graphics: big sky illustrations�e national �owers of Scotland, England & Walesclockwise from top: thistle, Tudor roses, da�odil �orenceho@bigskydesignhk.com | instagram: @�okho

© 2016 hong kong voices. all rights reserved.

@hkvoices#hkvoices

Hong Kong Voices Contemporary Choral Music III From the British Isles

The Lamb Nos Autem Gloriari

John Tavener (1944 – 2013) Grayston Ives (b. 1948)

Faire is the Heaven What Sweeter Music

William Harris (1883 – 1973) Bob Chilcott (b. 1955)

Irish Blessing The Lord is My Shepherd

Bob Chilcott (b. 1955) Howard Goodall (b. 1958)

Hymn to the Creator of Light John Rutter (b. 1945)

Intermission

Four Songs from the British Isles 1. Early One Morning

3. Poortith Cauld

Michael Tippett (1905 – 1998)

Five Betjeman Songs* Madeleine Dring (1923 – 1977) Now Sleeps the Crimson Petal —

Four Madrigals on Rose Texts Paul Mealor (b. 1975)

Hong Kong Voices Conductor, Grace Chiang Piano, Cynthia Chan (by kind permission of The Hong Kong Dance Company)

Soprano, Law Tsz Ying Joyce*

11 June 2016 20:00 Recital Theatre, China Congregational Church, Causeway Bay

There are those who say, art is a response to life. With that in mind, it leads one to question – does contemporary music still reflect 21st century values? Or has it gradually been segregated from the Zeitgeist? While deciding on the repertoire for this concert, I was adamant about including as many living composers as possible, or at least, iconic chamber pieces that show the array of soundscapes designed by British composers in the last hundred years or so.

First, there are the sacred works (Harris, Rutter, Tavener, Ives, Goodall, Chilcott), then there are secular ones (Dring, Tippett, Mealor), part of the "other" voice overshadowed by the legacy of Elgar, Holst, Vaughan Williams, Walton, and Britten. Of the many noteworthy composers that are not included in our programme, there are Peter Maxwell Davies, Harrison Birtwistle and Brian Ferneyhough, whose works are beyond a chamber choir. I hope you will join us in exploring the subtle differences in text setting, harmonic language, or simply revel in the many sweet melodies this evening. The Lamb John Tavener (1944 – 2013) Nos Autem Gloriari Grayston Ives (b. 1948) Composed in 1982, The Lamb is one of the oft-performed works by Sir John Tavener and sets the text by William Blake to a cappella chorus. The piece begins with a simple unison line, and explores the material by inversion, augmentation, retrograde, before setting it to 4-part chorale, creating a luminous and austere effect. Grayston Ives, a former member of The King’s Singers and director of the Magdelen College Choir of Cambridge, Ives also composed and arranged choral works for a variety of voices. The anthem Nos Autem Gloriari is an introit for the Maundy Thursday Evening Mass, a slow, meditative piece on the death and resurrection of Christ. In 3 sections, the chorus sings the text based on Galatians 6:14 “But God forbid that I should glory, save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world.” (KJV) The two declamations are interjected by a quasi-Gregorian chant on the blessing taken from Psalm 67:1, “God be merciful unto us, and bless us; and cause his face to shine upon us.” John Tavener: The Lamb Text: William Blake (1757–1827). “The Lamb.” Songs of Innocence. 1789. Little Lamb, who made thee? Dost thou know who made thee? Gave thee life, and bid thee feed By the stream and o’er the mead; Gave thee clothing of delight, Softest clothing, woolly, bright; Gave thee such a tender voice, Making all the vales rejoice? Little Lamb, who made thee? Dost thou know who made thee?

Little Lamb, I’ll tell thee, Little Lamb, I’ll tell thee: He is called by thy name, For he calls himself a Lamb. He is meek, and he is mild; He became a little child. I, a child, and thou a lamb, We are called by his name. Little Lamb, God bless thee! Little Lamb, God bless thee!

