Repertoire

Original Works for Harmonica Quintet

Chan Ming-chi 陳明志: Allegro in Four Colors – Ma On Shan 快板四色－馬鞍山

I, II, T1, T2, B

I. Winter (Flicker, Lonesome) [Black]

II. Spring (Fog and Mist, Head On) [Blue]

III. Summer (Dreamland, Wind) [White]

IV. Autumn (Rippling, Distant) [Gold]

一. 冬〔明滅、孤寂〕【黑】

二. 春〔夢與氣、開展〕【藍】

三. 夏〔氣勢、風〕【白】

四. 秋〔起伏、距離〕【金】

Every morning, people begin their hard day's work. Like the train moving tortuously, people reluctantly venture on a journey full of lies and pretence. As a result of urbanization in Ma On Shan, peace-loving seagulls could not be spared from the bewilderment and distress thus induced. Skyscrapers located alongside Shing Mun River are ablaze with lights all year round, after the intrusion upon natural wildlife habitat. Night owls have dreams on sleepless nights. They wish they were a phoenix living in Shangri-La where they welcome in the first light of morning and enjoy a panoramic view of the natural scenery every day. Adapted from Chan Chung-hei's poem of the same title, the work displays the distinctive features as well as nuances and melancholic timbres of different harmonicas. Through tuneful melodies, Hong Kong born musicians express their feelings towards the living environment and natural scenery (the Quintet often holds activities and rehearsals in Ma On Shan and Sha Tin).

每天清晨，「不正常」的「日常」生活在壓迫著每個升斗市民。他們像那蜿蜓爬行的火車，沒有選擇地向謊言和虛偽充塞的領域進發。原來馬鞍山與世無爭的海鷗，也敵不過鄉村因城市化而帶來的困惑與惆悵。黃昏到了，城門河兩岸四季都金碧輝煌，媚俗早已入侵大自然的神聖領土！夜歸人夢裏失眠，誰人可以像孤高的鳳凰，甘願隱居深山，每天等待晨曦第一線的光芒，擁有最高最廣且超越世俗的視域？此曲取材自詩人陳中禧的同名詩作，藉著各類口琴同中有異、和而不同的細膩及充滿幽玄的音色，以樂音訴說土生土長的香港音樂家（馬鞍山及沙田一帶是英皇口琴五重奏主要活動及排練之地）對處身環境與自然景緻間的種種情意與體會。

Chan Ming-chi 陳明志: When the Clouds Rise 坐看雲起時

I, II, T1, T2, B, dancer, lighting

"Where the Creek Dries Out, When the Clouds Rise..."

The name of this composition is taken from a poem of Wang Wei. It is the second commissioned work for the King's Harmonica Quintet, written for the collaboration of the Quintet with a dancer. The first work expressed the feelings of art-makers. The present work utilizes shapes of body and flow of sound to show how art-makers, in the process of self-improvement, uphold their belief and strive for excellence despite difficult situation.

「行到水窮處，坐看雲起時...」

此作品名稱取自王維《終南別業》中的詩句。乃英皇口琴五重奏委約的第二首作品，由口琴與舞者合作演出。前作旨在表達求藝者的心境，而此作品則以形體及流動的聲音展現求藝者在不斷完善的過程中，如何以堅強的信念，在困境力爭上遊的心跡。

Hui Cheung-wai 許翔威: We All Grew Up in Hong Kong – A Kaleidoscopic Suite 我們都在香港長大－音樂卷集

I, II, T1, T2, B, piano, sheng, harp, percussion

Prelude

I. Kowloon-Canton Railway, 1963

II. Movie of our Childhood, 1969

III. Two Classic Comic Figures, 1974

IV. Spinning Marshmallow, 1976

V. Self-made Lantern for Mid-Autumn Festival, 1978

VI. Hill-side Wooden Houses on Fire, 1982

VII. Romance of Christmas Ball, 1985

VIII. Flying away from Kai-Tak Airport, 1987

IX. Old Schoolmates Reunion, 1990

Postlude

前奏

一. 柴油火車出新界 1963

二. 兩小無猜看電影 1969

三. 老夫子與大番薯 1974

四. 街邊旋轉棉花糖 1976

五. 柚皮燈籠照中秋 1978

六. 山邊木屋區起火 1982

七. 聖誕派對慢步舞 1985

八. 從啓德機場飛走 1987

九. 舊時同學再相逢 1990

尾聲

Fragments of memories make up a blend of sounds, images and emotions in this 11-part piece of music. Apart from a harmonica quintet, the composer includes a piano, harp, sheng and percussion. Each section makes use of a different collective of instruments and compositional techniques to lend a sense of versatility to the music. Those who were born in the 50s and 60s in Hong Kong will be familiar with the titles given to the movements and the music may lead to personal reminiscences of past events and figures.

這首作品彷彿以回憶片段串連而成，聲響、形象與情感溶而為一，全曲共達十一段，除了口琴五重奏外，還使用了鋼琴、豎琴、笙和敲擊樂，每段都連用了不同的樂器編配及作曲技巧，令人目不暇給。而於五、六十年代在香港出生的一群，對此曲的標題必定份外感到親切，也許在欣賞中想起不少往昔的人與事物。

Hui Cheung-wai 許翔威: The Scent of Poetry 詩境書香

I, II, T1, T2, B, harp

An elegant sketch composed for a harmonica quintet plus harp, this piece attempts to use these non-Chinese musical instruments to express Chinese musical elements. The traditional style of the music of the Chinese literati in the first of three movements is echoed in the last movement, while the middle movement develops the new style and features of contemporary Chinese music. Each movement creates a concept of surface or depth and an atmosphere of density or lightness.

這是一首清雅的寫意小品。為口琴五重奏與豎琴而作，旨在把中國音樂元素以這些非中國的樂器表現出來，傳統的中國文人音樂風格在簡約的三段曲式中首尾呼應，中段展現現代中國音樂的新風貌，各各營造淺層與深層的意境與或濃或淡的氣氛。

Hui Cheung-wai 許翔威: Moving Shapes 動容

I, II, T1, T2, B

Composed for a harmonica quintet, this piece is rich with varied rhythms and interwoven combinations that convey the vivacity of a city on the move. The musical patterns are free and flowing in constantly changing movement. The tune absorbs a bit of the improvisational style of jazz music, while the harmonics are detached from any sort of rules.

此曲為口琴五重奏而作，以豐富多變的節奏及織體組合表達朝氣勃勃的城市動感，音樂形態不斷變動，自由而流暢。樂曲吸納了一點兒爵士樂即興風格，和聲亦擺脫任何規律。

Hui Cheung-wai 許翔威: Resonant Snapshots 共鳴掠影

I, II, T1, T2, B

I. A Doctor After Surgery

II. A Poet In Meditation

III. A Scientist Behind The Telescope

IV. A Diplomat On Vacation

V. An Ecologist With Aqualung

一. 手術後的醫生

二. 沉思中的詩人

三. 望遠鏡前的科學家

四. 渡假外遊的外交家

五. 潛在水裏的環境學者

The work portrays the characters of different people with harmonica music. The idea is derived from the members of the King's Harmonica Quintet. Though each of them has his own mastery and intrinsic temperament, they share the same interest in music and form a close rapport. Featuring the members' solo performances in turn in different movements, the work enables each of them to manifest his own artistic personality and emotions with the musical expression of a fusion of feelings. Resonant Snapshots is the fourth piece written for the King's Harmonica Quintet by Hui Cheung-wai.

《共鳴掠影》以口琴音樂描繪的人物性格，靈感來向英皇口琴五重奏的每位成員，他們各具專才，但同樣熱愛音樂，各人個性獨特，卻又團結齊心、互相補足。這首作品便通過在不同樂章輪流的獨奏角色，讓他們每個人主力去表現一個具有自己特色的形象和感情，但卻同時在音樂上表達出融合的感情。《共鳴掠影》是許翔威為英皇口琴五重奏創作的第四首作品。

Hui Cheung-wai 許翔威: Rendezvous Paris 約會巴黎

I, II, T1, T2, B, orchestra

This is the first piece composed for a harmonica quintet and a symphony orchestra in history. A harmonica quintet has its own unified sound, involving significant collaboration among the musicians; for the ensemble to also play with a symphony orchestra is an innovation in orchestral music. It is certainly distinct from the usual solo concerto or concerto doppio.

