About the soundtrack:

"Notable new music accompanies Evans Chan's The Map of Sex and Love -- Hong Kong's first full-digital feature, which will be released [in North America] on DVD/VHS by Water Bearer Films (http://www.waterbearerfilms.com/pages/454565/index.htm). The celebrated production offers an elegant and moving score by "new classicist" Milos Raickovich (Riverdrive RDP003, $14.00, 15 tracks, 44m 1s). Performed on piano (Nancy Loo) and cello (Dmitry Surikov), Raickovich's ethereal music [has been nominated the Best Original Score by the Taiwan Golden Horse Film Festival]…its melancholy atmospheres are supplemented by cues ranging from art-rock to Portuguese fado to a Cantonese aria."
-- Douglas E. Winter, Video Watchdog #96 (June 03)

The CD can be purchased (US$12) by email c/o Moyung Yuk Lin

Serbian-American composer Milos Raickovich studied with Olivier Messiaen and David Del Tredici. Los Angeles Times music critic Mark Swed described Raickovich's brand of "New Classicism" (title of his debut recording released by Mode Records. See www.mode.com/catalog/045raickovich.html) as a "unique post-modern response to both Minimalism and multiculturalism." "El contorno Variations『曲線地圖』變奏曲," his original score for The Map of Sex and Love is performed by Nancy Loo (羅乃新), Hong Kong's preeminent classical pianist, and Dmitry Surikov, a principal cellist at the Hong Kong Sinfonietta.

Peter Suart 彼得小話 (siege.perilous@virgin.net) was raised in Hong Kong, where he worked from as composer/musician, playwright/performer/set-designer, graphic artist, lyricist/poet/writer. He now lives in England until he returns to England in 1999. In 1987 he and Kung Chi Shing formed The Box, a theatrical music ensemble (www.kungmusic.net/html/peter.html) in Hong Kong. Suart's "The Slow Train" was originally commissioned by the Chan Ping Chiu Project's "La Vie Gaie," produced by Actor's Family in 1997.

Tuna Macaense is a Macanese music group that performs Portuguese fado music of a distinct inflection that evolved in Macau, the former Portuguese colony on the South China coast. These two tracks, both produced by Jose Mocas, come from the CDs "Tuna Macaense," and "Titi Bita di Lilau" respectively, and are provided by the courtesy of Tradisom, an independent label located in Vila Verde, Portugal. For further info, see www.tradisom.com

"Why Don't you Come Home? 胡不歸" a traditional aria, is sung by Danny Tam Ka-cheung 譚家祥, a veteran Cantonese opera artist in Hong Kong.
(Other music featured in the film but not anthologized in the soundtrack CD includes Portuguese/Macanese fados played by Blue Hope, Paula Monteiro, Joaquim Crestejo and Apanhadores de Orvalho (again courtesy of Tadisom), as well as Puccini's aria "Si, mi chiamano Mimi," from La Boheme (courtesy of Naxos/HNH), sung by the remarkable Slovak soprano Luba Orgonasova.)

Composing for Evans Chan's Film The Map of Sex and Love

It was in a hot afternoon, in Herceg Novi, an Adriatic coast town in Yugoslavia, in summer of 2000, that I ventured out of my father's vacation house (leaving my wife and two children in a deep siesta sleep), that I decided to check my e-mail in a nearby place where one can use a computer for a few Deutsche-Marks (a currency that was newly introduced in Montenegro--a so-called "pro-Western" part of my country).

A message with word "URGENT" in its heading had caught my attention. What can be urgent to anybody in this summer heat? It was a message from my friend, Evans Chan, asking me where I am, and could I arrange an old Catalonian song for his new film. Well, that changed my vacation. From then on, I was composing (without piano), in my mind, while going to beach, walking with my children in night, or talking (or, more often, listening) to my wife.

The original song, El canto de los Pajaros, a Catalonian song, which Evans sent me via FAX and a cassette tape (in a few different arrangements, including a famous one with Pablo Casals), was haunting, but, to my taste, a bit too "square" for the synopsis (which came to me via e-mail). So, I decided to make the main theme mine, and not to quote the song. Since Evans was obviously fixed on the song and its mood, I took the rhythm of its melody, as well as the main melodic contour (general melodic movements up or down), and made my own melody, based on a new, five-note scale, which sounded slightly "Japanese." After this, I composed the main piece, El contorno (Spanish for the contour), a duo for cello and piano. In addition, I provided a set of variations for solo cello as well as for solo piano, to be used in film "as needed," for dialogues, monologues, as connections between scenes or any other moments, and edited in any way that Evans would need them: cut in fragments, repeated, faded out, etc.

The most interesting thing about all this is the fact that I was composing film music based only on the synopsis, without seeing the film. This was, in fact, liberating. I felt the story without the restrains that could have emerged if I saw the film prior to composing.

Once I finished the music, I sent the score to Hong Kong, where it was first recorded in a rehearsal, by Nancy Loo, a very fine and sensitive pianist, and Dmitry Surikov, a Russian cellist with a warm sound and a Slavic heart. Once I heard the rehearsal tape, which really sounded great, I gave a go ahead for the final studio recording. In a way, I was glad not to be there, and to let it happen without my supervision. This way, I sent back my music to the people I trusted (the performers and the director), to mold it as it suits them.

A few months later, Evans showed me all the film scenes with music (at his Manhattan home, on his computer). I was amazed how beautiful the pictures are, and how natural the pace of the story was. In the subway, on the way to my Brooklyn home, the music sounded anew in my head, but this time, with pictures. -- Milos Raickovich

為『情色地圖』搜集音樂資料之前,已確定要用一點澳門的葡國音樂,因而找來了『澳門金槍魚』(Tuna Macaense)的「澳門」(Macau)和「桑妮亞」(Sonia)兩首及
其他更多的同類 澳葡音樂。得葡 國的『傳統唱片公司』(Tradisom)免費提供,謹此致謝。彼得小話的音樂,為『情色地圖』釀造了當代的氣息。此鐳射唱片從影片採用的三首彼得小話作品錄其二。而「慢跑的火車」(The Slow Train)源出陳炳釗為 『演藝家族』導演的舞台劇「快感生活」。
而最重要的是連貫全片的音樂。我本來屬意選用大提琴宗師 Pablo Casals 常演奏的,哀悼西班 牙內戰底傳統民樂「白鳥之歌」(El cant dels ocells)。但因版權太昂貴,遂找來為『北征』提供配樂 的塞地亞裔作曲家麥羅斯‧來舒確維舒(Milos Raickovioh) 寫原創的主題音樂。他把「白鳥之歌」的 音氛保留,而譜出美麗的『「曲線地圖」變奏曲』(El contorno Variations)。名鋼琴家羅乃新 (Nancy Loo)找來香港小交響樂團的俄羅斯裔首席大提琴樂手蘇狄齊(Dmitry Surikov) 錄製。最後薛覺先的再傳弟子譚家祥為『情色地圖』帶來傳統的氤氳。我覺得縱使我的『情色地圖』不值一提,這些音樂都值得流傳。 是為記! --陳耀成