Grayston Ives: Nos Autem Gloriari Text: Gregorian chant - Introit for Maundy Thursday. Graduale Romanum / Liber Usualis. Nos autem gloriari oportet

in cruce Domini nostri Jesu Christi: in quo est salus, vita,

et resurrectio nostra: per quem salvati et liberati sumus. Ps. Deus misereatur nostri,

et benedicat nobis: illuminet vultum suum super nos,

et misereatur nostri.

But it behooves us to glory in the cross of Our Lord Jesus Christ:

in whom is our salvation, life, and resurrection;

by whom we are saved and delivered. Psalm: May God have mercy on us,

and bless us; and make his face to shine upon us,

and be merciful to us. Ps. 67:2 (NRSV)

Faire is the Heaven William Harris (1883 – 1973) What Sweeter Music Bob Chilcott (b. 1955) Sir William Harris, an English organist and composer, was organist and master of choristers at New College, Oxford, and later became Professor of Organ and Harmony at the Royal College of Music. Composed in 1925, his double-chorus gem Faire is the Heaven is an Anglican anthem setting a poem by Edmund Spenser, emulating the style of his composition teacher, Charles Wood. The slow, quiet opening gradually builds up to a grand antiphonal passage, as if the angels’ voices resounding in the cathedral, before returning to the opening material, drawing to a quiet close. Bob Chilcott is a prolific choral composer, whose works have been performed around the world. Also a former member of The King’s Singers, he recently composed music for the service celebrating the 60th Anniversary of the Coronation of Her Majesty Queen Elizabeth II. His anthem, What Sweeter Music, sets the Christmas text by Robert Herrick to alluring harmonies, and begins with soft murmuring in the altos and tenors, as the soprano melody floats above in unison. After a brief modulation from C major to E-flat major, the music returns to the opening material to conclude the piece. William Harris: Faire is the Heaven Text: Edmund Spencer (1552–1599). “An Hymne of Heavenly Beautie.” Fowre Hymnes. 1596. Faire is the heaven where happy soules have place, In full enjoyment of felicitie; Whence they do still behold the glorious face, Of the Divine, Eternall Majestie; (78-81) Yet farre more faire be those bright Cherubins, Which all with golden wings are overdight. And those eternall burning Seraphins, Which from their faces dart out fiery light; Yet fairer than they both and much more bright, Be th’Angels and Archangels, which attend On God's owne person without rest or end. (92-98)

These then* in faire each other farre excelling *original poem: thus As to the Highest they approach more neare, Yet is that Highest farre beyond all telling, Fairer than all the rest which there appeare, Though all their beauties joynd together were; How then can mortal tongue hope to expresse, The image of such endlesse perfectnesse? (99-105) Bob Chilcott: What Sweeter Music Text: Robert Herrick (1691–1674). “A Christmas Caroll, Sung to the King in the Presence at White-Hall”. 1648. What sweeter music can we bring, Than a carol for to sing The birth of this our Heavenly King? (1-3) Dark and dull night fly hence away! And give the honour to this day That sees December turn’d to May. (8-10) We see Him come, and know Him ours, Who with his sunshine and his showers Turns all the patient ground to flowers. (22-24) The darling of the world is come, And fit it is we find a room, To welcome Him. (25-27)

Irish Blessing Bob Chilcott (b. 1955) The Lord is My Shepherd Howard Goodall (b. 1958) Chilcott’s Irish Blessing is another of his popular anthems, with a sweet, lilting melody accompanied by the piano accompaniment. Beginning with a unison line, the music grows into a duet, before the mixed chorus repeats the entire blessing. A sense of contentment and goodwill permeate through the work, and in similar spirit is Howard Goodall’s The Lord is My Shepherd. Originally scored for mixed chorus, organ, piano and string orchestra, it was composed as a theme song of the TV series The Vicar of Dibley. Beginning and closing with a solo for treble voice, the music creates an image of flowing streams and pastoral scene of the English countryside. Goodall himself is known as a TV and radio broadcaster, as well as a composer of stage, film and TV scores, producing scores for programmes as Blackadder, Mr Bean, and Q.I.