The condition attached to this commission was that it must be based on existing well-known tunes. In the end, I decided to draw inspirations from several works instead of just one well-known piece. It was my wish to use Paris as a theme, in order to fill the work with my feelings for French music and artistic styles.

Paris has always been a treasure house of art and a city where "beauty" lives freely. It is both the "heart" of French culture and the "stomach", absorbing the essence of the world's fine art. The works I quote from are mainly by French composers. However, they also include Stravinsky's Le Sacre du printemps premiered in Paris, Gershwin's An American in Paris and the Beatles song Michelle.

The work does not consist of the development or variations of one or two themes. Instead, its structure is based on certain images that inspired me. They are: (1) Starry Night (The piece starts with the colours of Impressionism, while the sound of the harmonicas comes from the impressions that van Gogh made on me); (2) Asymmetric Fountain (There is an artistic fountain in a square named after Stravinsky beside the Centre Georges Pompidou. Its dynamism and colours distinguish it from classical fountains.); (3) Cubes on Canvas (The Cubist expression of the music with several focal points is derived from Picasso's visual art theory of multiple points of view.); (4) Pyramid of Glass (based on I.M. Pei's timeless architectural concept at the Louvre, we can also juxtapose new and old musical styles in a passage,): (5) Ceiling with Tales (just as Chagall decorated the ceiling of the Opéra in Paris In a child-like manner, I have Introduced the fun of nursery rhymes into this work.); (6) Café on a Bridge (This may be my fabrication, There are numerous cafés in Paris and many bridges linking the two banks of the river. However, I have never seen a café on a bridge before. This composite image seems to indicate a search in the banal reality for something that does not exist but can be realised. In the work, the familiar tune of La Vie en Rose is repeatedly interrupted by vague musical passages, but still manages to assert itself in the end.)

The fragments of 22 well-known tunes are adapted in this work which progresses without interruption. While some quotations are longer, others are short or consist of just a few notes, and may be difficult for some audience to recognise. On the whole, my goal was to create an innovative work full of personal musical touches. That is why some quotations are almost concealed. They are fun to play hide-and- seek with.

Apart from cutting up, rearranging or combining many famous tunes, I have applied the rare method of superimposition several times in this composition. This includes the overlapping of fragments of the melody of the same work. Instances of the overlapping of different works are the superimposition of melodies by Fauré and Ravel (who were teacher and student), works of the same type by Franck (Fauré's teacher) and Debussy (Sonata for violin and piano), as well as works by Stravinsky and Saint-Saëns (the latter had expressed his dislike of the former's Le Sacre du printemps).

Earlier composers have occasionally written parodies. For instance, in Carnaval des animaux, Saint-Saëns turned a lively melody by Offenbach into the slow and heavy Tortoise. I, on the other hand, transformed Saint-Saëns' graceful Swan into a humourous and dancing tune, or reverently borrowed the beautiful music of earlier composers. For instance, while Gounod used Bach's Prelude in C Major as accompaniment for a song he wrote, I composed a new harmony for that song. (Although I have removed Bach's music, I still wish to acknowledge my debt to him.)

As for the Beatles song partly sung in French, a fragment of its refrain appears near the end. If the audience knows the original lyrics, it will be even more meaningful. The last quotation comes from the last movement of Messiaen's Quartet for the End of Time, which is also my deliberate design.

The work may be appreciated from different perspectives. One can listen to it in a straightforward manner without paying attention to any allusions or being familiar with the famous tunes quoted, just as the title Rendezvous Paris can have diverse interpretations.

這是歷史上第一首口琴五重奏與管弦樂團一起演出的樂曲。口琴五重奏本身有其相對統一的音色與完整性，已包含五位演奏家合作之內部互相呼應，再與管弦樂作交流及融合，此獨特的性質無疑有別於一般獨奏協奏曲或複協奏曲，是管弦音樂的嶄新領域。

此委約作品的附帶要求是「採用名曲的旋律作為素材」，結果我決定由多首樂曲中取材，而非集申於一首名作。把關聯性題旨定於「巴黎」是我的宿願，好讓法國音樂與藝術格調予我的感受流露於這首作品之中 。

巴黎一直是藝術的寶庫，讓「美」自由自在地「活著」的重鎮，她既是法國文化的「心臟」，亦是吸收世界美藝精華的「胃」。我引用的樂曲主要出自法國作曲家的手筆，但也包括在巴黎首演史達拉汶斯基的春之祭、蓋希文的一個美國人在巴黎，以至披頭四歌曲Michelle。

由於並非以一兩個主題發展或變奏，我訂立的樂曲架構藍圖是一些引發我選材及創作的景象，分別為（一）星夜(Starry Night)〔樂曲由印象派的色調開始但口琴凝造聲響的手法是源於梵高給我的印象。〕（二）不對稱的噴泉(Asymmetric Fountain)〔座落於龐比度中心旁邊，史特拉汶斯基廣場的藝術噴水池，其動感與色彩是古典水池沒有的。〕（三）畫布上的立方體(Cubes on Canvas)〔從畢加索的多角度視藝理論轉化成多個焦點聲部的立體表現。〕（四）玻璃金字塔(Pyramid of Glass)〔貝聿銘在羅浮宮跨時空建築理念之折射，不囿於現實的光，我們亦可將新與舊的音樂風格同時並置於一個段落之中。〕（五）說故事的天花(Ceiling with Tales)〔巴黎歌劇院圓頂由Chagall繪上天真的色彩，讓我也把兒歌的遊玩樂趣也帶進這作品。〕（六）橋上的咖啡館(Café on a Bridge)〔這也許只是我的虛構，巴黎有許多咖啡館，也有不少橋連起河的兩岸，但我從未在一條橋上見有一間咖啡館，這個合成的意象似乎反映「在普通的現實生活中尋找未見但應可實現的東西」，在作品中耳熟能詳的La Vie en Rose幾番被迷幻不清的樂段切斷，但最終仍達到目標。〕

這首作品在無間斷的進行之中一共錄取了二十二個名作旋律的片段來加以編配改造，大概是一項紀錄。某些引述是較長，有的卻只是幾個音甚或短小的形態，對部分聽眾來說是不易辨認的，整體上我是追求一首原創性而佈滿個人音樂筆觸的作品，因此有些篇幅，被引用的近乎隱藏著，與它們捉迷藏也便有一種趣味性。

除了把許多著名旋律重新切割、調動或合拼，重疊這更為難求的處理方式，在此作品中便出現了數次，包括同一首作品旋律片段的交疊，不同作品重疊則有佛瑞與拉威爾（師徒關係）、法朗克（佛瑞的老師）與德布西的同類作品（小提琴與鋼琴奏鳴曲），以至史達拉汶斯基與聖桑（後者曾表示不喜歡前者所作的春之祭）。

以往的作曲家也曾偶然地譜出調侃之作，例如聖桑在動物嘉年華把奧芬巴赫一支熱烈激昂的旋律變成沉重緩慢的「烏龜」，我則把聖桑優雅的「天鵝」變得滑稽而跳躍。又或者崇敬地擷取前人的妙音，古諾把巴赫的C大調前奏曲當成伴奏加上歌調，我又把那歌調配上新的和弦。（雖然我抹去了巴赫的原曲，我仍要感謝他。）

至於選取「披頭四」有法文唱段的歌曲，其副歌旋律片段在接近尾聲時出現，若知道原來的歌詞的話，也還更有意思。而音樂最後的一個引用的主題動機是來自梅湘時間終結之四重奏最後樂章的，當然也是我特意的安排。

然而這作品是可以從多個角度去欣賞，直接地聆聽而不用理會任何隱喻或對那些被引用的名曲有所熟識亦無妨，正如對「約會巴黎」這題目也可有各人自己在現實或意念上不同的理解。

Hui Cheung-wai 許翔威: Reflections from a Pentagonal Crystal 五角水晶之反映

I, II, T1, T2, B, orchestra

After Rendezvous Paris, I wrote this sister piece for the King's Harmonica Quintet and the Hong Kong Philharmonic Orchestra, but this work was conceived more freely and its instrumentation is also different.

There were no previous works for ensemble playing by a harmonica quintet and a symphony orchestra that I could refer to. In writing this work, I had to ensure that the role of the quintet remained central and balanced with the immense sound spectrum of the orchestra. I also tried to explore the effects of timbral synthesis in orchestral music which had never been explored before. It was certainly a challenging and imaginative composing experience.

