Showcasing the astounding range of her instrument, acclaimed pipa virtuoso Zhang Ying will present a recital of ancient and modern pipa works featuring traditional repertoire, contemporary chamber music, and a new work for solo pipa by composer Zihan Zhao, commissioned by the Cosmopolis Festival. Zhang performs at HKUST courtesy of the Hong Kong Chinese Orchestra.
The event is free and open to the public. Check back later for a link to register your seat.
Program
Ambushed from All Sides (traditional) - 11’
pipa solo
十面埋伏 古曲
Chen Sui (traditional - arranged by Liu Dehai via Cao Anhe) - 8’
pipa solo
陳隋 劉德海根據曹安和演奏譜改編
Dragon Boat (traditional) - 6’
pipa solo
龍船 民間樂曲
Spring River Moonlit Night (traditional, arranged by Wu Zuqiang) - 9’
pipa and piano
春江花月夜 琵琶音詩 鋼琴伴奏
– short pause –
Zihan Zhao - Enchanted (2026) – 7’ (world premiere, Cosmopolis Festival commission)
pipa solo
趙梓含 - 《鹿慕》- 世界首演，都會音樂節委約作品
Junyi Chow - The Neon City (2022) – 10’
for saxophone, pipa, and piano
趙駿毅 -《霓城》— 為薩克斯風、琵琶與鋼琴而作 趙駿毅作曲
Luk Wai Chun - Rock Pipa Rhapsody (2026) - 13’
for pipa & piano
陸尉俊 -《搖滾琵琶狂想曲》給琵琶與鋼琴 陸尉俊
Bios
Zhang Ying is the principal pipa player of the Hong Kong Chinese Orchestra, a council member of the Pipa Society of the Chinese Musicians Association, a member of the Hong Kong Musicians Association, and the executive vice president of the Hong Kong Pipa Association. She serves as a master's supervisor at the Hong Kong Academy for Performing Arts and teaches at the University of Hong Kong, Hong Kong Baptist University, and the Chinese University of Hong Kong. She holds a master's degree from the China Conservatory of Music and is a Fellow of the Chartered Institute of Management in Canada. She studied under renowned pipa masters such as Zhao Yinan, Li Guixiang, Wu Junsheng, Ren Hong, and Professor Yang Jing, absorbing their diverse styles.
In 2004, she won first prize in the youth professional group of the "Longyin Cup" International National Instrumental Music Competition; in 2002, she won the silver medal in the youth professional group of the "First National Instrumental Music Competition of China" organized by the Ministry of Culture. She has been invited to serve as a judge for numerous important competitions, including the "Dunhuang Cup," the "Nanyang Art Competition," the "Le Tong Tianxia Pipa Exhibition," and the "Taipei Municipal Chinese Orchestra Instrumental Competition (Pipa)."
Zhang has released an album of pipa music, Ying Feng Fei Wu, and a DVD, Zhang Ying's Master's Graduation Concert. She has performed in numerous countries and regions, including the United States, the United Kingdom, New Zealand, Canada, Russia, South Korea, Norway, Germany, Czech Republic, Singapore, Finland, and Japan. Her performance style is characterized by solid foundation, vivid expression, a balance of strength and gentleness, and masterful control. Her tone is clear, transparent, and full of tension, and his technique is exquisite and skillful. She combines a majestic momentum with delicate poetic sentiment. Her interpretations of ancient pieces are elegant and timeless, while her interpretations of new works are bold and innovative, forming a unique style of her own.