Bob Chilcott: Irish Blessing Text: Traditional May the road rise to meet you, may the wind be ever at your back. May the sunshine warm upon your face, and the rain fall soft upon your fields, And until we meet again, may God hold you, ever in the palm of his hand. Howard Goodall: The Lord is My Shepherd Text: Psalm 23 (King James Version) The Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures: he leadeth me beside the still waters. Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. (1-3) Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever. (6)

Hymn to the Creator of Light John Rutter (b. 1945) John Rutter is a favourite for many choruses around the world, and yet Hymn to the Creator of Light is nothing like his usual anthems. He composed the work for the choirs of Gloucester, Hereford and Worcester Cathedral in 1992, as homage to Herbert Howells, and the double-chorus anthem was premiered at the dedication of the Howells Memorial Window of the Gloucester Cathedral. The chant-like opening by the second choir is responded by the higher voices of the first choir, and the heavy use of dissonances and antiphonal singing continued through the faster, energetic middle section. The music then relaxes into a quiet and peaceful chorale, setting Johann Crüger’s “Schmücke dich” to a new harmonic writing. John Rutter: Hymn to the Creator of Light Text: Lancelot Andrewes (1555-–1626) “Course of Prayer for the Week: the First Day” (Greek). Translated by Alexander Whyte (1836–1921). Lancelot Andrewes and His Private Devotions. 1895. Glory be to thee, O Lord, glory be to thee, Creator of the visible light, The sun's ray, the flame of fire; Creator also of the light invisible and intellectual: That which is known of God, the light invisible. Glory be to thee, O Lord, glory be to thee, Creator of the Light. For writings of the law, glory be to thee: for oracles of prophets, glory be to thee: for melody of psalms, glory be to thee: for wisdom of proverbs, glory be to thee: experience of histories, glory be to thee: a light which never sets. God is the Lord, who hath shewed us light. Chorale—Text: Johann Franck (1618–1677). “Schmücke dich, o liebe Seele”. Tune: Johann Crüger (1598–1662). Translated by Catherine Winkworth (1827–1878). The Chorale Book for England. 1863. (Adapted) Light, who dost my soul enlighten; Sun, who all my life dost brighten; Joy, the sweetest man e'er knoweth; Fount, whence all my being floweth. From thy banquet let me measure, Lord, how vast and deep its treasure; Through the gifts thou here dost give us, As thy guest in heaven receive us.

Four Songs from the British Isles Michael Tippett (1905 – 1998)

Michael Tippett’s “Four Songs from the British Isles” is a set of folk songs taken from England, Ireland, Scotland and Wales respectively. He was commissioned by the North West German Radio in 1957 for a European folk song festival, but the amateur choir assigned to perform the work found it too difficult to sing, and the set of songs were premiered on a year later by the London Bach Group. Early One Morning and Poortith Cauld as the first and third from the set, with a fresh take on traditional tunes and at times surprising harmonies. In Early One Morning, the voice parts take turns to deliver folk song tune accompanied by pedal points and counterpoint. Poortith Cauld (Poverty cold) is a set by Robert Burns, fitted to the Scottish traditional “Cauld kail in Aberdeen.” Adding his original material at the start and the end, there are some rich variations and rhythmic adjustments throughout the movement.

1. England: Early One Morning Text: Traditional Early one morning Just as the sun was rising, I heard a maid sing in the valley below: “O don't deceive me, O never leave me! How could you use a poor maiden so? Remember the vows that you gave to you Mary, Remember the bow’r where you vowed to be true. O gay is the garland, and fresh are the roses, I’ve culled from the garden to bind on thy brow.” Thus sung the poor maiden, her sorrows bewailing. Thus sung the poor maiden in the valley below. 3. Scotland: Poortith Cauld Text: Robert Burns (1759–1796). “Song—Poortith Cauld and Restless Love”. 1793.

