Obsession 沉夢行

For more informations, please visit:

http://licheong.com/obsession/

produced by students of Chung Chi College, CUHK in 2001;
Dennis Wu, Alfred Wong, Winnie Tse, Li Cheong,
Zoe Ma, Siu Tin-chi, composers;
lyricists;
Harriet Chung, script writer; s
Noel Yuen, director; Patrick Chiu, conductor;
students from Chung Chi College as lyricists, actors and orchestra

Selected scenes:

Act 1 Scene 1 PDF MID MP3 (1.1a), (1.1b)
Act 1 Scene 6 PDF MID MP3
Act 2 Scene 1 PDF MID MP3
Act 2 Scene 2 PDF MID MP3
Act 2 Scene 4a PDF MID MP3
Act 2 Scene 4bc PDF MID MP3
下載所有歌詞 Download Lyrics:PDF (349 Kb)

It was the 50th anniversary of the Chung Chi College, the Chinese University of Hong Kong. Students proposed the idea of making a musical and it was supported by the college. Music was composed by students from the music department. The story is about Hang who had revived from a seven-year-long vegetated state. He was betrayed by his friend Keung, a reporter who fabricated the headline of Hang being a cloned man. Scenes selected here include the “Revival of Life” of Hang at the opening, the song of “Headline” at the end of the first act, “Tell Me the Truth” when the reporters accused the doctor of cloning human beings and “The Code of Medicine” when Keung sings about his vision of being a paparazzo.

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列茲金卡

今年聖誕假期間,十二月二十六日,
我去了元朗劇院觀看了俄羅斯韃捷斯坦國立舞蹈團的演出「列茲金卡」。
(The State Dance Company of Daghestan (Russia) — Lezginka)
據場刊敘述,列茲金卡是高加索(Caucasus)的一種激情澎湃的舞蹈。
高加索是俄羅斯南部近中東一帶的山脈地區,
是中亞各個遊牧民族徙居的地方,
也正是絲綢之路,東西方文化交匯的地方。
我也不知為甚麼,從來中亞的音樂就非常吸引我,
從俄羅斯到哈薩克,到新疆和蒙古的音樂我都很喜歡。

節目主要是舞蹈,但還包括了歌唱、鼓樂和雜技表演,非常多姿多彩。
舞蹈者和伴奏者都穿上了民族服飾
伴奏的樂隊坐在幕後,好在同學和我坐在前排較側的位置,
能夠看到部份樂手演奏的情景。
主奏的吹管樂手負責牧童笛(Recorder)、
嗩吶和另外一種我不知道是甚麼名稱的管樂器。
牧童笛的旋律的演奏很有地方韻味,很多富民族色彩的、即興的加花,
和西歐文藝復興以來的牧童笛的奏法很不同,
反而有點像中世紀 Troubadour 的舞曲音樂那樣輕快,
令我大開眼界。

坐在牧童笛後面則是鼓手,因為被遮住了,看不清楚。
牧童笛旁有兩件手風琴(Accordion)伴奏。
因為學校裏有一部沒有人要的手風琴,我曾經試過拿來玩,
發現非常重,拉風箱要很大的力氣才行。
當晚卻看見兩個手風琴演奏者玩得非常瀟灑輕鬆,
而且兼顧旋律與和聲,還加上複雜的裝飾音,令我佩服萬分。
第二位手風琴演奏者還兼顧錄影,
當音樂中沒有他的部份時,他便放下手風琴,拿起錄影機
替團員攝錄,這種事情我很少在表演中見到過。

下半場有一段鼓的表演,由五個舞蹈員參與演奏。
他們用的鼓是桶形的,兩面都張著鼓皮。
五個鼓手有時用手掌拍鼓的一面,有時快速地把鼓旋轉來
拍鼓側或鼓的另一面,把鼓在身上、腿上拋來拋去、
有時甚至拍別人的鼓。
拍鼓心、鼓邊、悶擊等等的聲音組成豐富的節奏。
但這演出已不只是音樂和節奏,
鼓手的動作已幾乎像雜技一樣了,
五個成員快而齊整的動作逗人發笑。

舞蹈者除了跟隨音樂跳舞外,
也會做一些高難度的翻跟斗、倒立行走等的動作,
還有走鋼線、飛刀的表演,
這倒有點像江湖賣藝的把戲,而不像正經的舞蹈演出了。
據場刊所描述,這些就是高加索人在節慶時的生活面貌,
這些生動活潑的場面反而給觀眾較親切的感覺,
觀眾在音樂還在演奏的途中也忍不住中途拍掌。
和西方古典音樂的舞蹈或音樂表演中
那種演奏者和觀眾非常疏遠的感覺很不同。

Desert Smoke 大漠孤煙

written in 1999
Premiered by Esther SHEK (Flute), Rachel WONG (Oboe),
Wendy LEE (Clarinet), LI Cheong (Piano)
in City Hall Theatre, Bauhinia Concert, Oct 2000

This version performed by members of Les Six
Izaskun Erdocia, flute; Gordon Yap, oboe;
Martin Choy, clarinet; Nancy Loo, piano
in New Generation concert, organized by RTHK4, May 2001

Score (PDF)
Recording (MP3)

The composer has started writing this piece since form seven and arranged this piece for flute, oboe, clarinet and piano in the first year of university. The title of this composition comes from Wang Wei’s poem “To the Frontier as an Envoy”. It describes a lonely line of smoke arising from the vast desert in the remote north-west which seemed to the travellers a signal of a coming storm.

這首曲的原稿是作者在中七時構思的,在大學一年級時將之完成並編配給長笛、雙簧管、單簧管和鋼琴。這首曲的題目出至王維的《使至塞上》中的名句:「大漠孤煙直,長河落日圓。」描寫的是在大漠中行走的人看見遠處的煙,似乎預兆著風沙的來臨。

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Trio

written in 2000
Wong Wai, violin; Jamie Jim, cello; Li Cheong, piano

Score (PDF)
Recording (MP3)

Li wrote this piece in his first year of undergraduate study. It is a short piece in fleeting 6/8 meter exploring modal scales and quartal harmony. Both violin and cello are given a short passage of cadenza. This piece was premiered by Wong Wai, Jamie Jim and Li Cheong in 2000.

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Extinguish 熄滅

written in 2000
LI Cheong, Piano
Lee Hysan Concert Hall, CUHK
Bauhinia Concert (Oct, 2001)

[audio:http://www.archive.org/download/Extinguish_piano/extinguish.mp3]

Score (PDF)
Recording (MP3)

This piano piece is written during July and August 2000. This piece is much improvisatory in its content. Unrelated, fragmented themes are often juxtaposed successively. Phrases are often incomplete, interrupted by sudden switch of mood. Two extremes of emotions are prevailing in the piece: one is violent, despairing and frustrating; the other is nostalgic and sorrowful. A heavy cluster is played with arms at the end, symbolizing the extinguished hope.

這首鋼琴曲是作者在二零零零年七、八月間寫成的。作者寫這首作品時,只是隨心而寫,比較即興。作者故意將一些不相關的主題拼在一起,最初還是完整的,到了中段已變得支離破碎。主題很零碎,但大致上是兩種情感:一種是悲憤的、煩躁的;另一種是無奈的、回憶的、嘆息的。很多時一句未完,情感便突然改變,而且越到情緒越來越急和亂。最後一下以手臂重擊低音的琴鍵,意味著希望的熄滅。

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