張瑩，香港中樂團琵琶首席，中國音樂家協會琵琶學會理事、香港音樂家協會成員、香港琵琶協會常務副會長。擔任香港演藝學院碩士生導師，並任教於香港大學、香港浸會大學、香港中文大學。獲中國音樂學院碩士學位、加拿大特許管理學院院士。先後師從趙藝囡、李桂香、吳俊生、任宏、楊靖教授等琵琶名家、博采眾長。
2004年獲「龍音杯」國際民族器樂比賽琵琶青年專業組第一名；2002年獲文化部舉辦的「中國第一屆民族器樂大賽」琵琶青年專業組銀獎。並多次受邀擔任「敦煌杯」、「南洋藝術大賽」、「樂通天下琵琶展演」、「台北市立國樂團器樂大賽（琵琶）」等重要賽事評委。
張氏曾發行琵琶專輯《瑩風飛舞》及《張瑩碩士畢業音樂會》DVD。先後赴美國、英國、新西蘭、加拿大、俄羅斯、韓國、挪威、德國、捷克、新加坡、芬蘭、日本等多個國家及地區演出，演奏風格功底紮實、氣韻生動、剛柔並濟、收放自如，音色清麗通透而富張力，技法精湛嫻熟，兼具磅礴氣勢與細膩詩情，演繹古曲典雅雋永，詮釋新作大膽創新，自成一家風範。
Charles Ng is widely regarded as one of the most prominent and active saxophonists from Hong Kong. A dynamic and versatile performer, Ng is known for his genre-breaking approach to the saxophone, seamlessly bridging a wide range of musical styles. His repertoire spans from classical music to free improvisation, and from folk music to contemporary compositions. Ng is a member of the world-renowned saxophone quintet Five Sax, a professional Vienna-based ensemble with whom he has performed for over 200 concerts worldwide and released the album In Time in 2024. Furthermore, he is the co-director of the Dawn of Asia Saxophone Project (DASP) — an international saxophone ensemble comprised of elite saxophonists from across the Pan-Asian region.
Active on the international music scene, Ng frequently collaborates with orchestras and ensembles. He has appeared as a soloist with the Karlovy Vary Philharmonic Orchestra (Czech Republic), the Hong Kong Academy for Performing Arts Symphony Orchestra, and has performed as a guest saxophonist with the Tonhalle Orchestra Zurich, the Hong Kong Philharmonic Orchestra, and more.
In addition to his solo and orchestral engagements, Ng is deeply involved in chamber and ensemble coaching. He currently serves on the saxophone faculty at the Hong Kong Academy for Performing Arts. He has also presented masterclasses at major institutions and festivals worldwide, including the Shanghai Conservatory of Music (China), Hochschule Osnabrück - Institut für Musik (Germany), West Virginia University (USA), Cap Ferret Music Festival (France), the Shenzhen International Saxophone Camp (China), and more.
吳漢紳被譽為香港其中一位最傑出及活躍的色士風演奏家。他以其跨越多種音樂風格的演奏方式聞名，其曲目涵蓋古典音樂、自由即興演奏，並延伸至民間音樂和當代作品。吳氏是世界著名維也納色士風五重奏Five Sax 的成員，至今隨團在世界各地演出超過200場音樂會，並於2024年發行專輯《In Time》。他亦是色士風樂團亞洲之晨的藝術總監，該樂團由來自泛亞洲地區的精英色士風演奏家組成。
吳氏非常活躍於樂壇。經常與各大樂團和合奏團合作，他曾作為獨奏家與捷克卡洛維瓦利愛樂樂團、香港演藝學院交響樂團等樂團合作，亦曾作為客席色士風演奏家與蘇黎世音樂廳管弦樂團、香港管弦樂團等樂團同台演出。
吳氏現任教於香港演藝學院。他熱心於教學，曾獲邀到中國上海音樂學院、德國奧斯納布呂克音樂學院、美國西弗吉尼亞州大學、法國卡普費蕾音樂節、深圳國際色士風音樂營等舉行大師班。
Pianist Linda Yim is a core member of the Hong Kong New Music Ensemble. She joined the Hong Kong Philharmonic Orchestra as guest principal Keyboard for the 2022 season.
Linda currently teaches at the Hong Kong Baptist University and Hong Kong University. She is proactive in promoting classical and modern music education. Linda graduated from the Hong Kong Baptist University, The Hong Kong Academy for Performing Arts, the Royal College of Music in London and the Sydney Conservatorium of Music, University of Sydney where she obtained her Master of Music Studies degree majoring in piano.