O poortith cauld, and restless love, Poortith cauld, cold poverty Ye wrack my peace between ye; Yet poortith a’ I could forgive, A’, all An ’twere na for my Jeanie. An ‘twere na, if I were not O why should Fate sic pleasure have Sic, such Life’s dearest bands untwining? Or why sae sweet a flower as love Sae, so Depend on Fortune’s shining? The warld’s wealth, when I think on, Warld, world It’s pride and a’ the lave o’t; Lave o’t, rest of it O fie on silly coward man, That he should be the slave o’t! O why… Her een, sae bonnie blue, betray Een, eyes; Bonnie, lovely How she repays my passion; But prudence is her o’erword aye, O’erword, catchword; Aye, always She talks o’ rank and fashion. O why… O wha can prudence think upon, And sic a lassie by him? Lassie, girl O wha can prudence think upon, Wha, who And sae in love as I am? O why… How blest the simple cotter’s fate! Cotter: peasant farmer He woos his artless dearie; The silly bogles, wealth and state, Bogles, spectres Can never make him eerie, Eerie, fearful O why…

Five Betjeman Songs Madeleine Dring (1923 - 1977) The only female composer in tonight’s programme, Madeleine Dring was a composer and an actress who showed talent at an early age. She enrolled in the Royal College of Music on scholarship for violin in the junior division, and as she progressed on, she studied composition with Howells, Gordon Jacob and Vaughan Williams, while taking lessons on mime and drama. Naturally, many of her works were for the stage, where she often sang and played the piano. Her Five Betjeman Songs set the words of John Betjeman (1906–1984) to music, namely, “A Bay in Anglesey”, “Song of a Nightclub Proprietress”, “Business Girls”, “Undenominational” and “Upper Lambourne”. From the ebb and flow of Anglesey, to the jazzy drunkenness of the proprietress, the poems provide glimpses into the British way of life in the 20th century. 1. A Bay in Anglesey

The sleepy sound of a tea-time tide Slaps at the rocks the sun has dried,

Too lazy, almost, to sink and lift Round low peninsulas pink with thrift.

The water, enlarging shells and sand, Grows greener emerald out from land

And brown over shadowy shelves below The waving forests of seaweed show.

Here at my feet in the short cliff grass Are shells, dried bladderwrack, broken glass,

Pale blue squills and yellow rock roses. The next low ridge that we climb discloses

One more field for the sheep to graze While, scarcely seen on this hottest of days,

Far to the eastward, over there, Snowdon rises in pearl-gray air.

Multiple lark-song, whispering bents, The thymy, turfy and salty scents

And filling in, brimming in, sparkling and free The sweet susurration of incoming sea.

2. Song of a Nightclub Proprietress I walked into the nightclub in the morning, There was Kummel on the handle of the door, The ashtrays were unemptied, The cleaning unattempted, And a squashed tomato sandwich on the floor.

I pulled aside the thick magenta curtains So Regency, so Regency, my dear And a host of little spiders Ran a race across the ciders To a box of baby 'pollies by the beer.

Oh sun upon the summergoing bypass Where ev'rything is speeding to the sea, And wonder beyond wonder That here where lorries thunder The sun should ever percolate to me.

When Boris used to call in his Sedanca, When Teddy took me down to his estate, When my nose excited passions, And my clothes were in the fashion, When my beaux were never cross if I was late,

There was sun enough for lazing upon beaches There was fun enough for far into the night; But I'm dying now and done for, What on earth was all the fun for? I am ill and old and terrified and tight.

3. Business Girls From the geyser ventilators Autumn winds are blowing down On a thousand business women Having baths in Camden Town

Waste pipes chuckle into runnels, Steam's escaping here and there, Morning trains through Camden cutting Shake the Crescent and the Square.

Early nip of changeful autumn, Dahlias glimpsed through garden doors, At the back precarious bathrooms Jutting out from upper floors;

And behind their frail partitions Business women lie and soak, Seeing through the draughty skylight Flying clouds and railway smoke.

Rest you there, poor unbelov'd ones, Lap your loneliness in heat. All too soon the tiny breakfast, Trolley-bus and windy street!