I associated the bright albeit somewhat thin sound of the harmonica with the image of the magical refraction of light. The symbol of the "pentagonal crystal" is expressed through the cohesive bond of the quintet. In the music, "five" also reasonably becomes a basis for the multi-faceted structure.

I tried to imagine that the flickering, intensity, concentration and flashing of light could be expressed through music. In this work, I have occasionally organised the directional spatialisation of sound sources to express the motion of 'transmission'. However, I am not trying to describe any objective optical phenomena. To tell the truth, I have not yet seen a pentagonal crystal in reality. I just made it up as an object through which we could see the world, so that the complex would become simple, the blurred would become clear and the cold would become warm.

The work is divided into three movements. The main idea of the first movement Between Us is conflict and harmony suggested by contrast. An event that stunned the world happened while I was writing it. That was why I arranged for two passages of silence in the music. The second movementFrom Mother to Mother is like a bridge. While its colours are subdued, it has more depth of feeling. In the third movement Treasures on Earth, all instruments show diversity in timbre. There is more frequent use of percussion instruments to suggest that the colours and energy buried in the earth are about to burst out.

This work is to a certain extent guided by the idea of the concerto. Due to the limitations of the small-sized harmonica and the problem of co-ordination between five chamber musicians instead of with one soloist, it is certainly more difficult than writing an organ concerto. Moreover, there is no such practical orchestral experience in terms of performance before the premiere of this work. Nevertheless, in this work, the sixth I have written for the King's Harmonica Quintet, I have tried to expand the language and technique of ensemble playing of this instrument and to create a space for the development of the unique sound of a harmonica ensemble with a symphonic orchestra.

這是繼約會巴黎之後寫的另一首同類型作品，皆為英皇口琴五重奏與香港管弦樂團聯同邀約的，所不同的是這首作品的素材是完全自由的，樂團編制亦有不一樣的調配。

口琴五重奏與管弦樂合作演出這個全新的模式，並沒有舊作可供參考，考慮到如何使五重奏的角色保持在中心重點與及跟音量宏大的樂隊取得均衡，並嘗試藉此契機探索管弦樂音響群前所未有的效果，實在是既具挑戰性又富於想象性的作曲經歷。

我是從口琴亮麗但稍為薄弱的獨特音色聯想到「光束幻化地折射」這個意象，「五角水晶」的象徵通過緊密連繫的五重奏形態表現出來，「五」在音樂中也順理成章作為多方面結構上的數理。

想象光線的隱現、高低、強弱、集散與閃動等，均可由音樂反映，我亦在作品中屢次運用音源方位的栘動來表現「傳送」的動態。然而我不是要描繪甚麼客觀的光學視象，說實話我仍未見過一塊五角水晶，只是憑虛擬構想透過它觀看這世界的形影，複雜可以變得單純、混亂可以變得清澈、冰冷可以變得溫暖......。

此作品其分三個樂章。第一樂章題為你我之間(Between Us)，對比性引伸的衝突與融和是主要內涵，創作時正值驚世事件發生，使我在音樂中安排了兩次靜默。第二樂章題為由母親到母親(From Mother to Mother)這有如橋樑的中間樂章，色彩雖較淡，情意卻更濃。第三樂章題為大地瑰寶(Treasure on Earth)，樂器的效果與音色更繽紛多采，敲擊樂運用也特別多，潛藏於泥土裡的色彩與能量最終便要迸發出來。

協奏曲的概念在一定程度上主導著這作品，一把細小口琴的限制與及五人聚合協調的難度，委實較寫一首風琴協奏曲要有更多顧慮，實際演出的經驗在這作品首演前更是「零」。然而這首我為英皇口琴五重奏而寫的第六套作品，也著意為這樂器的組合語言與技巧，盡力去推展，創造一個大大發揮口琴重奏特質及交響化的空間。

Hui Cheung-wai 許翔威: Three Thoughts 三思

I, II, guitar

This work is chiefly tripartite, reflecting three linked stages in thinking:

1. From the First Idea

2. Between Contradiction and Correlation

3. Towards Perception of a Philosophy

The music evolves from serenity to thicker sounds, and from vividness back to calmness. Tonality varies from vague to clear, and old or new styles dissolve to form one of its kind. 3-part structure, including its symmetric or asymmetric forms (ABC, ABA, AAB etc.) exists on large-scale and smaller parts. The simple and profound coda is entitled Convergence at Infinity. The end seems to be another starting point.

Written at the end of the summer of 2002, Three Thoughts is the 11th work by Hui Cheung-wai upon request of harmonica players. In that summer the composer visited the Athabasca Glacier and Banff in the Rocky Mountains of great natural beauty.

此曲由三個主要部分構成，反映思考的三個連續階段：

• 1. 始於一念

  2. 矛盾與聯繫

  3. 進悟境

音樂由淡漸濃，濃而後淡，調性時有時無，風格亦新亦舊，融成一格。三段體結構，包括其對稱或不對稱形態，（ABC，ABA，AAB等等）存在於整體及局部。派生的尾聲：「於無限處聚合」簡單而深邃，終結又似是一種開始。

《三思》是許翔威應邀為口琴演奏家而創作的第十一套作品，於二零零二年夏末譜寫，作者於該夏天曾踏足洛基山脈中的阿大巴斯卡冰川及斑芙等大自然勝境。

Hui Cheung-wai 許翔威: Last Time We Met Larry Adler in Hong Kong 最後一次與Larry Adler相會

I, II, T1, T2, B, strings

No doubt, Larry Adler is a legend. He passed away in 2001 and we could no longer hear his one-of-a-kind magical tones live. That year he was still planning performances on tour to China. Unfortunately he died before realization of the plan. The last time Larry Adler revisited Hong Kong and played for us was in November 1999. At that time he was already 85 and the concert has now become a very precious part of our memories.

Larry Adler is the role model of a great many harmonica players. Yet no one has been capable to reproduce his wonderful sound. But the enthusiasm to raise the standard and develop new areas for the instrument he loves is something we could learn and pass down to younger generations. The promising growth of Hong Kong's harmonica music community in recent years with their impressive solidarity and innovation is surely an extension of the spirit of Larry Adler.

The composition expresses memories and sentiments that does not belong only to one person. Its lyricism conveys senses of remembrance and wishes. It is not telling stories or imitating Larry Adler. The texture of the music does have prominent solo harmonica sections but the ensemble and concertante combinations are important as well. Different elements are usually coexisting instead of opposing each other.

The orchestral part simply calls for the strings, as this work pursues 'purity' and 'embedding meanings in plainness'. The tumbrel tapestry is delicate and subtle. Among the composer's 15 works for harmonicas in the past, this piece is composed with the simplest technique but new ways of expression are discovered.

無疑，艾德拉(Larry Adler)就是一個傳奇。他於二○○一年離世使我們不能再親歷他那獨特奇幻的琴韻，那年他還正在計劃到中國巡迴演奏，可惜未能實現就逝世。而香港口琴界在一九九九年十一月邀得當時已八十五歲的艾德拉再度來港演出，便成了他最後一次到訪這城市，也成了我們十分珍貴的記憶。

艾德拉是萬千口琴演奏者的典範，卻從來沒有人能做出他的奇技。然而他為一件他所熱愛的樂器努力地提昇其標準和開拓新領域，則是我們可以學習和承傳的。近年香港口琴界以強銳力量取得佳績，團結和創新，可說是艾德拉口琴精神的延伸。

譜寫這曲旨在把一種不單是屬於個人的回憶和情感化作一闕「帶著懷念與願望」的抒情曲，箇中並非具體敘事，亦沒描繪或模仿艾德拉。在音樂織體上，固然有較突出的獨奏，但重奏與協奏的趣味均兼備，而且往往是交融而非對立。

樂隊編制只是簡潔的弦樂，作品意在追求「純」和「淺白蘊藏深邃」的韻味，音色的交織亦細膩而微妙。作者在此曲運用了比他以前十五部口琴作品都更簡單的作曲技巧，但卻又尋獲新的表現方式。

Hui Cheung-wai 許翔威: May Consolation 禱歌 : 苦難中得安慰

I, II, T1, T2, B

Hui Cheung-wai 許翔威: Nocturne for Voyager in Space 越空探索者之夜曲

Guqin, I, II, T1, T2, B

The voyage to explore the universe is an endless trip. The loneliness of an interstellar voyager could last for thousands of years. It is still the beginning stage in human’s space exploration. At present there are a few spaceships launched from Planet Earth heading for other galaxies. Voyager 1 and Voyager 2 are carrying humankind’s imprints, including recording of music from the world. Qin music to represent Chinese culture is among the selection. Perhaps someday in outer-space the recording will be heard by extraterrestrial listeners, and the human will hear a feedback.