Linda is dedicated to performing in solo and chamber music recitals. She has performed with renowned ensembles such as the Hong Kong Chinese Orchestra, City Chamber Orchestra of Hong Kong, Hong Kong Bach Choir and Zuni Icosahedron.
Linda has performed in Mainland China, Taiwan, Malaysia, Australia and the United Kingdom.
嚴翠珠 現為香港創樂團成員, 2022年樂季開始加入香港管弦樂團為客席鍵盤首席。
嚴氏先後畢業於香港浸會大學、香港演藝學院、英國皇家音樂學院及澳洲雪梨音樂學院，並修畢音樂碩士，主修鋼琴演奏。嚴氏於在學期間已活躍於不同形式的演奏，除經常以獨奏形式演出外，更擅於伴奏及室內樂合奏。學成回港後，嚴氏致力於演奏工作，曾多次舉行獨奏及重奏音樂會，足跡遍及中國大陸、香港、台灣、日本、馬來西亞、澳洲及英國等地。曾合作的團體包括香港中樂團、香港城市室樂團、香港巴赫合唱團及進念‧二十面體等等。嚴氏致力於推動現代音樂，除經常演奏現代音樂，嚴氏更經常被邀請參與各地的現代音樂節演出。現任教於香港浸會大學及香港大學。
Zihan Zhao (Mia, b. 1996) is a Chinese composer and guzheng performer (a 21-string Chinese zither) based in Toronto, Canada. Her music explores cross-cultural fusion, described as “music of eastern flavour, not in outward imitation, but in general principles.” Unfolding vivid narratives, her works explore dramatic gestures, subtle timing and textural contrasts. In large-ensemble contexts, Zihan further expands her timbral and textural palette, with commissions from Athens State Orchestra, Ostrava New Orchestra, Victoria Symphony and UVic Wind Symphony. Beyond music, Zihan is also a photographer and visual artist, which arouses her interest in cross-media projects including engaging theatrical elements and self-producing short films for her compositions.
Zihan is currently pursuing her doctorate (D.M.A.) at the University of Toronto. She studied at the University of Victoria in Canada (M.Mus., 2023) and prior to that, obtained a B.Sc. in Quantitative Finance (2018) at the Hong Kong University of Science and Technology.
趙梓含，旅加拿大作曲家及古箏表演者，現居多倫多。她的音樂探索跨文化融合，其東方韻味“並非外在模仿，而體現在創作原則之中”。她的作品伴有鮮明的敘事，探索音樂語言的戲劇張力、音色層次的色彩感與織體變幻。她近年合作的樂團包括雅典國家交響樂團、捷克 Ostrava New Orchestra、維多利亞交響樂團及維多利亞大學管樂團等。除音樂外，她亦熱愛攝影與視覺藝術，並積極探索跨媒介創作，將戲劇元素融入作品，並為自己的音樂作品自制短片。她目前於多倫多大學攻讀作曲博士學位，此前獲加拿大維多利亞大學音樂碩士學位（2023）及香港科技大學量化金融理學士學位（2018）
Program Notes
Ambush from All Sides is a timeless, ancient martial folk piece for the pipa. It depicts the fierce Battle of Gaixia between Chu and Han. With rich techniques such as sweeping, tremolo and muted tones, the pipa imitates galloping horses, clashing troops and battlefield shouts. Majestic and dramatic, the work powerfully portrays the solemn, stirring atmosphere of the ancient battlefield, and is one of the most iconic pipa classics. - Zhang Ying
《十面埋伏》是中國經典琵琶古曲，屬傳統民間武曲。樂曲描寫楚漢垓下決戰的慘烈戰況，運用掃弦、拂弦、輪指、煞音等豐富技法，模擬軍馬奔馳、兩軍交鋒、吶喊廝殺的震撼場景。樂曲氣勢磅礴、層次鮮明，把古戰場的緊張肅殺與壯烈氣氛刻畫得淋漓盡致，是琵琶經典代表作。- 張瑩