4. Undenominational Undenominational But still the church of God He stood in his conventicle And ruled it with a rod.

Undenominational The walls around him rose, The lamps within their brackets shook To hear the hymns he chose.

“Glory” “Gopsal” “Russell Place” “Wrestling Jacob” “Rock” “Saffron Walden” “Safe at Home” “Dorking” “Plymouth Dock”

I slipped about the chalky lane That runs without the park, I saw the lone conventicle A beacon in the dark.

Revival ran along the hedge And made my spirit whole When steam was on the window panes And glory in my soul.

5. Upper Lambourne Up the ash tree climbs the ivy, Up the ivy climbs the sun, With a twenty-thousand pattering, Has a valley breeze begun, Feathery ash, neglected elder, Shift the shade and make it run -

Shift the shade toward the nettles, And the nettles set it free, To streak the stained Carrara headstone, Where, in nineteen-twenty-three, He who trained a hundred winners, Paid the Final Entrance Fee.

Leathery limbs of Upper Lambourne, Leathery skin from sun and wind, Leathery breeches, spreading stables, Shining saddles left behind - To the down the string of horses Moving out of sight and mind.

Feathery ash in leathery Lambourne Waves above the sarsen stone, And Edwardian plantations So coniferously moan As to make the swelling downland, Far surrounding, seem their own.

Now Sleeps the Crimson Petal — Four Madrigals on Rose Texts Paul Mealor (b. 1975) Welsh composer Paul Mealor rose to international fame when he was commissioned to write for the Royal Wedding of The Duke & Duchess of Cambridge in 2011, for which he wrote the motet Ubi Caritas. As a student, Mealor studied composition with William Mathias and John Pickard, and later with Hans Abrahamsen and Per Nørgård. He is currently a Professor of Composition at the University of Aberdeen. The entire set of madrigals was commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St. Andrews Chapel Choir, University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir in 2010. The piece calls for a mixed chorus with split parts, often explore the lower registers of all choristers. Beautiful chord clusters and common tone modulation adds to the mysterious of the work. The first madrigal, Now Sleeps the Crimson Petal, sets the poem by Lord Tennyson, and the opening statement in counterpoint is repeated in the middle section, and later at the end of the fourth madrigal. The author of the text for Lady, When I Behold the Roses Sprouting is unknown, and Mealor breathed in a touch of magic as the sopranos sing an ethereal descant above the chorus when the text is sung a second time, as if the flowers bloom in full glory. The third madrigal, Upon A Bank with Roses Set About, is the fastest piece of the set with text by John Ward; the inner voices establish the flowing river with ostinatos, while the basses sing the melody first and later in canon with first sopranos. Shifting meters occur throughout the piece, with a sense of fun that seems to mock at cupid’s grief. The final madrigal, A Spotless Rose, is the most magnificent of the four. The text is translated by Catherine Winkworth from an anonymous 15th century German carol, and the setting by Herbert Howells has propelled it to become a standard Christmas text. In a way, this piece is more of an anthem than a madrigal, but nevertheless, in Mealor’s setting, the sopranos and basses explore their full vocal and dynamic ranges, and the rose is finally in full bloom on the words “purest Maid; through God’s great love and might.”

1. Now Sleeps the Crimson Petal Text: Alfred Tennyson (1809-1892) “The Princess” Canto VII (1847)

Now sleeps the crimson petal, now the white; Nor waves the cypress in the palace walk; The firefly wakens: waken thou with me. (161-162, 164)

Now droops the milk-white peacock like a ghost, And like a ghost she glimmers on to me. (165-166)

Now lies the Earth all Danaë to the stars, And all thy heart lies open unto me. (167-168)

Now folds the lily all her sweetness up, And slips into the bosom of the lake: So fold thyself, my dearest, thou, and slip Into my bosom and be lost in me. (171-174)

2. Lady, When I Behold the Roses Sprouting Text: Anonymous

Lady, when I behold the roses sprouting, Which clad in damask mantles deck the arbours, And then behold your lips where sweet love harbours, My eyes present me with a double doubting; For, viewing both alike, hardly my mind supposes Whether the roses be your lips or your lips the roses.

