︎
works( ){

    Gesture Studies;
    Goin’ Goin’;
    Every Small Sky;
     To the Island;

    Glow;
    Tram Line;
    Partials;
    Stairspace;
    Gymnopedie No.1 Remix;
    Deer Enclosure;
    Through the Glass Ball;
    SOUNDS;

}



concertMusic( ){

    Solo and Chamber;
    Large Ensemble; 
    Choral;
    Multimedia;

}



larryShuen( ){

    //CV;
     Statement;
    Contact;

}

Door Always Open

門常開, 2014

for Flute, Sheng, Viola and Zheng



performed by Alice Ka-Ching Hui, Kin-hei Yuen, Joelion Kwan-ngai Keung and Jenny Tin-chi Chan

I was questioning myself regarding to music composition when writing this piece. Like what is the importance of musical structure? How can we define a good musical structure? Is it a must to include a climax in a musical structure? What is the function of climax? What will the music become if there is no climax, etc. Then, I realized myself not putting emphasis on these thoughtful questions when I composed in the past, and I just followed the traditions or formulas. However, I don’t think music composition should be formulated; I would like to have some new voices in this composition. Perhaps, these voices may be a protest against the old practice, I hope you could listen carefully.

寫這首樂曲時,自己對一些音樂創作上作出一些題問,例如音樂結構的重要性是甚麼?何謂好的音樂結構?音樂結構裹是否一定包含高潮?高潮的作用是甚麼?沒有高潮的音樂是怎樣的等等。之後發覺自己以往創作時並沒有認真思考過這些耐人尋 味的問題,只是跟隨一些既有的傳統或公式而創作。然而,我認為創作不應被公式化,我希望在這首樂曲作些新嘗試;也許這些聲音是對傳統制度的抗議,亦請你們細聽。

//[Score preview]
Mark