Chan Wing Wah, Uniting the Strength and Beauty of Music

A Conductor Who Loves Weight-lifting

If you want to find the common ground between conducting and weight-lifting, it would probably be the strength and beauty that emanate from both a conductor and a weight-lifter. To cite a perfect example of this union of delicate and hardy strength, I would instantly think of Professor Chan Wing Wah.

To introduce who he is means starting with such titles as Chairman of the Music Department of the Chinese University, Executive Committee member of United Nations International Contemporary Music Association, Director of Composers & Authors Society of Hong Kong, Chairman of Hong Kong Composers' Guild, Vice Chairman of Asia Composers' Union, Chairman of the Art Forum Board of Hong Kong Arts Development Council, Chairman of Hong Kong Jockey Club Music and Dance Fund, as well as 1992 Ten Outstanding Young Persons' Award.

As a conductor so much that it brings me real pleasure. And I hope to conduct many more different works in the days to come," he said.

Judging from the disposition of Chan, you will naturally derive that he's the bookish type, or opts for a badminton game every now and then. But weight-lifting would definitely be out of anyone's guess.

"Weight-lifting is such an excellent training for the will power, and I try to do it once a week," Chan said.

Apparently, this comment makes perfect sense for someone like him - one who is dedicated to promoting a culture that is "counter-mainstream" and often downplayed by mundance urban lifestyle. Will power is definitely what it takes to stay devoted.

When it comes to devoting time and energy, Chan also proves to be a master. Take this interview for instance, it was conducted right after a business luncheon and tightly followed by a business meeting with the C.A.S.H., right at his C.A.S.H. office.

Being well-aware of the limitation of time, Chan believed in aiming big and reaching wide. That explained why he has never taken up one-to-one teaching throughout his years of teaching career.

A Music Educator Who Loves the Crowd

"To bring up outstanding students is one of the best achievement for any teacher. But then to me, one-to-one teaching only brings a limited sense of fulfillment."

"My involvement with different public services is actually accumulated through the years. Yet, each of them have been making positive contribution to our society and promoting a better social environment as a whole."

As for his fruits of labour, Chan said, "There has been an undeniable progress in the cultural standard of our society. For instance, the increasing number of people taking piano and ballet shows that music training is no more an upper class privilege."

"On the other hand, the depth of culture is still far from taking roots, since people still consider arts education a disposable subject. Besides, most music students remain at the stage of imitating rather than pursuing the depth of musical beauty. To say the least, Hong Kong audience generally look for the most superficial appeal in music."

He also expressed certain frustration toward the attitude of some private music teachers, "There are veteran educators who know nothing about any curriculum other than that of the Royal Music Academy. And for teachers who have a large number of students, they often miss out the opportunity to pursue further education, which keeps them at a superficial level too."

"There are so many piano and violin learners in Hong Kong, but local concerts hardly see a full house because not even the teachers would attend concerts!How then could the cultural climate be well-nurtured!"

Talking about the education system in Hong Kong, Chan expressed similar frustration! "Students here generally excuse their own ignorance by claiming that 'the teacher didn't bring that up', which is a major pitfall of the education system. Being so used to learning by memorizing, note-taking, and adopting model answers, students are only concern about getting the right answers and passing exams. And that attitude has also extended to the subjects liberal arts and literature."

"For most teachers, setting examination questions means resorting to typical questions like 'When was Beethoven born! How many works he had in total! When did he write the Symphony of Destiny! 'While these are only sample suggestions of the Examination Authority, this fixed mode of testing students has not only ignored the creative aspects of music but also limited the growth of students."

Chan has set an example by breaking away from tradition as the Head of Music Department at the Chinese University. Speaking on his principles of admitting students, he said, "All I care about is their communication skills and whether they have a good sense of music! I don't really care about how much historical facts can they recite."

"Communication skills are essential for learning and self-expression, whereas sense of music will help one progress in music training. On the other hand, I would hardly admit those who haven't grown much even after years of training! music has become a mere habit rather than a passion to them. We want students who are responsible to music and would actively explore music, no matter how long they have been trained in music."

This principle perhaps helps explain why more graduates of Chinese University Music School became professional musicians than any other institutions. Seats at the Music School has also become one of the most sought after among local students. With more than 600 students vying for 23 full-time undergraduate seats every year, at least 200 of them take music as their major. Chan always takes the time to interview each of them because he respects anyone who is passionate enough to choose music as their major.

Active and Interactive in Breaking New Grounds

Despite widespread music education, local arts has remained superficial and the genuine music arena has become a minority interest. Does that mean the promotion of music and culture has also become an elite interest!

In face of the challenge of finding room for growth in the midst of a dominating popular culture, Chan adopts the attitude of being "interactive". In other words, he will remain pro-active and grasp any opportunity to make himself heard. "You always have to start with yourself before you could start demanding from others. I believe that things will slowly pick up as we continue our effort. With one generation coming up after another, time will see the results and we shouldn't give up."

"Education is indeed something that goes on and on without a deadline to follow. My wish is that in the foreseeable future, people in Hong Kong will not only go deeper in their understanding of music, but also see beyond the performer to appreciate the beauty and depth of music."

Apart from all these theories and beliefs, how about actual strategies!

"Concerts are not the main thrust at all, because it could only reach very few people. I see the mass media as the major channel, which is still undeveloped since most programmes have been downplaying arts programmes. In situation like this, the Government should extend its support by acquiring airtime that are catered for arts interest."

After dedicating himself to music education for over 10 years, Chan's numerous wishes ranged from turning grass-root laymen into Bach fans, to raising the quality of people and their lives through music. Although the reality remains bleak in a certain way, Chan remains indefatigable and undefeatable in fighting this lifelong warfare.

With all these responsibilities and work preoccupying his daily schedule, Chan's desire to create does not wane or get suffocated at all. "I'll force myself to write music, or sometimes accept requests from others. I will go for it as long as I could find the time, since composing always brings me stimulation. I've already have composing tasks lined up until the end of the year."

As for inspiration, Chan said it comes from bits and pieces in daily life, though they are by no means trivial.

"My Fifty Symphony and Sixth Symphony were both composing for the 1997 handover. I believe artists should make a statement in occasions like these. And grand musical piece usually calls for a grand theme. Take Beethoven's Symphony No.9 for example, he dwelled upon the theme of peace and humanity that are best expressed in the master piece."

"All artists should be able to transform what they see in life into grand musical works, which should also depart from the mundane." No wonder Chan is the most prolific symphony composer in Hong Kong.

An analysis of Chan's works and his musical style could be found in the book "Hong Kong Composers - 1930s to 90s" by Leung Chun-Mou.