The current spaceships could only proceed “slowly” through the immensity of the universe. It takes about 40000 years for Voyager 1 to pass by the nearest star of our solar system. But the spiritual odyssey of an explorer needs no destination to arrive. The journey of discovery has surpassing values itself. On Earth, there are limits in materials and ends for lands and waters. What could be boundless? How about your inner-space?

Imagine you are someone else inside a faraway spaceship in the far-future year 20010, in the midst of countless stars, listening to a nocturne in serenity…...

探索浩渺宇宙，是無止境的旅程，更可會是萬年長久的孤寂。人類遠航太空探索，還只是起步階段。現在正有數艘從地球出發的飛船，駛向無邊星域，其中「旅航者」1號和2號載有人類的存在印記，音樂聲軌中有一段來自中國的古琴曲，期待將來在星空某處遇上聆聽者，天外也許會傳來智慧回聲。

目前的飛船只能在偌大的星際空間慢慢前行，「旅航者」要到達距我們最近的恆星至少得花幾萬年時間。但探索者的精神不在乎達成目標，不斷發現的航行，已是意義非凡。人間世，物質有限制，山水有盡頭，甚麼才是無涯？生命與天地呼應，超越時空，想象無窮。

幻想自己是另一人，身處遠在20010年茫茫星空裡一艘的飛船，靜聽夜曲……

Hui Cheung-wai 許翔威: Trinity - A Short Hymn Without Words

I, II, T1, T2, B

Hui Cheung-wai 許翔威: A Peaceful Silent Night

I, II, T1, T2, B

Hui Cheung-wai 許翔威: A Vista of Far Long Acquaintance 友情景觀

Chromatic harmonica, I, II, T1, T2, B, piano

This piece was specially written for the 25th Anniversary of King’s Harmonica Quintet, an extraordinary example of chamber music making, to be performing together with the legendary harmonica soloist Sigmund Groven, who is undoubtedly a significant friend of KHQ, regardless of the geographic distance between Norway and Hong Kong.

The definitive composer of this “bespoke” harmonica composition knows very well the stylistic harmonica virtuosi not just in their musical temperaments but also as true friends. This work is indeed a symbolic reflection of Friendship.

This refreshing ballad with some of the melodies flow along Scandinavian impression consists of three sections all developed from the same structure of harmonic progression. Like the different perspectives on the past, the present and the future on people's mind, the consecutive sections of different tempos convey the feelings of reminiscence, celebration and hope.

此曲特別為英皇口琴五重奏25週年紀念而譜寫，以室樂合奏音樂來彰顯長遠的友情別具意義。久經歷練的音樂同道人，不單在音樂當中諧協互動，共創佳績，於日常生活也會相互關懷。人海中相識結伴，復能長久一起持續追求理想，打破繁忙現實與地域的阻隔，維繫緊密情誼，實在彌足珍貴。

英皇口琴五重奏於銀禧紀念音樂會特別邀請挪威口琴獨奏名家西格蒙．葛洛文來港參與演出，可見與這位自遠方來之良朋的友情甚為深厚。這首為“友緣北歐”譜寫的新曲，可說是作曲家與各演奏家的“友情”寫照，多於藝術技巧的展示。此曲風格從容清新，彷彿遠離都市，飛越山嶺鄉土。

樂曲在簡短引子之後，是三個不同速度、主旋律變化各異然而伴奏和聲依舊一樣的主要段落，第一段悠然飄逸，反映對朋友間以往多年故事與感受的回顧；第二段輕快跳脫，顯出目前相聚的歡樂，把握機緣攜手努力共創美事；第三段象徵展望未來，寄望好友志同道合，恆久不變。

Hui Cheung-wai 許翔威: Tonight My Heart Flows a Rippling Brook 小河淌水夜心曲

I, II, T1, T2, B, Chinese orchestra

Written for Harmonica Quintet and Chinese Orchestra, this symphonic poem is based on the famous tune of the Chinese folk song “The Rippling Brook”. With its special instrumentation and delicate orchestration, this work blends traditional sounds with contemporary lyrical style.

The melodic fragments drawn from the original tune form the main theme of this composition. Characteristic motives are reconstructed, extended, transposed or embellished. The beginning of the music reflects nebulous vision of broad landscape. Throughout the work, the harmony is full of impressionistic colours, with which the mountains, rivers and scenes of village life are depicted. The well-known folk tune appears clearly and completely twice with novel ornaments and counterpoint melodies. In between is a contrasting interlude with unpredictable changes.

這是以著名雲南民歌《小河淌水》的簡短曲調為素材，改編創作而成的一首中國風格管弦樂詩。樂曲以口琴五重奏為重心，由中樂團協奏，配器獨特而精緻，糅合傳統與現代抒情風格。

這首作品從簡潔流麗的歌唱曲調中擷取獨特的音調片段，創作出意象遼闊而朦朧的前段，並帶出變化對比的間奏，運用富印象色彩的和聲，描畫山川鄉境，營造飄渺的詩意氣氛。為人熟悉的民歌曲調在樂曲中段兩度完整地出現，分別在裝飾及對位上展現新形態。

Hui Cheung-wai 許翔威: Golden Pledge, Resounding Dream 金石契 • 絲竹夢

I, II, T1, T2, B, Chinese orchestra

It is both a challenge and an adventure into unknown territory to write a piece for harmonica quintet and Chinese orchestra, in terms of relative balance of volume, performance techniques, timbre or fusion of styles. But instrumentation that is an exception rather than the norm can create a refreshing listening experience. The delicate harmonica and the richly varied sounds of Chinese musical instruments have their individual character; and if they are put together, the crossover and blending will uncover new artistic dimensions.

The Hong Kong Chinese Orchestra and the King's Harmonica Quintet are in the forefront of music, never stopping at their respective fields or bound by their respective traditions. This commission has offered me a wonderful opportunity, as these two strong contingents meet, to bring together their sounds and recreate unique timbres.

The work, entitled Golden Pledge, Resounding Dream, carries my message to my fellow music-makers. We should look far ahead, work together and towards our dreams in music. Our insistence would form an invaluable spiritual force for us to forge ahead, into realms of the beautiful unknown.

The work attempts to blend the idioms of both traditional and contemporary music in an innovative approach that would appeal to all tastes, and reflect the colourful symphonic nuances of Chinese culture. The different textures, of the four main types of Chinese musical instruments - 'metal', 'stone', 'strings' and 'wind' - are given abstract acoustic treatments to create moods and effects that are different from the usual 'romantic' or 'lyrical' pieces. Special attention is also paid to the organic integration and timbral contrasts of the orchestra and the harmonica quintet.

為口琴五重奏與中樂團一起演出而譜寫原創作品是極富挑戰性和探索性的，在音量平衡、演奏技巧、音色與風格結合等各方面都不容易處理，然而非一般的配器形式相對會帶來頗為新穎的聽覺體驗。纖巧的口琴和種類繁多的中國民族樂器，各各有其突出的鮮明特性，兩者相遇，交流磨合準會開拓出新的藝術空間。

這次是難能可貴的契機，香港中樂團與英皇口琴五重奏均為樂界翹楚與先鋒，一向不會停留在傳統中樂和口琴音樂各自的固有模樣，欣逢當世最佳勁旅配搭，好讓新作品新交疊的聲響鑄造出大型中樂團與口琴五重奏協奏的獨特音樂色彩。

標題《金石契．絲竹夢》，寄語音樂家們對彼此的長遠合作及對音樂夢想的堅持，是貴重而堅固的精神力量和不尋常的非凡意境。

樂曲嘗試兼收並蓄傳統與現代音樂語言，以融合與創新的作曲意念譜出雅俗共賞、反映出現代中華文化多層次多姿彩的交響聲韻；由於對金、石、絲、竹的不同質感加以聲音的抽象聯想，氣氛與效果有別於一般風花雪月的描寫或抒情題材，對整體樂隊與口琴五重奏結合和對比的音色變化特別講究。

Hui Cheung-wai 許翔威: Orientalische Stimmung 蓬萊聽東風

I, II / alto recorder, T1, T2, B, harmonica orchestra

Single movement with a duration of around 9 minutes, Orientalische Stimmung is similar to a symphonic poem but with the form of concertante. It was specially written for King’s Harmonica Quintet performing with HKHA Harmonica Orchestra at World Harmonica Festival 2013. Aiming at the cultural exchange between East and West, this music composition illustrates the natural roots of oriental aesthetics in a sonic elaboration by modern orchestral amalgamation of ancient / folk modes of Chinese melody, non-Western harmony and counterpoint, with occasional extemporization of sounds non-pitched and rhythmically free. Besides the colouristic parts for piano and percussions in instrumentation, the Guzheng, one of the most characteristic traditional Chinese plucked string instruments, is featured with its typical pitch gliding ornaments and glissando arpeggios. In several sections, the European recorder is even called to play the stylish sounds of flutes in the Far East.

