LUK WAI CHUN
陸 尉 俊
Chamber Work
Moments Between Ledges and Frets 《彈指品相間》(2023/2024) Pipa with Chinese chamber ensemble version
The arrangement is commissioned by Ding Yi Music Company
original pipa and piano version is commissioned by Zhang Ying and Yue Pipa Ensemble, supported by CASH Music Fund
Composer: Luk Wai Chun
Pipa solo: Zhang Ying
Conductor: Dedric Wong De Li
Moments Between Ledges and Frets was commissioned by pipa player Zhang Ying and Yue Pipa Ensemble for the ensemble's 10th anniversary concert. This pipa and Chinese chamber ensemble version is commissioned by Ding Yi Music Company. The title - “Moments Between Ledges and Frets” symbolises the fleeting moments captured on the pipa's ledges and frets, metaphorically representing the fleeting passage of time. Through this composition, we delve into the artistic journey and unwavering dedication, echoing the spirit of perseverance embodied by pipa performers, akin to "the silkworms labouring until their last thread".
For the music, the composer intentionally uses the opening motif from Master Liu Dehai’s work “Spring Silkworm” as a motive to recall the past aspiration. The music then instantly returns to the lofty ambitions of one's younger self, and reexperiences the ups and downs of the journey of becoming a performer. Building on previous pipa works, the composer continues to explore pipa fingering techniques and attempts to integrate the guitar skill of fingerstyle, such as thumb slap on pipa body and slapping on string, hoping to bring a refreshing vitality.
新加坡鼎藝團《弦 · 彈》 音樂會 2024年4月17日
"Plucked Strings" concert of Ding Yi Music Company in Singapore
17th April 2024
Rhapsody of Salvador de Bahia《狂想巴西薩爾瓦多》 (2023)
Commissioned by Hong Kong Chinese Orchestra
Composer: Luk Wai Chun
Salvador de Bahia, Brazil, the last destination of my fieldwork trip in South American in 2019, is the inspiration of my composition. It is the first capital of Brazil, also a beautiful coastal city. In the streets and alleys of the historical centre - Pelourinho, people playing percussion, dancing capoeira, samba etc., happen every day. “Rhapsody of Salvador de Bahia” shows the lively atmosphere and the passionate dancing of the street in the city. In the middle of the composition, it expresses the composer's reluctance at the end of the journey. In the latter of the music, composer portrays the lively atmosphere of the citizens dancing the capoeira in the square using extended technique of ruans. In this section, zhongruan imitates the playing of the berimbau, while the other zhongruan and daruan imitate two dancing dancers to show the fun of the dance.
浙江音樂學院第八屆國樂藝術節 -「金色綻放」青年演奏家獨奏、重奏專場音樂會 - 阮六重奏版本
The 8th Chinese Music art Festival of Zhejiang Conservatory of Music - "Jin Se Shan Fang" - Special Concert of solos and ensembles by Young Performers
Ruan sextet version
Tomorrow《明天》(2022)
I. Waves 〈洪流〉
II. Nostalgia 〈逝去〉
III. Forward 〈前進〉
Commissioned by Musicus Society
Composer and conductor: Luk Wai Chun
Violin: Zheng Yang
Artistic Director / Cello: Trey Lee
Piano: Piao Xingji
Pipa: Belle Shiu*
Dizi: Kung Wai-kin
Percussion: Alvin Chan
* With kind permission from the Hong Kong Chinese Orchestra
Tai Kwun, now one of Hong Kong’s foremost cultural landmarks, was formerly a compound that housed the city’s police headquarters, its magistracy and also Victoria Prison. This historical site, which was built between 1841 and 1925, endured the Japanese occupation during World War II and witnessed numerous momentous events in the city’s history. Today, the site has been revitalized and transformed into a centre for heritage and the arts. The history of our city has been one of constant change, and the Covid-19 pandemic in recent years brought fresh changes to our lives. While we have had to adapt to new norms and rhythms, we may also sometimes hark back to Hong Kong’s olden days. As time goes by, we look forward to the future. Tai Kwun, our city and our people all gave me the inspiration to write "Tomorrow". With this work, I hope everyone can have the courage to face the future. I believe the hardship caused by the pandemic will pass and I hope we can embrace the past and welcome tomorrow with optimism. A note on the movements: each movement has a section that highlights notes of the same time value, like the hands in a clock that push time forward.