3. Upon a Bank With Roses Set About Text: John Ward (1590–1638). Madrigal “Upon a Bank With Roses”.

Upon a bank with roses set about, Where pretty turtles joining bill to bill, And gentle springs steal softly murmuring out, Washing the foot of pleasures sacred hill; There little love sore wounded lies. His bow and arrows broken, Bedewed with tears from Venus’ eyes. O grevious to be spoken.

4. A Spotless Rose Text: Anonymous

A Spotless Rose is growing, Sprung from a tender root, Of ancient seers’ foreshowing, Of Jesse promised fruit; Its fairest bud unfolds to light Amid the cold, cold winter, And the dark midnight.

The Rose which I am singing, Whereof Isiah said, Is from its sweet root springing In Mary, purest Maid; Through God’s great love and might. The Blessed Babe she bare us Amid the cold, cold winter, And the dark midnight.

(Now sleeps the crimson petal.)

Grace Chiang, Principal Conductor, graduated from the Music Department, The Chinese University of Hong Kong, studying voice with Chan Siu-kwan. Upon graduation, she was awarded the Hong Kong Jockey Club Music Scholarship to read for a Master’s degree in Music, majoring in Historical Musicology at Royal Holloway, University of London, where she continued her vocal studies under the guidance of Christian Immler. An active performer, Grace has appeared as soloist in works as Copland’s In the Beginning, Handel’s Messiah, J. S. Bach’s St. John Passion and cantatas, Mozart’s Litaniae de Venerabili Altaris Sacramento, and Mendelssohn’s St. Paul. Her interests extends to contemporary music, often performing works by Hong Kong composers; Grace collaborated with the Chinese Music Virtuosi in premiering Chan Hing-yan’s Schmetterlingsträumen Lieder at the Musicarama 2010, and appeared with the Hong Kong New Music Ensemble, performing works by Lam Bun-ching at the 2012 Macau International Music Festival. Grace took part in conducting masterclasses and workshops of maestros Stephen Layton, Rolf Beck, and James Jordan. She returned to serve at her alma mater, and led the girls’ choir to win Gold Medals at the 2012 Cincinnati, USA and the 2014 Riga, Latvia World Choir Games. Grace conducts Hong Kong Voices among various choral ensembles, and recently appeared in performances such as Howells’s Requiem, Mozart’s Vesperae solennes de confessore, J. S. Bach’s motets and Magnificat BWV 243. Cynthia Chan, Piano, Cynthia Chan earned a Master of Music Degree in Piano Accompanying from the San Francisco Conservatory of Music, where she studied with Dr. Timothy Bach. She also holds a Master of Music Degree in Piano Performance from the Conservatory, where she studied with Mr. Mack McCray; and received Bachelor of Arts (Music) Degree from The Chinese University of Hong Kong, where she studied with Dr. Cheung-yu Mo. Cynthia has been on staff accompanist for the Hong Kong Academy for Performing Arts (Dance School), Hong Kong International Summer Dance School, Bay Area Summer Opera Institute, San Francisco Conservatory of Music and San Francisco Ballet School. She currently serves as the pianist for Hong Kong Dance Company. (© Yvonne Chan)