Orientalische Stimmung was commissioned by Hong Kong Harmonica Association in 2013 with sponsorship from “Composers and Authors Society of Hong Kong” Music Fund. It received its World Premiere at Martin-Luther Church in Trossingen, Germany on 2 November 2013 with the composer himself conducting.

這首長約九分鐘的單樂章作品以交響詩的形式作藍本，但混合了室樂與大樂隊協奏的概念，口琴五重奏在當中為主奏角色，是特別為英皇口琴五重奏與香港口琴協會口琴樂團於2013年世界口琴節演出而譜作。《蓬萊聽東風》旨在創造東方與西方文化交流的空間，作品透過中國化的音樂風格、非西方的和聲和織體，以至偶然出現的自由音調與散板節奏，呈現出充滿東方氣息的自然意韵。樂團配器上除了鋼琴及敲擊樂的氣氛營造，樂曲也使用了古箏的特色滑音和滾拂撥絃來增添東方色彩，有些片段更運用源自歐洲的牧童笛吹出中國簫笛的韻味。

《蓬萊聽東風》由香港口琴協會委約創作，香港作曲家及作詞家協會音樂基金贊助。此曲於2013年11月2日於德國特勞辛根馬丁路德教堂世界首演，由作曲家親自指揮。

Lam Man-yee 林敏怡: C’est La Vie 人生如斯

I, II, T1, T2, B

Lam Man-yee 林敏怡: Tranz

I, II, T1, T2, B, erhu, band

Lam On-ki, Angel 林安淇: Silk Road, Silk Road 絲路、絲路

I, II, T1, T2, B, Percussion

I invoke the writing technique of American author Truman Capote’s non-fiction novel style in this composition. Like his A Christmas Memory, this piece is filled with childhood fantasy, though only memories, a sorrowful world of beauty too rich to be forgotten.

I. Mirage, elevation 12,000 ft.

At this elevation where the air is thin, everyone have difficulty breathing. My body became weak, head feeling dizzy, but this is all worth it.

Just looking at the majestic scenery outside the window, mountains covered with snow caps desirable like ice-cream sundaes. The sky a stunning metallic blue, against clouds that are florescent white, and the grass is an endless field of rolling greens. I have never seen so many shades and layers of green in my life...

Suddenly, I thought of my elementary school classmate... she seems to be here too, sitting right behind me. I remember that day, in my third grade class, my art teacher was not happy with my painting. She said I am always painting outside of the lines and edges of the drawing. She was angry that I do not obey the rules. I couldn't help but cried, and my classmate comforted me. She was even willing to trade me her box of soy milk for my painting.

Suddenly, she disappeared again.

II. Baby Camel Walk

This movement has two main ideas: little camel’s playful and happy personality, and traveler’s joyful and relaxing feelings riding on a camel. I fused these two elements in the music, I hope listeners can share the fun of traveling in the northwestern plains of China.

III. Mirage on the train

我參照了美國短篇小說大師杜老門加波迪《聖誕回憶》一書的寫作技巧，完成了這首充滿童真的樂章。歌曲最後一段，是成年人對童年片段的回憶，一個既美麗而又哀傷的杜老門世界。

I. 海拔12,000呎

在這個高度，空氣稀小，頭很暈，身體虛弱，呼吸困難，但這都是值得的。單看看窗外那壯麗的景色，遠遠的雪山，像冰淇淋一樣親切。蔚藍的天空，很有點金屬味道。那白雲都白得似一陣螢光。草當然是綠色的，但未見過大草原這樣有層次感，一大片無窮無盡的綠。

然後，我想起了兒孩時一個同學。 她好像也來了，就坐在我後面。 那一次，畫畫老師責備了我，老師認為我不該老愛把顏色填過了界，不守規矩。 我委屈得哭了出來，但她安慰了我，她還願意用一盒豆奶來交換我那幅畫呢。

然後，她又消失了。

II. 小駱駝之旅

樂曲有兩個主題：小駱駝活潑的腳步和好玩的性格，和旅遊人騎在大駱駝上開朗快樂的心情。我把這兩樣東西溶混在音符裏。歌曲開始時有點散漫，不經意，然後是幾套完整的樂章。節奏緊密，旋律活潑，希望聽眾能分享到那種在西北大草原旅行的樂趣。

III. 童星魅影

Li Cheong 李昌: Café Capriccio 咖啡隨想

I, II, T1, T2, B

I. Mocha

II. Cappuccino

III. Espresso

一. 蜜蜜意

二. 求不得

三. 愛別離

Café Capriccio is a suite of three movements written for harmonica quintet. Three types of coffee: “mocha”, “cappuccino” and “espresso” are chosen, each represents love in a different stage. “Mocha”, the sweet and bright waltz is followed by “cappuccino”, a lazy and sentimental movement written in the style of bossa nova. The final movement “espresso” is a tango, which combines passion and bitterness.

《咖啡隨想》是為口琴五重奏而作的組曲。組曲由三個樂章組成，每個樂章以不同的咖啡象徵人在愛情之中的心路。第一樂章「蜜蜜意」以圓舞曲代表朱古力咖啡般的甜蜜。第二樂章「求不得」以散漫而略帶傷感的波莎．諾華風格象徵白咖啡的泡沫，美麗但有如夢幻泡影。第三樂章「愛別離」以探戈代表有如純咖啡的苦澀。

Mak Wai-chu, Clarence 麥偉鑄: A Flow To Give 風送暖

I, II, T1, T2, B

Fluttering the wind, long miles to search.

......

Rain is over, a flow to give.

This piece tries to explore the new techniques and the performing possibility of the harmonica ensemble. The music starts with fast-note gestures flowing in contrasting registers and fluctuating tempi. The tonality is gradually established with more lyrical melodic lines in the middle section. After a passage with dancing rhythm, the piece ends with a slow modal melody.

風飄飄 白日無光 愁前路

... ...

雲漸散 彩紅送舊 暖心頭

樂曲嘗試以現代手法發揮口琴的新技巧及開拓其演奏的可能性。音樂開始以不協和音程組成的快音線條，在高低音區飄忽不定，速度時快時慢。中段調性漸趨明朗，旋律形態鮮明，引入活潑的節奏，最後以一個緩慢而抒情的旋律結束。

Mak Wai-chu, Clarence 麥偉鑄: Flowers Fly Everywhere 處處花飛花處處

I, II, T1, T2, B

The Chinese title of the piece is a palindrome that the first is the last, and the last becomes the first. Things so often, even the compositional creative process occasionally reflects similar. The ending of the piece composed and dedicated to the King’s Harmonica Quintet ten years ago becomes the start of the music today. The musical idea was once attempted to use string instruments to express the contrast among the melodic lines and staccato notes, but today it is presented in another interesting way, that is, to use the instrument that I loved to play in childhood, through one of the best ensembles in Hong Kong ─ Kings Harmonica Quintet, to shape another realm in sound. In this way, the pieces are related to one another, each of the distinctive contours exciting and citational. In simple terms, "everywhere" is the range of the instruments, "flower" is the figurations, "fly" is to describe the enlivening figurations shuttling in the entire range of the music.