According to Mr. Shen Haochu, a successor of the Pudong school, the traditional solo pipa work Chen Sui was a courtly piece intended for royal entertainment. Mr. Lin Shicheng, on the other hand, argued that the composition exposes the licentious and tyrannical deeds of the last emperors of the Chen and Sui dynasties, expressing sympathy for the helplessness and sorrow of palace maids. Throughout successive feudal dynasties, officials were routinely dispatched to various regions to select unmarried young women of exceptional beauty, who were then brought into the imperial palace to serve as maids, singers, or dancers. Forced to leave their hometowns and part from blood relatives and close friends, they lost their freedom upon entering the palace. Yet they were compelled to smile through their pain, performing songs and dances or undertaking menial tasks. For their entire lives, they could rarely see their parents or brothers again, nor could they ever have love or a family of their own. Although many wished to reveal the ugly sides of life under imperial rule, few dared to speak out openly. Thus, the composer chose only the two characters Chen and Sui for the piece’s title, reflecting the profound constraints faced at the time. – Zhang Ying
《陳隋》是琵琶傳統文曲之一。浦東派傳人沈浩初先生曾指出《陳隋》為宮中行樂之曲，而林石城先生則認為這首樂曲揭露了陳、隋兩位末代皇帝荒淫無道的暴行，表達了對宮女們無奈苦悶的同情。歷代封建王朝常委派官員在各地挑選未嫁的年輕美女，選入皇宮充作宮女，歌女或舞女。她們被迫離開家鄉故土，離別血親好友，一入宮廷便失去了自由，卻要強顏歡笑去或歌或舞，或充當雜役。她們一生難再見父母兄弟，也無法擁有愛情與家庭。人們雖有心揭露帝王統治下的善惡美醜，卻大都不敢直言明建，所以僅用「陳、隋」二字作為標題，可見作者其苦衷之所在。- 張瑩
Dragon Boat is a traditional Jiangnan folk music piece, transmitted by Zhang Buchan. It depicts the lively scene of dragon boat races during the Dragon Boat Festival. The pipa imitates gong and drum beats, folk chants and local melodies. Rhythmic and festive, the piece vividly portrays the excitement of the race in the rich Jiangnan folk style.– Zhang Ying
《龍船》是江南傳統民間樂曲，由張步蟾傳譯。樂曲描寫端午佳節江南龍舟競渡的熱鬧場景，以琵琶模仿鑼鼓聲、號子與民間小調，節奏歡騰、氣氛熱烈，生動還原賽龍舟爭先奮進的畫面，充滿濃郁的江南民間風韻。- 張瑩
Spring River Moonlit Night is a traditional folk melody, artistically arranged by Wu Zuqiang for pipa and piano. The music depicts the serene scenery of a riverside spring night with moonlight, flowers and rippling waves. Graceful and lyrical in melody, it uses delicate pipa techniques to portray poetic scenery of river, wind and moon. Elegant, quiet and timeless, it is one of the most representative pipa classics in the literati-style. - Zhang Ying
《春江花月夜》原為傳統民間樂曲，由吳祖強先生改編為琵琶經典曲目。樂曲意境清雅悠遠，描繪春臨江畔、月照花林、水波瀲灩的江南夜色。旋律婉約流暢、韻致柔美，以細膩輪指與吟揉技法，展現月色、江風、花影的詩畫意境，寧靜唯美、典雅動人，是琵琶文曲代表性名作。- 張瑩
Zihan Zhao – Enchanted (2026)
This piece mainly explores two techniques on pipa: natural harmonics and pitch bends. The musical materials are intentionally constructed to contradict conventional expectations of dynamics. Here, the harmonics are played loudly, rhythmically and energetically, rather than as the usually sparse, far-reaching, echo-like sound. The pitch bends at a fast tempo disappear softly, subverting the typically loud character of an allegro. Together, these sounds evoke the shimmering, fluid light on the water’s surface and the gentle movement of ripples, as yearned for and sought by a long-thirsty deer.