Joyce Law, Soprano, achieved a Bachelor Music degree in Hong Kong Baptist University with first honor and outstanding award in 2012, majoring in Voice performance and pedagogy. With the professional guidance of Ms. Chan Siu Kwan, she achieved the Singing Diploma (LTCL—Recital) with distinction in 2010. Joyce sang in a 2010 Master class held by Dame Emma Kirkby in Hong Kong. She also participated in the Westminster Choir College Chamber choir in 2012 and conducted in the conducting master class coached by Dr. Dirk Garner. In 2015, Joyce further achieved a Master degree of Music (Voice Performance) in Royal Holloway, University of London, under the guidance of Ms. Elaine Pearce. She also received Choral Scholarship to be the Choral Scholar of the renowned The Choir of Royal Holloway. Joyce actively participated in different vocal and ensemble workshops conducted by the King’s Singers, the ensemble-in-residence of Royal Holloway. Joyce has also performed for HM the Queen and other British Royal family members at the Buckingham Palace, Royal Albert Hall, and the Magna Carta 800th Anniversary in 2014-2015. Joyce has been selected as Hong Kong SingFest vocalist and participated in master classes under the Barton of Maestro Helmuth Rilling, Maestra Wing-Sze Yip, and Meastro Stephen Coker in 2012, 2013 and 2015 respectively. Joyce was also invited to perform in the new chamber opera Heart of Coral, commissioned and produced by the 41th Hong Kong Arts Festival.

Hong Kong Voices is a chamber choir established in 2000. Our repertoire spans from the Renaissance to the modern era, including many acclaimed Baroque and Classical choral works, most recently Bach’s St John’s Passion and Mozart’s Vesperae Solennes de Confessore. We often introduce some lesser-known choral masterpieces to the audience, most notably we gave the Hong Kong premiere of Schoenberg’s Friede auf Erden in 2005. We also infuse our progr5mme with works by Asian and Hong Kong contemporaries as a tribute to our unique cultural heritage, including commissioned works Ten Years (2007) and Carmina Burana (2015) by George Lam, a Hong Kong born composer now residing in New York. Hong Kong Voices has collaborated with many leading local artists such as pianist Stephen Wong, soprano Yuki Ip and counter-tenor Ray Chan, as well as many young and rising musicians and vocalists. We perform regularly with our professional instrumental partners, and had joined the Hong Kong Sinfonietta in performances of Haydn’s Little Organ Mass and Fauré’s Requiem.

We believe that music lives beyond the concert hall, hence we collaborate with Claying’s Studio which has captured all our live concerts since 2010. We also appeared in multimedia productions such as Samson Young’s music theatre Electric Requiem – God Save the Queen (2009, recorded live in DVD).

Ken Lam, currently Music Director of the Charleston Symphony Orchestra, has been our Artistic Director since 2001. Grace Chiang, renowned Hong Kong choral conductor and soprano, is appointed as Principal Conductor of the choir in 2015.

Homepage: http://www.hkvoices.org Facebook: http://www.facebook.com/hkvoices Instagram: http://www.instagram.com/hkvoices/

Hong Kong Voices

We would like to express our gratitude to the following entities and friends:

Venue: China Congregational Church Press: Otis Kung, Sing Tao Daily (Jan Wong), RTHK (Jonathan Douglas)

Ming Pao Weekly, HK Economic Journal, U Magazine and all media friends Photographer: Tang Ho Ching http://www.facebook.com/hochinglish

Recording: Aaron Ying (Claying’s Studio) http://www.claying.net/studio Helpers: Charlotte Ho, Myra Lam, Dora Lau, Lorraine Lau

SOPRANO

Linda CHAN Tracy CHEUNG Esther CHIANG

Vivien FOK Connie LAW

Yoko SAWADA Sheep YING

ALTO

Winnie CHOI Olivia CHAU

Jess HO Mimi HO

LEE Ho-yee

TENOR

Francis LEUNG Tony LING

Ben NG Keith WONG

William WONG

BASS

Raymond HAN Eric LEUNG

Wilcox LEUNG Thomas TANG Anthony WONG

Davis YIU

Sneak peek of our 2017 season!

January Bach: Christmas Oratorio Part V Ehre sei dir, Gott, gesungen Lotti: Crucifixus; Missa Sapientiae June Contemporary Choral Music IV: Hong Kong December Brahms: Ein deutsches requiem

Please fill in online survey at https://www.surveymonkey.com/r/PL7QTTY

Your thoughts and comments are essential to our future development!

Subscribe to our mailing list at http://eepurl.com/bUu6E5

Keep in touch and get the most updated news of Hong Kong Voices!