「處處飛花飛處處」這些有趣的回文 (palindrome)，在前的變在後，在後的變在前。世事往往如此，連音樂創作的思路偶爾也有類似的反映。十年前為英皇口琴五重奏作了一首樂曲，想不到會把當年作品的結尾，用作今天樂曲的開始。同樣地這些音樂意念，曾經費煞思量的嘗試用弦樂器去表達當中的線條與跳音的對比，但到今天才輕然發現另一種有趣的演繹方式，就是以自己身邊從小就喜歡玩的樂器 ─ 口琴，透過這個天衣無縫的組合 ─ 英皇口琴五重奏，去塑造另一個聲音境界。這樣，更令多首作品互相聯繫起來，以不同的輪廓各自各精彩而又彼此引證。簡單來說，「處處」就是音域，「花」就是音型，「飛」就是音型穿梭於整個音域中旳躍動。

Mui Kwong-chiu 梅廣釗: Voices of the Mountain 山之呼喚

I, II, T1, T2, B

Mui Kwong-chiu 梅廣釗: Color Clouds Suite 紅映雪語組曲

I, II, T1, T2, B

Color Clouds Suite comprises four movements: Over the Color Clouds, Red Haze, Snowflakes, and Voice of the Mountain. Although the suite is composed as a continuous work, the movements can be performed separately as individual pieces.

Over the Color Clouds is a fast movement. It is about a journey over clouds of ever-changing colours. In Red Haze, contrapuntal lines and melodic fragments are used to describe the beautiful colour change of haze. In Snowflakes, the quintet plays as if it were a string orchestra portraying massive snowy mountains. Instances of avalanche occur but the journey continues. The suite concludes with a lyrical piece Voices of the Mountain, symbolising consolation from Mother Nature and the plucking up of courage to purse ideals in life. The work was specially written for a harmonica quintet. When I was composing the suite, I was thinking of five wonderful instruments that have the unique properties that exist in a blend of the beautiful tone colours of a string ensemble and a woodwind section.

《紅映雪語》是一套有四個樂章的組曲，分別是「飛越彩雲」、「紅霞暉映」、「傲雪齊飛」、「山之呼喚」。全曲一氣呵成，但個別樂章亦可單獨演奏。「飛越彩雲」描寫飛渡繽紛的雲彩，全曲輕快。主題鮮明，重點在色彩的變化。「紅霞暉映」描寫紅霞變幻的光彩，片片樂句重疊呼應，猶如霞彩片片砌成一幅美麗的圖畫。「傲雪齊飛」，猶如雪山的浩大，白雪紛飛，傲對人生的順逆。最後，樂曲把筆一提，與大自然冥合，隱約中如聽山之呼喚，細訴大自然永恆的真善美。《紅映雪語》組曲，旨在發揮口琴五重奏的獨特純美音色—它既有弦樂細膩的情操，亦可帶有管樂的獨質......。《紅映雪語》亦隱喻生命中追求理想的不屈精神。

Mui Kwong-chiu 梅廣釗: Autumn Landscape Suite 秋山紅葉組曲

I, II, T1, T2, B, piano, sheng, harp, percussion

Autumn Landscape Suite is a chamber work for a harmonica quintet, sheng, harp, piano and percussion instruments. It blends the virtuosity and the unique sound of the quintet with the other instruments. The suite consists of three movements depicting the beautiful natural landscape: Red Leaves, The Woods after the Autumn Rain and The Mountain at Sunset. The suite uses artificial scales and modes that blend with whole-tones scales. Red Leaves is a description of autumn scenery. In The Woods after the Autumn Rain, the sheng and the harp together describe the woods after a rainfall, while the piano towards the end portrays a stream. In the last movement, The Mountain at Sunset, some extended performing techniques for the piano are used to emulate echoes in the mountain.

《秋山紅葉》組曲是一首特別為口琴五重奏、笙、鋼琴、豎琴和敲擊樂寫成的室樂作品，它發揮了口琴五重奏和其他樂器結合起來的獨特音色。作品運用了人工調式，並結合了全音階等作為基本音樂素材。全曲分三個樂章：「紅葉」描繪蔚藍天色下紅葉繽紛的姿采；「雨後山林」描寫雨後水滴枝葉，樂章後部份描繪小溪流水的情景；「夕陽峰照」描寫夕陽暉映下的山岳，樂曲運用了鋼琴的最高及最低音區的音色，模倣山區回響。

Mui Kwong-chiu 梅廣釗: Hong Kong Landscape Suite 香江素描組曲

I, II, T1, T2, B, piano

Hong Kong Landscape Suite is specially composed for the King's Harmonica Quintet, piano and percussions. The Suite includes an introduction and three movements, namely The Embankment off the Golden Coast, Colour Rain, and Spectacular Night. The work integrates musical materials such as diatonic, pentatonic, whole-tone, artificial scales, sets and quartal chords to portray scenes from Hong Kong which is a modern metropolis blending the East and West.

《香江素描組曲》是一首為英皇口琴五重奏、鋼琴及敲擊而作的室樂作品。組曲分序曲及三個樂章。分別為「黃金海岸的長堤」、「彩雨」及「繽紛夜」。樂曲結合了傳統及人工調式、全音階、音列、四度和弦等音樂元素創作而成，是一幅以口琴為主導樂器描繪香港這個國際大都會的音樂圖畫。

Mui Kwong-chiu 梅廣釗: Rhapsody of Color Clouds Chasing the Moon 彩雲追月狂想曲

I, II, T1, T2, B, sheng, piano

I, II, T1, T2, B, Chinese orchestra

Colour Clouds Chasing the Moon is the composer's favourite Chinese pieces. The melody arouses thoughts and memories of the picturesque scenes of Mid-Autumn Festival, the quietness of the night and the poetic moonlight shadows... adding wonderful moments to his life. This work Rhapsody of Colour Clouds Chasing the Moon is a response to this wonderful melody. Composer uses the harmonica quintet, the Chinese sheng and the piano for the instrumentation of this piece. He incorporated the modern compositional techniques as well as the traditional ones to blend the Western and Chinese musical materials. In this work, he names a number of sections: an Introduction, Chasing the moon, the Romance, the Moon-Dance, the Remembrance and a coda; all originated and developed from the famous melody. Each section embodies certain thoughts, memories, passions and fantasy. This musical creation represents one of composer's goals in his life.

《彩雲追月》是梅廣釗最喜愛的其中一首中國樂曲。她如詩如畫的旋律。勾起對夜、皎潔的月色和中秋佳節的聯想。在其生命中，樂曲為他添加不同的驚喜。這首狂想曲是對這首家傳戶曉的旋律作出一個回應。在創作方面，梅氏運用了五只口琴、笙及鋼琴，結合東西方的音樂素材，混合傳統與現代的作曲技法創作而成。作品分若干部份：「引子」，「彩雲追月」，「月戀」，「月舞」，「念月」及「終曲」等樂段，全都是由《彩雲追月》本曲引伸出來。每一樂段陳述不同樂思，借景入情。此作品充滿懷念，憧景及盼望，大膽地點出對人生的追求。

Mui Kwong-chiu 梅廣釗: Song of the Mountain 山之歌

I, II, T1, T2, B

Works arranged for harmonica quintet

Abe Komei: String Quartet No.11

I. Allegro energico <8>

II. Cavatina (Lento) <6>

III. Scherzo (Molto allegro) <7>

IV. Vivace assai <7>

I(A), II(A), T1, T2, B

Anderson: Sleigh Ride

I, II, T1, T2, B <5>

Bach: Cantata BWV147: Jesu, Joy of Man's Desiring

I, II, T1, T2, B <5>

Bach: Concerto for 2 Violins in D Minor BWV1043: Vivace

Solo I (G), Solo II (G), I(G), II(G), T, B <7>

Bach: Suite No.2 for Orchestra in B Minor BWV1067

Overture <7>

Rondeau <6>

Sarabande <6>

Bourree <7>

Polonaise <7>

Menuet <5>

Badinerie <8>

I(A), II(A), T1/(A), T2, B

Bartok: Romanian Folk Dances Sz 56

I. Jocul cu bata (Allegro moderato) <6> II. Braul (Allegro) <6>

III. Pe loc (Moderato) <7>

IV. Buciumeana (Moderato) <6>

V. Poarga romaneasca (Allegro) <7>

VI. Maruntel (L'istesso tempo) <6>

VII. Maruntel (Allegro vivace) <7>

I(C/A), II(C/A/G), T1, T2, B

Beethoven: Serenade, Trio in D Major Op.8 No.1: Andante

Solo, I, II, T1, T2, B <6>

Benjamin, Arthur, arr. James Moody & Sigmund Groven: Jamaican Rumba

Solo, I, II, T1, T2, B, piano <5>

Bizet: Carmen Fantasy

I, II, III, T, B <6>

Borodin: Prince Igor: Polovtsian Dances

I(A), II(A), T1, T2, B <4>

Borodin: String Quartet No.1 in A Major

I. Moderato - Allegro <8>

II. Andante con moto <6>

III. Prestissimo - Moderato - Da Capo <7>

IV. Andante - Allegro risoluto <8>

I(A/D), II(A), T1, T2, B[T3], [T4]