(Written by Luk Wai-chun; English translation by Eos Cheng)
III. Forward 〈前進〉
賽馬會樂 ‧ 憶古蹟音樂會 Jockey Club Musicus Heritage Alive
Tan Tiao Rock《彈撥搖滾》(2020)
Composer: Luk Wai Chun
Performer: Hong Kong Chinese Orchestra
Pipa: Zhang Ying, Zhongruan: Fung Yin Lam, Daruan: Lau Yuek Lam
“Tan-tiao Rock” is the trio arrangement for pipa, zhongruan and daruan of a solo pipa music - “Rock Pipa – FIGHT!” of the composer.
The ubiquitous nature of COVID-19 reminds me of a famous pipa piece in the martial category, Ambush from All Sides. Neither spears, horses used in ancient wars, nor ships, guns used in modern effectively fight this ‘pandemic war’. It requires vigilance and mental toughness from all of us and a sufficient supply of protective gear. Therefore, after opening with the first phrases of Ambush, the music moves into the rock and roll pop content to uplift and lead everyone to fight the virus.
In an attempt to offer a refreshing sound, I combine different pop music languages and techniques, such as ‘popping’ on the bass guitar; ghost-notes and percussion effects on the steel guitar; melodic phrases from blues music; and rhythmic elements from funk and samba.
(鳴謝香港中樂團提供錄音)
Lan Kwai Tang Fong《蘭桂騰芳》(2020)
Commissioned by Windpipe Chinese Ensemble
Composer: Luk Wai Chun
Performer: Windpipe Chinese Ensemble
Gaohu: Chan Kai Him Zhonghu: Tsz Ching Tung Yangqing: Kwok Ka Ying Zhongruan: Chan Sze Tung Dizi: Ho Siu Cheong
This music is inspired by the Lan Kwai Fong in Central in Hong Kong. Composer hopes to bring the energy and the lively atmosphere from that place to everybody. Also, the meaning of “Lan Kwai Fong” (literal meaning: The fragrance of the orchid and cassia ascends) means that the descendants will flourish, and it is also the blessing of the composer to Hong Kong.
Everlasting Cantonese Music: Inheriting in the Digital Age
Blue Pole《歸墟》(2018)
Composer and conductor: Luk Wai Chun
Performer: Quarteto Larianna
1st Violin: Claudio Micheletti 2nd Violin: Karen Micheletti
Viola : Alexandre Razera Cello: André Micheletti
The term "Blue Pole"「歸墟」 is derived from "The questions of Tang" which is in the fifth chapter of "The Book of Lieh-tzu" written by Lieh-tzu. Lieh-tzu(around BC400) is a famous Tao philosopher during the Warring States period in ancient China.
In this composition, I would like to explore “Blue Pole” in the hadal zone of soul. Musical elements of shô(a free reed musical instrument), hichiriki(a double reed Japanese flute) and ryûteki(a transverse bamboo flute) from Japanese gagaku are incorporated into this piece.
São Paulo Contemporary Composers Festival
Bian Lian《變臉》(2018)
Composer: Luk Wai Chun
Conductor: Moon Young HA
Violin: Maria Im Cello: Maria Hadge Flute: Kelley Barnett Clarinet: Eric Umble Piano: Yumi Suehiro Percussion: Jeff Stern
The inspiration of this composition is from the stage performance of "Bian Lian"(change of masks). It is a part of the performance in Sichuan traditional opera. The actor will change masks rapidly on the stage to express the emotional changes of the character in the scene, and the masks represent different feelings of the character in the opera. It brings audiences to experience the emotional changes of the character in an expressive way and create tension in the scene.
Ensemble Mise-en X CUHK Composers Concert
Fire Dragon Dance《舞火龍》(2016)
Composer: Luk Wai Chun
Conductor: Jaelem Bhate,
Performer: Giullian Liu, pipa Zhimin Yu, zhong ruan
Tim Chang, sheng, Cameron Wilson, violin Reg Quiring, viola
Bo Peng, cello
This composition is inspired by the "Tai Hang Fire Dragon Dance" in Hong Kong on Mid-Autumn Festival. Last year, I went to Tai Hang to watch the fire dragon dance. Accompanied by the loud gongs and drums, I saw a very long dragon stunned with lighted incenses lifted by more than hundreds of people in the street parade and it made a marvelous scene. Therefore, I intend to depict the lively atmosphere in fire dragon dance through music and try to use music to show my imagination of the fire dragon.
In the instrumentation, I attempt to achieve a blending of the sounds produced by a combination of Chinese and Western instruments, while to allow for each instrument’s unique timbre to emerge.
