Blue (Morning, Spring) This area was once a Shangri-La draped in a veil of fog and mist. But relentlessly you head on towards   A wicked territory And begin an eventful life journey. White (Afternoon, Summer) Haven't mused over the lingering nocturne, The seagulls looked for their dreamland to satiate the long beaks. Without any regard for the brutal afternoon, The wind breezed over everywhere Day in and day out, the years past by naturally. Gold (Sunset, Autumn) The dazzles of the city life is incongruously   Reflected on the rippling Shing Mun River. In the fading glow of the setting sun, Tolo Harbour presents picturesque scenery. Why, this is a distant memory of mine! Black (Evening, Winter) In a dream, the silent buoys navigate the way to   Glamorous cages of skyscrapers. The inverted image of the magnificent college on the opposite side Is reflected in waters. The lights on fishing boats flicker as   The dimly lit villages are awaken By the lonesome cries of the phoenixes in expectation of the dawn.

藍（春、早） 這一帶原是夢與氣排徊不捨的世外 而您卻鋒芒地開向 邪惡的地域 開始了人生的楔子 白（夏、午） 海鷗未嘗寧靜去想一想今夜的琴弦聲調 長嘴巴托著夢的氣勢 風絕不會來猜測午間的眉頭眼額 日蝕月枯裏又過一年 金（秋、黃昏） 市場的色彩不協調地 落在城門河起起伏伏 失喪的輝煌裏 吐露港原是美麗的聖景 心 何必距離自己太遠？ 黑（冬、晚） 夢裏木訥的浮標指向 豪華的金絲雀籠 對岸的學堂宏殿凌空翻身 漁火明明滅滅 黝黑的村落叫亮 鳳凰等待日出的孤鳴

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。

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。

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。

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

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

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

Lam Man-yee 林敏怡: C’est La Vie 人生如斯

Lam Man-yee 林敏怡: Waltz of the Penguin

Lam Man-yee 林敏怡: Long Island Iced Tea

Lam Man-yee 林敏怡: Tranz

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

Li Cheong 李昌: Café Capriccio 咖啡隨想

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

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

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

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

《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。

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。

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。

I, II, T1, T2, B

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

Erhu, I, II, T1, T2, B

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

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