Borodin: String Quartet No.2 in D Major

I. Allegro moderato <7>

II. Scherzo (Allegro) <7>

III. Notturno (Andante) <7>

IV. Finale (Andante - Vivace) <9>

I(A), II(A), T1, T2, B

Chan, Fai-young 陳輝陽, arr. Chan Ngai-kin : Song of Macau 澳門之歌

Vocal, Mixed Choir, I, II, T1, T2, B

Chow, Vincent 周炳輝, arr. Ronald Fu: Grandma 嫲嫲

Vocal, Orchestra, Band, I, II, T1, T2, B

Denver, John, arr. N.K. Chan: Perhaps Love

I, II, T1, T2, B <7>

Dvorak: Piano Quintet in A Op.81

I. Allegro ma non tanto <7>

II. Dumka (Andante con moto) <7>

III. Scherzo - Furiant (Molto vivace) <6>

IV. Finale (Allegro) <8>

I(A), II(A), T1, T2, B, piano

Dvorak: String Quartet No.12 in F Major Op.96 B.179 "The American"

I. Allegro ma non troppo <6>

II. Lento <6>

III. Molto vivace <6>

IV. Finale (Vivace ma non troppo) <7>

I, II, T1, T2, B

Dvorak: String Quartet No.8 in E Major Op.80 B.57

I. Allegro <7>

II. Andante con moto <6>

III. Scherzando (Allegro) <7>

IV. Finale (Allegro con brio) <8>

I(A), II(A), T1, T2, B

Dvorak: String Quartet No.9 in D Minor Op.34 B.75

I. Allegro <7>

II. Alla Polka (Allegretto scherzando) <7>

III. Adagio <7>

IV. Finale (Poco allegro) <8>

I(C/A), II(G), T1, T2, B

Dvorak: String Quintet in Eb Major Op.97

I. Allegro non tanto <7>

II. Allegro vivo <7>

III. Larghetto <7>

IV. Finale (Allegro giusto) <6>

I(Bb), II(Bb), III(G), T1, T2, B

Dyens, transcribed by N.K.Chan: Tango en Skaï

Guitar, I(A), II(A), T1, T2, B <7>

Elgar: Chanson de Matin Op.15 No.2

I, II, T1, T2, B <6>

Elgar: Serenade in E Minor for Strings Op.20

I. Allegro piacevole <5>

II. Larghetto <5>

III. Allegretto <6>

I(G), II(G), III(G), T1, T2, B

Ellington: I'm Beginning to See the Light

I, II(G), T1(/A), T2, B <6>

Ellington: Mood Indigo

I(A), II(G), T1, T2, B <7>

Ellington: Sophisticated Lady

I, II(G), T1, T2, B <7>

Ellington: Take the A Train

I, II(G), T1, T2, B <8>

Enesco: Rumanian Rhapsody No.1 in A, Op.11

Solo, I, II, T1, T2, B <8>

I, II, T1, T2, B, Chinese Orchestra (arranged by Chew Hee-chiat 周熙杰)

Faure: Pavane Op.50

I(A), II(A), T1, T2, B <6>

Faure: Sicilienne

I(A), II(A), T1, T2, B <5>

Gagnon, transcribed by N.K.Chan: Sépia

Guitar, I, II, T1, T2, B <6>

Gershwin: An American in Paris

I, II, T1, T2, B <8>

Gershwin: Bess, You Is My Woman Now

I, II, T1, T2, B <6>

Gershwin: It Ain't Necessarily So

I, II, T1, T2, B <6>

Gershwin: Lullaby

I(A), II(A), T1, T2, B <6>

Gershwin: Someone To Watch Over Me

I(A), II(A), T1, T2, B <6>

Gershwin: Summertime

I, II, T1, T2, B <6>

Glazunov: String Quartet No.3 Op.26 in G "Slave"

I. Moderato <7>

II. Interludium, Moderato <5>

III. Alla Mazurka, Allegretto <7>

IV. Finale, Allegro Moderato <8>

I, II(G), T1, T2, B

Grieg: Holberg Suite Op.40

I. Praludium <7>

II. Sarabande <5>

III. Gavotte <6>

IV. Air <6>

V. Rigaudon <7>

I(G), II(G), III(G), T1, T2, B

Gronich: HarmoniCadence

Lead, Chord, Bass, I, II, T1, T2, B

Groven, Sigmund: Aria

Solo, I, II, T1, T2, B <4>

Groven, Eivind: Om Kvelden

Solo, I, II, T1, T2, B <5>

Hampton: Agitation Rag

I, II, T1, T2, B <6>

Handel: Sonata for Flute and Piano No.3

I, II(G), T1, T2, B <7>

Haydn: Divertimento No.1 in Bb Major

I. Allegro con spirito <6>

II. Andante quasi Allegretto - Choral St. Antoni <6>

III. Menuetto <6>

IV. Rondo Allegretto <6>

I, II, T1, T2, B

Haydn: String Quartet No.77 in C Major "Emperor" Op.76 No.3

I. Allegro <8>

II. Poco adagio cantabile <7>

III. Menuetto (Allegro) <5>

IV. Presto <8>

I, II, T1, T2, B

He Jan-ho / Chen Gang 何占豪／陳鋼: Butterfly Lovers Concerto: Transformation into Butterflies 梁山泊與祝英台 — 化蝶

Solo, I, II, T1, T2, B <5>

Hua Yanjun 華彥鈞 arr. Mui Kwong-chiu: The Moon Lit Lake 二泉映月

Erhu, I, II, T1, T2, B

Jacob: Five Pieces

I. Caprice <6>

II. Cradle Song <4>

III. Country Dance <6>

IV. Threnody <5>

V. Russian Dance <6>

Solo, I(G), II(G), T1, T2, B

Joplin: Maple Leaf Rag

I, II, T1, T2, B <5>

Joplin: Sun Flower Slow Drag

I, II(G), T, T2, B <5>

Joplin: The Entertainer

I, II, T1, T2, B <5>

Kabalevsky: Comedian's Gallop

I, II, T1, T2, B <6>

Khachaturian: Gayaneh: Sabre Dance

I, II, T1, T2, B <6>

Kolz: Harmonikamento

I. Rigaudon burlesque <6>

II. Ostinato Blues <7>

III. Valse sentimentale <5>

IV. Tarantella <7>

I, II, T1, T2, B

Koo Ka-fai 顧家輝 arr. N.K. Chan: Under the Lion Rock 獅子山下

Vocal, I, II, T1, T2, B <5>

Lam Man-yee 林敏怡: Waltz of the Penguin

I, II, T1, T2, B

Lam Man-yee 林敏怡: Long Island Iced Tea

I, II, T1, T2, B

Lennon / McCartney: Hey Jude

I, II, T1, T2, B <6>

Lennon / McCartney: Michelle

I, II, T1, T2, B <6>

Lennon / McCartney: Yesterday

I, II, T1, T2, B <5>

Li Huan-zhi 李煥之: Spring Festival Overture 春節序曲

I, II, III, T1, T2, B <7>

Ludwig, Claus-Dieter: Happy Birthday, A Five-Course Birthday Dinner

I. Andantino festivo e culinario <3>

II. Lento lasagne e lambrusco <4>

III. Marcia marsala e mozarella <5>

IV. Valzero vongole e vaniglia <6>

V. Tango tartufo e tagliatelle <5>

I, II, T1, T2, B

Moody: Bulgarian Wedding Dance

Solo, I(G), II(G), T1, T2, B <6>

Mozart: Divertimento in D Major K.136

I. Allegro <7>

II. Andante <6>

III. Presto <7>

I(A), II(A), T1, T2, B

Mozart: String Quartet No.9 K.168

I. Molto allegro <6>

II. Andante <6>

III. Menuetto <6>

IV. Rondeau (Allegro) <7>

I(A), II(A), T1, T2, B

Mozart: Flute Quartet in D Major K.285

I. Allegro <7>

II. Adagio <6>

III. Rondeau <8>

Flute/I(A), II(A), T1, T2, B

Flute, I(A), II(A), T, B

Mozart: Flute Quartet in A Major K.298

I. Andantino <7>

II. Menuetto <5>

III. Rondo (Allegretto grazioso) <5>

Flute/I(A), II(A), III(A), T, B

Mozart: Oboe Quartet in F Major K.370

I. Allegro <6>

II. Adagio <6>

III. Rondo (Allegro ma non troppo) <8>

Oboe/I, II, T1, T2, B

Mozart: String Quartet No.18 in A Major K.464

I. Allegro <6>

II. Minuetto <6>

III. Andante <6>

IV. Allegro <6>

I(A), II(A), T1, T2, B

Mozart: String Quartet No.19 in C Major K.465 "Dissonance"

