from Hong Kong
Kevin Ling started his first saxophone lesson with Mr Lee Chi-wing at the age of 10 in Music Office (Hong Kong). While studying in the UK he took saxophone lessons with Sarah James, Gerard McChrystal and Melanie Henry respectively. After graduation Kevin joined the Music Office (Hong Kong) as one of the Assistant Music Officers (Wind), serving as saxophone instructor and youth band manager/conductor. Ling kept on his saxophone studies with Richard Addison in London in his first year of working with the Music Office.
Ling has performed in many countries around the world as a soloist and ensemble player. Apart from being a tutor and performer, Ling also works as an adjudicator. He was invited by Instituto Cultural do Governo da R.A.E. de Macau to adjudicate the 26th and 28th Macao Youth Musicians Competition in 2008 and 2010. In 2011 Ling participated in the 5th International Adolphe Sax Competition in Dinant, Belgium.
Concertino for Alto Saxophone - Yuen-hing Simon Yau
A 4-notes motive immediately chasing with the piano in shifting tonal areas either diatonically or chromatically. An almost 'Monologue' for the soloist serves as the 2nd movement and an Rondo in 7/8 as the last movement. The work is basically constructed with successions of dominant 7ths & will perform without break.
Dance of Dorado - Ka-wai So
Written in 2010, Dance of Dorado is one of the pieces in my "constellation series". This constellation, Dorado, is in the southern sky and referring to as a swordfish in the past. This naughty swordfish was in the sky during my writing: what can you imagine?
Man-Mou - Nigel Wood
In 2011, Hong Kong saxophonist, Kevin Ling commissioned the composer to write a new work for the less common combination of sopranino saxophone and piano, to be premièred at the 2012 World Saxophone Congress. Composer Nigel Wood (also a saxophonist and soprilloist) and Kevin have been involved in numerous musical collaborations over the past few years, in the UK and Hong Kong. This piece is the culmination of these projects. The title 'Man-Mou' was inspired by the two types of Cantonese Opera plays. 'Mou' plays emphasize war, conflict and strife. In contrast, 'Man' plays tend to be gentler, more elegant and poetic. 'Man-Mou' is not intended to be programmatic or imitative of Cantonese Opera, rather an evocation of the myriad of musical styles and instruments (both Western and Eastern) that have influenced Cantonese music. The ornaments are only suggestions allowing the performer to embellish in a quasi improvisatory style. After a brief introduction, the main theme (Man), a coquettish, lyrical melody follows. This evolves into a more tense, jazz/funk section (Mou). A restorative calm leads to a peaceful ending. Man-Mou is published by Saxtet Publications.