Conservatory of Music, had basically completed the reform of the new guzheng — increasing the number of guzheng strings from the original 16 to 21; changing the texture of the strings, and changing the silk or steel strings to steel wires, copper wires, and nylon wires. After the reform, the musical instruments have widened the range and increased the volume, making it possible for “Fighting Typhoon” to perform a great musical performance by guzheng. The successful performance of “Fighting Typhoon” also strongly proves the success of the new guzheng reform work.

王昌元作於1965年，當時她還是上海音樂學院的學生，在上海港碼頭體驗生活時，有感於工人與颱風搏鬥而作的一首箏獨奏曲。

《戰颱風》創作時，王昌元的父親、上海音樂學院古箏專業導師王巽之先生帶領的樂器改革小組已基本完成了新型古箏的改革工作 —— 將古箏弦數增多，從原來的16根增至21根；將琴絃質地改變，將絲絃或鋼弦改為鋼絲、銅絲、尼龍絲相結合。改革之後的樂器，音域拓寬，音量加大，為《戰颱風》在箏上進行極大張力的音樂表現提供了可能，《戰颱風》的成功演出，也有力地證明了新型古箏改革工作的成功。

Duo No.1 for Clarinet and Cello, WoO27

L. van Beethoven | 路德維希．范．貝多芬

Clarinet, Cello | 單簧管、大提琴二重奏

Three duos WoO27 for clarinet and cello is a delight set of duets of the Classical period. While some believe it was composed around 1792, when Beethoven departed to Vienna, other musicologists have doubts about their authenticity. Composed for one high instrument and one low instrument, the three duos are transcribed for multiple of instrumentation.

Duo No.1 consists of three movements. The first movement, Allegro commodo, is energetic and lively. It features fluid melodies of low and high ranges of the clarinet, with harmonic and rhythmic support provided by the cello. There are moments when the two parts exchange music materials, as if it is a musical conversation.

屬於古典時期的三首為單簧管和大提琴二重奏作品WoO27，雖然有人認為這些作品，是貝多芬於1792年前往維也納時創作，但其他音樂學家，對它們的真實性表示懷疑。這三首二重奏，原本是為一個高音樂器和一個低音樂器而創作，後來轉編成多種樂器的編制。

第一首雙重奏共包含三個樂章。第一樂章，即《快板活潑》，充滿了活力和生氣。它呈現了單簧管的低音和高音範圍中流暢的旋律，大提琴則提供和聲和節奏的支持。有些時候，這兩個樂器之間，彷彿進行著音樂對話般交換音樂素材。

Julie-O for Cello Solo

Mark Summer | 馬克·薩馬

Cello Solo | 大提琴獨奏

Mark Summer is known worldwide for his phenomenal percussion and pizzicato techniques combined with bowed jazz and fiddle phrasing. Mark is a co-founder of the two-time Grammy-winning Turtle Island Quartet and was the quartet’s cellist for 30 years. His best-known work Julie-O is performed by cellists all over the world.

Starting with a guitar like plucked passage, the theme comes in in an exuberant mood, gradually developing to a really exciting and virtuosic passage. The music then calms down slightly, before finishing grandly with an ascending pattern.

馬克·薩馬因他卓越的敲擊和彈奏技巧，以及融合了拉弦爵士樂和小提琴風格的演奏而聞名於世。馬克是兩次葛萊美獲獎的海龜島四重奏的聯合創始人，並在該四重奏中擔任大提琴手長達30年之久。他最著名的作品《Julie-O》已由世界各地的大提琴手演奏。

作品以一段像吉他彈奏的樂句開始，主題在熱情洋溢的情緒中出現，逐漸發展成一個極富激情和技巧的樂段。音樂稍微平靜下來，然後以一個壯觀的升華音型結尾。

The Golden Phoenix Enchanted to the Reservoir | 《水庫引來金鳳凰》

Gao Yang and Wang Qingchen | 高揚、王慶琛

Sheng Solo | 笙獨奏

This piece describes how the drought has haunted the livelihood of the villagers who were forced to leave their home because of poverty. But since the construction of the reservoir, successful harvests enrich the village life again, even the golden phoenix is attracted to this happy land.

樂曲表現了鄉村由於歷年缺水而窮困。遇到災荒，人們背井離鄉。從建造了水庫之後，五谷滿倉，給人們帶來了富有和幸福，連金鳳凰也要來這裏住下。

Tango Etude No.3 for Clarinet Solo

Astor Piazzolla | 阿斯托爾·帕塔萊昂·皮亞佐拉

Clarinet Solo

Born in 1921, Argentina composer Ástor Pantaleón Piazzolla was a renowned tango composer, bandoneon player and arranger. He developed a new genre called the “nuevo tang,” (new tango) that incorporated tango and jazz elements.

Tango No. 3 is a part of a set of 6 tango etudes. The piece is often performed on different instruments such as the clarinet, the violin as well as the saxophone. Tango Etude No. 3 is a short and unaccompanied work that features lively dance rhythms, colourful textures, and fast passages in register between high and low notes. The combination of melody and ornaments creates the signature Argentine flavor.