Rhythm is the focus in this piece which can be shown in the frequent use of rhythmic dialogues and rapid changes of rhythm. Also, the musical element of luogu (Chinese percussion ensemble) is added to imitate the gongs and drums in Fire Dragon Dance. In the final section, I would like to use another perspective to experience the Fire Dragon Dance through a soft and peaceful pipa passage.
ISCM 2017 World Music Days in Vancouver
Yangzhou Massacre 《揚州十日》(2016)
Composer: Luk Wai Chun
Performer: Kwok Chi Fung Samuel, violin, Ng Chun Wai, viola,
Tang Chor Yin Wesley, cello Leung Pak Hei Alvin, Piano
"Yangzhou massacre" is a ten-day slaughter which 800,000 people were killed in the 17th century in China. During the transition between Ming and Qing dynasty, the confrontation between Manchu against Han made this massacre happened and it became a brutal history of the Qing Dynasty.
I use this history as an idea of my composition, and use music to depict the scenes in this massacre, such as the scene of giving command, powerful army, and panic situations of people.
This work utilizes the use of a Western instrumental ensemble, often playing elements from Chinese opera-in particular, nianbai (stage speech) and luogu (Chinese percussion ensemble). For the elements of nianbai, it is used to imitate the voice of giving command and the wailing of people. Also, the element of luogu (Chinese percussion ensemble in Chinese Opera) is used in the musical dialogue and parts to make the music more dramatic and increases the tension of music.
Mask (2015)
Composer: Luk Wai Chun
Performer: Marco Leung, flute Lai Tsoi Yin, clarinet Yung Pok Yin, Jacky, viola Cheng Yan Ho, cello Lee Seen Tung, piano
People like things harmony, clearly visible and predictable.
If the whole world people were wearing masks, you would not see everyone's face and their facial expressions. You cannot even predict the behavior of everyone's thought, because his or her normal expression patterns are covered.
Try to fantasy; you are wearing a mask and live in this world, what is your experience and feeling?
Composer uses first person to experience this world. In the final section of the piece, the composer would like to explore the inner world behind the mask. Using a metal coins to knock the wooden part inside metal hole in piano is to imitate the sound of knocking the mask.
Reality-schizophrenia 《現實・精神分裂》(2015)
Composer: Luk Wai Chun
Performer: Romer String Quartet
Schizophrenic patients lives could be filled with hallucinations, auditory hallucinations and delusions. Some hallucinations may appear themselves in different nature; even their thoughts may feel being manipulated, so that they live between reality and fantasy. You may think you are the lucky one, but are you sure that your world is real? If they have a religious world, then what is the significance of religion? Composer would like to use music to portray the "real world" of the schizophrenic patient. This piece uses two tritones in different ways throughout the whole piece and uses of dialogue between instruments to create a compact effect extensively. Also, a famous hymn tune -TERRA BEATA(This is my Father's World) is used in this piece.
Roaming in Painting – Splendid Images
《畫中遊－萬象神采》(2014)
Commissioned by Art Museum, The Chinese University of Hong Kong
for the exihibition of Erudition in Ink: The Calligraphy of Sheung Chung-ho
Composer: Luk Wai Chun
Performer: Luk Wai Chun, violin Lee Seen Tung, piano
“Roaming in Painting—‘Splendid Images’” is a piano and violin duet for the Opening Ceremony of “Splendid Images: Chinese Paintings from the Eryi Caotang Collection” at the Art Museum of The Chinese University of Hong Kong. The paintings exhibited are modern Chinese ink paintings which are a blend of both Chinese and Western styles. Based on the painting styles, the composer uses pentatonic scale and non-traditional western harmonic progressions to highlight the musical traditions of two different cultures. In addition, the composer employs the violin creatively to imitate animal sounds in an attempt to connect the music with the paintings.
Connection Dance《與靈共舞》(2014)
Composer: Luk Wai Chun
Performer: Marco Leung, flute Lee Seen Tung, piano
The inspiration for "Connection Dance" is based on the ritualistic worship of the Afro-Brazilian religion – Candomblé. The rituals are usually accompanied with music and dance until worshippers enter into a state of trance. The composer tries to use music to portray the interaction between spirit and humans, as well as the dancing. In this piece, the composer intends to use the music to show the different dimensions of the "connection process". The first dimension is the Visual aspect – The Dancing and the second dimension is the Spiritual aspect – The communication between the human soul and the spirit. At the end of this piece, the composer dims the light as the performer literally dies away to show how the human soul ithe composer dims the light as the performer literally sleeps to show how the human soul follow the spirit to another places.