I. Adagio - Allegro <7>

II. Andante cantabile <6>

III. Menuetto (Allegro) <5>

IV. Allegro <7>

I, II, T1, T2, B

Mozart: Eine Kleine Nachtmusik in G Major K.525

I. Allegro <6>

II. Andante <6>

III. Minuetto (Allegretto) <5>

IV. Rondo (Allegro) <7>

I(A), II(A), T1, T2, B

Myaskovsky: String Quartet No.7 in F Major Op.55

I. Andantino <6>

II. Vivace e fantastico <8>

III. Andante con moto <6>

IV. Vivacissimo <7>

I, II(G), T1, T2, B

Pachelbel: Canon

I(A), II(A), III(A), B, [Guitar] <6>

Piazzolla arr. Li Cheong: Libertango

I, II, T1, T2, B <6>

score (private access)

Piazzolla arr. Kwok Shing-cho Joey: Oblivion

I, II, T1, T2, B <6>

Piazzolla arr. Li Cheong: Invierno Porteno

I, II, T1, T2, B <7>

Piazzolla arr. Kwok Shing-cho Joey: Fuga y misterio

I, II, T1, T2, B <7>

Rachmaninov: Vocalise Op.34 No.14

I(G), II, III, T1, T2, B <6>

Rodgers/Hammerstein: Sound of Music

I, II, T, B, Chord <5>

Rossini: Barber of Seville Overture

I(A), II(A), III(A), T1, T2, B <7>

Satie: Gymnopedies I

I(A), II(A), T1, T2, B <4>

Schubert: String Quartet No.7 in D Major D.94

I. Allegro <6>

II. Andante con moto <6>

III. Menuetto (Allegretto) <5>

IV. Presto <7>

I(A), II(A), T1, T2/(E), B

Schubert: String Quartet No.13 in A Minor D.804 "Rosamunde"

I. Allegro ma non troppo <7>

II. Andante <7>

III. Menuetto (Allegretto) <6>

IV. Allegro moderato <8>

I(A), II(A), T1, T2, B

Schubert: String Quartet No.14 in D Minor D.810: Andante con moto

I(G), II(G), III(G), T1, T2, B <7>

Schubert: Quintet in A Major Op. posth. 114 "Trout", IV. Andantino

I(A), T1, T2, B, DB, piano <7>

Shostakovich: Polka from "The Age of Gold"

I(G), II, III, T1, T2, B

I(G), II, T1, T2, B <7>

Shostakovich: String Quartet No.2 in A Major Op.68

I. Overture (Moderato con moto) <7>

II. Recitative and Romance (Adagio) <7>

III. Valse (Allegro) <8>

IV. Thema with Variations (Adagio - Moderato con moto) <8>

I(A), II(A), T1, T2, B

Shostakovich: String Quartet No.3 in F Major Op.73

I. Allegretto <8>

II. Moderato con moto <7>

III. Allegro non troppo <8> IV. Adagio <7>

V. Moderato <8>

I(C/A), II(C/A), T1, T2, B

Shostakovich: String Quartet No.4 in D Major Op.83

I. Allegretto <6>

II. Andantino <6>

III. Allegretto <7>

IV. Allegretto <7>

I, II, T1, T2, B/(C)

Shostakovich: String Quartet No.6 in G Major Op.101

I. Allegretto <7>

II. Moderato con moto <7>

III. Lento <6>

IV. Allegretto <7>

I(C/G), II(G), T1, T2, B

Shostakovich: String Quartet No.11 in F Minor Op.122

I. Introduction (Andantino) <5>

II. Scherzo (Allegretto) <6>

III. Recitative (Adagio) <6>

IV. Etude (Allegro) <8>

V. Humoresque (Allegro) <5>

VI. Elegy (Adagio) <5>

VII. Conclusion (Moderato) <6>

I(G/C), II(G), T1, T2, B

Skalkottas: Five Greek Dances

I. Epirotikos (Moderato) <7>

II. Kretikos (Allegretto moderato) <6>

III. Tsamikos (Allegro moderato) <6>

IV. Arkadikos (Moderato) <6>

V. Kleftikos (Allegro vivo) <7>

I(C/A), II(C/A), T1, T2, B

Tamaki Koji 玉置浩二, arr. Andy Cheung: Blue Moon 藍月亮

Vocal, Orchestra, Band, I, II, T1, T2, B

Tchaikovsky: String Quartet No.1 in D Major Op.11

I. Moderato e semplice <8>

II. Andante cantabile <6>

III. Scherzo (Allegro non tanto) <7>

IV. Finale (Allegro giusto) <9>

I(A), II(A), T1, T2, B

Tchaikovsky: Souvenir de Florence, Op.70

III. Allegro moderato <7>

IV. Allegro <7>

I(A), II(A), III (C14), T1, T2, T3, B1, B2

Thomson: String Quartet No.2

I. Allegro moderato <7>

II. Tempo de Walzer <7>

III. Adagio sostenuto <6>

IV. Allegretto <8>

I(C/G), II(G), T1, T2, B

Traditional: Deck the Hall

I, II, T1, T2, B <6>

Traditional: Red Ribbon 紅頭繩

Solo, I, II, T1, T2, B <6>

Traditional, arr. Johnny Kuan: Fisherman Singing at Night 漁舟唱晚

I(A), II, T1, T2, B <6>

Traditional Korean: Arirang

I, II, T1, T2, B <5>

Traditional Xinjiang, arr. Du Mingxin / Chan Ngai-kin: 歡慶舞曲

I, II, T1, T2, B <7>

Traditional Xinjiang, arr. Du Mingxin / Chan Ngai-kin: 在銀色的月光下

I, II, T1, T2, B <6>

Traditional Xinjiang, arr. Du Mingxin / Chan Ngai-kin: 我的花兒

I, II, T1, T2, B <7>

Turpin: Harlem Rag

I, II(G), T1, T2, B <6>

Villa-lobos: Quartet No.1

I. Cantilena (Andante) <5>

II. Brincadeira [A Joke] (Allegro scherzando) <7>

III. Canto lirico (Moderato) <6>

IV. Canconeta (Andantino quasi allegretto) <6>

V. Melancolia (Lento) <6>

VI. Saltando como um saci [Jumping like a jumping bean] (Allegro) <7>

I(G), II(G), T1, T2, B

Vivaldi: Four Seasons "Spring" Op.8

I. Allegro <7>

II. Largo e pianissimo sempre <6>

III. Danza Pastorale (Allegro) <6>

Solo(A), I(A), II(A), T, B

Walton: Facade: Popular Song

I, II, T1, T2, B <7>

Williams, John: Theme from Schindler's List

I(G), II(G), T1, T2, B <6>

Williams, Vaughan: Fantasia on Greensleeves

I, II, T, B, Guitar <5>

Würthner: Intermezzo Giocoso

Solo, I, II, T1, T2, B <8>

Yang Shan-le 楊善樂: Summer Night 夏夜

I(G), II(G), III(G), T1, T2, B <6>

Legend:

I - First treble harmonica

II - Second treble harmonica

III - Third treble harmonica

T1 - First tenor harmonica

T2 - Second tenor harmonica

B - Bass harmonica

Key of harmonica in parentheses, in C if not specified.

Relative technical difficulty of piece/movement in angle brackets. The definition of the difficulty scale is as follows:

3 - all parts are easy

4 - some parts are easy

5 - moderate difficulty

6 - some parts have difficult passages

7 - all parts have difficult passages and/or difficult coordination among parts is required

8 - some parts have very difficult passages

9 - all parts have very difficult passages and/or very difficult coordination among parts is required