阿根廷作曲家阿斯托爾·帕塔萊昂·皮亞佐拉，生於1921年，是一位著名的探戈作曲家、班多琴演奏家和編曲家。他創造了一種被稱為「新探戈」的新類型，融合了探戈和爵士元素。

《探戈第3號》是一套6首探戈練習曲的一部分。這首作品通常會在不同樂器上演奏，如單簧管、小提琴和薩克斯風。《探戈練習曲第3號》是一個短小而獨奏的作品，它具有生動的舞蹈節奏、豐富多彩的質地，以及高低音區域之間快速的音符。旋律和裝飾音的結合創造了阿根廷獨特的風味。

Frontier of Sorrow | 《邊愁》

Sierra Tse | 謝倩雯

Cello, Guzheng Duo | 古箏，大提琴二重奏

“Frontier of Sorrow” draws its inspiration from “Qing Ping Le.” written by Nalan Xingde (1655-1685) in the Qing Dynasty. It was created based on “Tanqinxia Inscription on the Wall”. Tanqin Gorge is in Juyong Pass. During late autumn, Nalan Xingde and his entourage arrived at this location. As they gazed at the pass from a distance, a profound sense of the rise and fall of history welled up within him, prompting him to compose this piece of “Qing Ping Le”:

Gently, throughout the night, who truly comprehends? Like a dream, where did the past dynasty go? Expressing the worries of those on the border is a challenging task. Amidst the clouds over the vast expanse of the frontier, people follow the geese into the western wind. They call out for red handkerchiefs and emerald sleeves, urging against letting tears flow like heroes.

The music is aptly titled “Borderline Worries” to encapsulate the essence of the term “borderline worries” found in the poem. It reflects the emotions experienced by those stationed at the border, tasked with defending and patrolling. Their lives are fraught with danger and marked by arduous conditions, often leading to longing for their families.

This is a contemplative composition was created for the erhu and guzheng in 2009. It has been performed on many occasions since its inception. It has now been adapted as a duet for cello and guzheng, respecting the unique qualities of both Chinese musical instruments. I rooted the composition in the tonalities discovered in the Dunhuang manuscripts dating back to the Tang Dynasty. The music begins with a simple guzheng melody that evokes the desolate ambiance of the borderlands. Subsequently, the cello introduces the principal theme, conveying the emotions associated with a yearning for loved ones. The composition transitions from a slow to a moderate tempo, delicately articulating inner sentiments. It alternates between moments of serenity and moments of heightened emotion, artfully capturing the feelings of border personnel who must suppress their personal emotions while diligently safeguarding their homeland. The composition concludes with a series of gentle, high-pitched notes on the guzheng, symbolising the dispersion of their yearning thoughts in every direction.

《邊愁》是根據清代納蘭性德（1655-1685）之〈清平樂．彈琴峽題壁〉而創作。彈琴峽處於居庸關內。深秋時分，納蘭性德扈從至此，在遠眺關塞之時，忽起興亡之感，便寫下此〈清平樂〉：

泠泠徹夜，誰是知音者？如夢前朝何處也？一曲邊愁難寫。極天關塞雲中，人隨雁落西風。喚取紅巾翠袖，莫教淚灑英雄。

樂曲採用《邊愁》為名，是依詞中「邊愁」之意 —— 即於邊境作防守及巡視之人，因處境危險，生活艱苦，而不住思念家人所產生之感情。

這是一首內在含蓄的作品，原曲為委約的二胡及古箏二重奏作品，於2009年成功首演，及後並多次重演。現改編成大提琴及古箏二重奏，融合中西兩種樂器的特色；作者以唐代敦煌發掘出的調性去創作。於樂曲起始，先由古箏簡單音調，表達出邊境之寂寥環境，再由大提琴奏出主題旋律，藉以表示牽掛親人之情感。樂曲由慢速至中等速度，細微地訴說內在感受，時而平靜，時而激動，描述邊境人員因為要堅守崗位，保衞國土，所有個人情感都要壓在心裡的感受；樂曲以幾個古箏重復柔聲高音結束，寄予將思念散於四方。

Blooming Flowers under Full Moon | 《花好月圓》

Huang Yijun, arranged by Sierra Tse | 黄贻钧, 謝倩雯編曲

Cello, Clarinet, Guzheng, Percussion and Sheng | 笙，單簧管，古箏，大提琴，敲擊五重奏

In early 1935, when Huang Yijun worked as a musician in the music department of the Shanghai EMI Record Company, there was a need for an additional musical piece of around five minutes in duration during the production of a traditional Chinese music record. The head of the music department, Ren Guang, approached Huang Yijun to compose this piece. Chen Zhong, a member of the Chinese traditional music ensemble, named the composition “Blooming Flowers under Full Moon” based on the lively and enthusiastic atmosphere of the music. The quintet version performed here has been specially rearranged for this occasion.