趙梓含 - 《鹿慕》
「我的心切慕你，如鹿慕溪水。」——《聖經·詩篇》
作品有泛音和按弦兩個主要音色元素，並以反傳統的力度關係為核心音樂理念。通常快板是熱烈響亮的，而這裡快速淡出的按弦，就像一條從指間溜走的小魚。通常泛音是稀疏悠遠的，而這裡反復跳躍的快速泛音節奏就像水面的波光粼點，俯仰之間就又消失變幻。重復的微分音節奏是一場反復不停的求索，來來回回，輾轉反側，訴說迷失與渴慕，如鹿懷渴而慕清溪。直到最後，緩慢的按弦就如細微的柔波伏動，淡出、消逝遠去。
Junyi Chow - The Neon City (2021)
Inspired by Hong Kong writer Liu Yi-Chang's novel Intersection, this work uses double-horizon narrative techniques and stream of consciousness to describe the encounter of a man and a woman in the novel and reflect the image of Hong Kong in the 1970s.
The frictions in Intersection concern interactions between different characters that complete a larger picture of their common setting. They may seem unrelated, but they are inextricably linked. As a unique international city in the era depicted, Hong Kong is nostalgic, diverse, and dazzling.
One of the challenges in writing "The Neon City" is the combination of saxophone and pipa. The composer explores not only how to fuse the two instruments, but how to preserve their nature while looking for possible intersection.
趙駿毅 -《霓城》
靈感來自於香港作家劉以鬯的小說《對倒》，透過使用雙平線敘述手法，以及意識流的技巧，描述了小說中一男一女一天的遭遇及透過內心世界的描述，側面反映出七十年代香港的境況。
《對倒》裡很多事物互相之間的摩擦並非真實的摩擦，而是在共同環境裡，透過不同小人物之間的互動，來完成這幅大畫面。他們似乎毫無關聯，但互相之間又有種密不可分的聯繫。香港作為這時代不可取代的國際都市，即緬懷、多元、嚮往並炫酷。
在《霓城》這部作品中，其挑戰之一是嗩吶與琵琶兩種不同屬性樂器的「邂逅」。作者並非僅是探討如何融合兩者，而是讓兩者在作品中保持自身，同時尋找兩者交織在一起的可能。
Luk Wai Chun - Rock Pipa Rhapsody (2026)
Originally composed for pipa and Chinese orchestra, Rock Pipa Rhapsody draws inspiration from the composer’s solo pipa work Rock Pipa—FIGHT!, and is arranged for pipa and piano. Rock Pipa Rhapsody further deepens the core spirit of the solo work - Rock Pipa - FIGHT! which was in turn inspired by the classic Ambush from All Sides. The composer uses music to vividly depict the somber and intense atmosphere of the battlefield, as well as the ever-changing life-and-death struggles of war. At the same time, it blends ancient and modern musical languages, freely traversing between intertwined timelines, allowing listeners to feel as though they are simultaneously immersed in the dust and smoke of ancient battlefields and the surging rhythms of today, bringing a refreshing experience.
陸尉俊 -《搖滾琵琶狂想曲》
《搖滾琵琶狂想曲》是以作曲家琵琶獨奏曲《搖滾琵琶—FIGHT!》為靈感所創作的琵琶與中樂團作品，而原曲是從傳統琵琶武曲《十面埋伏》汲取靈感。
《搖滾琵琶狂想曲》則在原曲汲取靈感在此基礎上大幅擴展，將原曲的精髓進一步深化。作曲家以音樂描繪肅殺的戰場氛圍，以及戰爭中瞬息萬變的生死搏殺；同時融合古代與現代的音樂語言，在時空交錯中自由穿梭，讓聽眾彷彿同時置身於古戰場的煙塵與當代的激昂節奏之中，希望為大家帶來耳目一新的感覺。