HUI, Tak-Cheung
HUI, Tak-Cheung
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HUI, Tak-Cheung, a composer born in Hong Kong, has a diverse portfolio that spans chamber and orchestral compositions, electronic and multi-disciplinary pieces, and sound installations. His collaborative approach often involves working with artists and scholars from various disciplines. Utilizing immersive and spatial audio, physical model sound synthesis, and other music technologies, he reconstructs soundscapes from both the present and the past. His work weaves tales and stories that resonate across different eras and regions, employing human voices, musical and specially-made instruments, and loudspeakers.
Hui has been recognized with numerous international prizes, and his compositions have been showcased at various festivals, including the Huddersfield Contemporary Music Festival, Gaudeamus Muziekweek, ManiFeste Festival, ISCM Taipei New Music Festival, EstOvest Festival, and Goethe Institut Asian Composers' Showcase. In addition, he has participated in different interdisciplinary projects, including The Unknown Journey of Sound and I Saw You in the Void, featured at the C-lab Sound Festival in 2022 at their 44.4 channel sound lab, respectively. His sound installation, Diachronic Apparatuses, was part of the Taiwan Pavilion at the Venice Architecture Biennale 2023. There is another Capital beneath the Waves, for which he served as the music director.
Hui studied at the Hong Kong Academy for Performing Arts, earned his master's degree in Composition at the Conservatorium van Amsterdam, and received his DMA from Boston University. During his academic years, he was awarded numerous grants and fellowships, such as the Boston University Center of New Music fellowship, Kahn Career Entry Award, and Design Trust Seed Grant. In 2017-18, he furthered his studies at IRCAM Cursus, supported by Boston University Graduate Research Grants. He is currently a faculty member at the Hong Kong Metropolitan University School of Arts and Social Sciences.
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Glimpses of ink landscape | orchestra [4. 3. 3. 3. - 3. 3. 3. 1. - 3 perc - harp - pno. - Strings) | 2009 | 10' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Realms of interim II | Flute, Clarinet/Bass Clarinet, Sheng, Zheng, Violin Viola, Cello, Contrabass & Electronics | 2022 | 14' | |
| Mist in June | Reed Quintet | 2019 | 8' | |
| Water Album#2 - On the Petal | Soprano, Flute, Clarinet, Violin, Percussion and hidden speakers | 2019 | 13' | |
| Ring…Tree Rings II | Flute, Oboe, Clarinet, Piano, Zheng, Violin, Viola, Cello, Contrabass | 2018 | 16' | |
| Tale of an old Picture II - Chanson | Piano Quartet | 2018 | 7' | |
| Water Album#1 - Seascapes | Flute, Saxophone, Viola, Positive Organ, Percussion and Electronic | 2018 | 13' | |
| Ring…Tree Rings | String Quartet | 2017 | 16' | |
| …Bai | 2 Guan, Sheng, Pipa, Zheng, Percussion and Tape | 2016 | 8' | |
| The Mist Not Mist | Alto Flute, Clarinet, Sheng, Accordion, Pipa, Zheng, Piano, Percussion, Erhu, Violin, Cello, Contrabass | 2016 | 10' | |
| On the day, when the Lotus Bloomed | Flute, Clarinet, Horn, Trombone, Percussion, 2Piano, 2Violins, Viola, Cello | 2015 | 12' | |
| Rhyme in Rhyme | Sheng, Sho, Shakuhachi, Oboe, Clarinet, Pipa, Qanun, Zheng, Harp, Erhu, Kemence, Violin, Viola, Cello, Contrabass | 2014 | 9' | |
| Crack between the reflections | 2 Flutes, Oboe, 2 Clarinets, Harp, Piano, 2 Percussions, 2 Violins, Viola, Cello and Contrabass | 2013 | 10' | |
| Out of the Shadow | 2 Percussionist | 2013 | 8' | |
| As an fallen leaf, on a waving stream | Flute, Oboe, Clarinets, Guitar, Mandolin, Harp, Piano, Percussion, Violin, Viola, Cello, Contrabass | 2012 | 10' | |
| The Mist inside | Recorder, Flute, Oboe, 2 Clarinets, Bass Clarinet, Alto Sax, Horn, 2 Violins, Cello, Harp, Piano | 2011 | 11' | |
| Way to the other Shore | Woodwind Quartet, Brass Trio, Piano and String Quartet | 2011 | 10' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Water Album #3 - Prologue | Cello Solo | 2019 | 6' | |
| GYUKE | Bass Flute and Live Electronics (& no electronics version) | 2017 | 11' | |
| Lu Chai | Alto Flute Solo | 2014 | 7' | |
| In Between | Flute Solo | 2013 | 7' | |
| 52 matches in the dark | Alto Saxophone | 2012 | 7' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| Ashes to Ashes II | for Flute, Clarinet, Cello & Live Electronics | 2023 | ||
| Diachronic Apparatuses | 8-channel Sound installation | 2023 | 13' | |
| Ashes to Ashes (2021) | Site Specific work for Flutes/3D Printing Flutes, Percussions/Deer Horns/Metal Scrapes & Live Electronics | 2022 | 15' | |
| Remain for those Remains | 16-channel sound installation | 2022 | 13' | |
| Tales of Tales | Percussions, re-arrangement of Taiwanese Traditional Puppet Opera & Electronics | 2022 | 16' | |
| Tangled Memory | for City Ambiance, Live Electronic, Video & Flute | 2020 | 10' | |
| Things that might have been | for Flute, Electronics and Video | 2019 | 15' | |
| Like a Moth in the Rain | Prepared Bass Flute and Live Electronics | 2018 | 11' |
| Title | Instrumentation | Year | Duration | NCAF-funded |
|---|---|---|---|---|
| The Invisible Landscape -the sonic past of the two cities (2022) | Web-based Interactive installation | 2022 |
* link to " NCAF online Archive of Grant Fruitages "website (in Chinese)
| Title | Instrumentation | Year | Duration |
|---|---|---|---|
| Ashes to Ashes II | for Flute, Clarinet, Cello & Live Electronics | 2023 | |
| Realms of interim II | Flute, Clarinet/Bass Clarinet, Sheng, Zheng, Violin Viola, Cello, Contrabass & Electronics | 2022 | 14' |