A choral conductor and composer, conducting with the Wah Yan College, Kowloon Boy’s Choir and winning championships in several major international choral competitions – 2010 6th World Choir Games (Gold Medal), 9th Busan Choir Festival (Equal Voices, Champion), 2011 3rd HK International Youth and Children’s Choir Festival (Young Male Voices, Mixed Voices and Overall Grand Winner).
Graduate from the University of Hong Kong, Chan studied under the tutelage of Prof. Karl Kügle in musicology and Pro. Joshua Chan in composition.
He gained his MMus in Historical Musicology from the University of London under the supervision of Ms Noëlle Mann, leading scholar and archivist of the Serge Prokofiev Archive. In 2008, she obtained a Professional Diploma in Music (composition) at the Hong Kong Academy for Performing Arts under Mr. Law Wing-fai. He is currently completing his DMus at the Chinese University of Hong Kong under the supervision of Prof. Wendy Wan-Ki Lee.
His choral conducting teachers included Prof. Leon Shiu-wai Ting and Hungarian choral conductor Denes Szabo. Currently, Lesley Chan is serving in the Music Sub-committee, Hong Kong Schools Music and Speech Association, Director Board of the Hong Kong Treble Choir’s Association and conductor of the HK Pro-Musica Society.
(Q): Question
(A): Answer
A : I first started composing when I was in F.3 at Wah Yan College, Kowloon. My music teacher encouraged us to try out different things. We were in an elite class, where three-quarters of our classmates learnt musical instruments. The distribution of classmates playing Western and Chinese instruments was quite balanced. Miss Wong encouraged me to compose for the class. We joined the composition category of Talent Quest organized by our school. There were categories for classical music and pop music then. This was my first exposure to composition and my first composition was performed by my classmates.
It was a very memorable experience. After my first composing experience, I came across more opportunities in my university. At St. John’s College of Hong Kong University, I arranged music for my schoolmates. On the 90th anniversary of the college, I composed the theme song with my schoolmate. That was my second large scale music composition experience. I also furthered my studies at HKAPA.
I compose either in response to requests or inspiration. There are a number of external invitations from different choral music settings. I need to consider their type of voice and age group when composing. The content of lyrics also depends on their age group. Besides these considerations, I usually look at the sky, trees or even take a ferry across the harbour for inspiration.
Some students compose not only for homework requirements but also due to interest. They compose piano and string pieces and sometimes ask me for advice. We organise small concerts for them to perform their competitions. A few years ago, we organised a composition class with the Leisure and Cultural Services Department. Some students were able to have their compositions performed at public events.
A : There are many composing opportunities in Hong Kong. For example, students can enrol for the composition category at Hong Kong Schools Music Festival. This year’s pieces are all of a high standard. The winning piece by a secondary student reached a university graduation standard. The New Generation Concert organised by RTHK and CASH invites young composers below 30 years old. These two are the major composing competitions for secondary and university students in Hong Kong. Besides, there are many in-school composing opportunities.
A : Students have different characters. I do not think that my students are indifferent. Because they like to play football, they have a stronger sense of teamwork. Instead, I think my students are noisy. Noisy means that they are willing to express themselves. Music is an art for them to express themselves. Thus, I am fine with their noisiness as long as they manage to be quiet at the appropriate time.
Like Festive Chamber, you have the passion to get together every Sunday for music. This is never easy. Surely, you girls are not indifferent. This is the passion that you gain from music.
A : It’s about the concept of singing. Singing in a choir is not only about union or cooperation, but also about thinking when singing. Everyone must be familiar with the pieces they are working on by practising on their own. The basic singing skill is the important element in projecting a loud and clear voice when singing. We provide ample vocal practices which help students to acquire good basic skills.
A : Boys and girls have different vocal practices but during mixed choir practice, they need to compromise and cooperate. Blending is a way to solve this problem. Using some chords to practice the blending allows students to find the right place for projection and the right mouth shape to sing a harmonious tune.
A : Yes, because I believe singing should not be limited to only singing with your friends. You should also sing with someone you don’t know. Singing with new voices will train students to learn how to adapt to a new environment and change. As boys have limitations in singing high pitches, having girls in the choir can overcome this problem and create a more harmonious piece.
A : Different languages have different sonorant. It is important to own good basic singing skills so when students come across a different language, they will be able to pronounce the sonorant easily. For example, in Chinese, the “ng” sound is quite difficult for some particular students. With good basic singing skills, students will be able to find the correct projection place and pronounce a clear “ng” sound.
A : Certainly. We will try to sing in different venues such as halls and open playgrounds. This method can train students to listen carefully with their ears and adapt to a new environment. Normally students cannot change their projection instantly when they face a new environment. We will allow them to stand closer to their sections and allow them to blend their voices. This method will sharpen their ears and train them what to do when they are performing or competing in a new venue.
A : Encouragement is very important. We will ask the juniors to sit with the seniors and learn from them. The seniors will also teach the juniors their way of projection and other important things when singing, so they will be able to acquire the same sound quality as the seniors.
A : Actually, we cannot help them at that moment but we can ease this situation beforehand. We can organise pre-tour concerts to let them sing to friends and strangers. We also have some “mental drills”. It means to imagine oneself in a particular situation, say a competition. This mental drill allows students to adapt to the competing atmosphere and assists students in overcoming stage fright when performing or competing.
A : I believe the teachers, like Mrs. Tham or the singing leaders, should insist on a particular way of projection. The newcomers may have their own sound projection outside but when they join FC they should be able to follow the FC sound projection. The seniors should teach the new members their way of singing, such as mouth shape and, most importantly, members should assist new members throughout practices.
A : From my observation, I think the projection in FC is quite good and the tone quality is loud and clear. I suggest that members try out songs with different styles so they can see more and learn more.