1935年初，當黃貽鈞於上海百代唱片公司音樂部，擔任演奏員。在一次百代公司製作民樂唱片時，仍缺一段五分鐘左右的樂曲。當時音樂部主任任光就約請黃貽鈞創作一段音樂，而國樂隊的陳中，則根據樂曲歡快熱烈的氣氛，將此曲起名為《花好圓月》。此次五重奏演出版本，則為特地再編曲。

The Floating Colours Parade | 《飄色記憶》

Sierra Tse | 謝倩雯

Cello, Clarinet, Guzheng, Percussion and Sheng | 笙，單簧管，古箏，大提琴，敲擊五重奏

The Cheung Chau Bun Festival” was included in the third batch of national intangible cultural heritage projects in 2011. This event has been celebrated on Cheung Chau Island for over a century. Its origins date back to a plague outbreak, and in an effort to ward off the disease, a Bun Festival was held on the island.

The “Floating Colours Parade” is one of the most distinctive events during the Cheung Chau Bun Festival in Hong Kong, particularly on the primary festival day. It features a mobile stage called the “Se Yuk” carried by two young children known as “Se Sum.” They are dressed in white underwear and adorned with makeup, portraying various famous characters from ancient to modern times, both Eastern and Western. From a distance, it appears as if the two children are floating on the platform, but in reality, one is sitting higher than the other, perched on a flexible metal structure called “Se Gung,” which is connected to the “Se Yuk” stage. This unique “Se Gung” technique is unique to the island and showcases the diverse folk craftsmanship of the residents.

The composer recalls vivid childhood memories of witnessing the entire procession, particularly the striking and vibrant floating colours. Some characters and roles are related to ancient and contemporary stories, eliciting enthusiastic cheers from the audience and creating a lively atmosphere.

Those childhood memories inspire this composition. The music combines Chinese and Western instruments to reflect Hong Kong’s rich cultural blend, mirroring the imagery of the floating colours parading before one’s eyes. The composer begins with the rhythm of Taoist percussion, signifying the divine’s presence during the festival. The piece incorporates melodies reminiscent of the unique lament songs of Hong Kong’s fishermen, often called “Tanka” or “Water People.” The composition also introduces jazz and blues rhythm elements in a modern compositional style to capture the essence of Cheung Chau’s floating colours. The work commences with traditional Taoist music and lament songs, depicting classical characters, Western cowboys, and the imperial inspection procession. It transitions from solemn to lively and concludes with a vibrant and festive atmosphere.

「⻑洲太平清醮」為 2011 年列入第三批國家級非物質文化遺產項⺫，此活動已在⻑洲 傳承超過百年，起源為當時發生瘟疫，為求消災，在島內舉行太平清醮以停止瘟疫。

「飄色與會景巡遊」，是香港⻑洲太平清醮正醮日中，一個最具有特色項⺫。首先是 一個稱為「色櫃」的流動舞台，會由兩位幼童，擔任「色芯」，他們會穿著白色內衣 褲，化妝扮演從古到今，東⻄方著名的不同角色，表面看似兩幼童似站在飾物上飄起 來，實際是一高一低，坐在由鐵枝屈曲，並連接著色櫃的而成的鐵架「色梗」上。這 種「色梗」技術為島上獨有，顯示出居⺠多彩多姿的⺠俗工藝。

作者記得小時候首次參觀整個巡遊，對色彩繽紛的飄色印象十分深刻，有些人物角色， 甚至因著與古今故事有關，引來觀眾大聲喝采，非常熱鬧。

此作品亦由這些童年記憶而來，樂曲由中⻄樂器之混合配搭，反映出香港為中⻄文化 之交匯並存，模仿飄色在眼前巡遊的影象。作者使用真實飄色巡遊，抬出天后娘娘出 巡時的道教鼓樂節奏作開始，表達出「神明開路」的氣氛;並借用了香港漁⺠，亦是 疍家/水上人特有的嘆歌旋律為主題，後並混入爵士藍調節奏風格，使用現代作曲手法 描述香港飄色的特色。作品從⺠間道教音樂和嘆歌開始，描述出古典人物，⻄方牛仔， 及欽差出巡等影像，從嚴肅至輕快，到最後以熱鬧氣氛結束。

Beyond Suite | 《Beyond 組曲》

Sierra Tse arrangement | 謝倩雯編曲

Cello, Clarinet, Guzheng, Percussion and Sheng | 笙，單簧管，古箏，大提琴，敲擊五重奏

Beyond is one of the most representative bands of Hong Kong. This suite contains eleven songs of different styles and periods. The composer mixes the melodies together in a format like counterpoint or by recombination. Chopping apart the melodies and putting them back together again. Hoping to bring back memories and create new feelings for Beyond’s music for the audience.

Beyond是最能代表香港的樂隊之一，他們的樂曲長久流行，不少都耳熟能詳。這首組曲包括《昔日舞曲》、《不再猶豫》、《喜歡你》、《大地》、《光輝歲月》、《灰色軌跡》、《海闊天空》等等不同風格，不同時期的十一首樂曲；編曲者將多個旋律混合一起，做成類似對位形式，或重新組合，或將旋律切碎再拼合，或改變節奏等等，希望能帶給觀眾回憶同時，也能對Beyond 的作品產生新的感受。