Tak Cheung Hui:
“Ring… Tree Rings II”

Tak-Cheung Hui Tak-Cheung Hui | Photo: Deborah Lopatin Tak-Cheung Hui is a Hong Kong-born composer. Over the course of his career Hui has been awarded numerous first prizes, including at the 38th Irino Prize (2017), the Leibniz Harmonien International Composition Competition (2016), the ACC International Composition Competition(2016) and the Atlas Ensemble Composition Competition (2014). His recent collaborators include the MDI Ensemble at Composit Contemporary Music Festival, the 10/10 Ensemble at the Huddersfield Contemporary Music Festival, the Nieuw Ensemble at the Muziekgebouw Aan’t IJ (“An Evening of Today”) and Looptail Ensemble at the Gaudeamus Muziekweeks. He was also resident composer at the Ligeti Academy of Asko Schoenberg in 2011 and in the European Composers’ Professional Development Program of HCMF in 2012. Hui taught himself to play the guitar and played in a rock band before beginning his formal musical education at the Hong Kong Academy for Performing Arts, where he completed his masters’ degree in Composition at the Conservatorium van Amsterdam under the supervision of Richard Ayres, Willem Jeths and Wim Henderickx. During his studies, he was awarded the Heng Seng Bank Scholarship and the Lions Music Foundation Scholarship. In 2015 he was awarded a fellowship from Boston University Center for New Music to pursue a doctoral degree under the supervision of Alex Mincek and Joshua Fineberg. He is currently pursuing a further degree at IRCAM Cursus. Hui’s compositions range from a variety of solo instrumental pieces to orchestral works, small and large ensemble music for Western and traditional instruments, multi-media and acousmatic pieces. His works are published by Huddersfield Contemporary Record and Hove Record.

“Ring… Tree Rings II” for flute, oboe, clarinet, violin, viola, cello, double bass, piano and guzheng

Writing Ring...Tree Rings II has been a way of searching for a mythological place. This work was inspired by the interlaced texture of tree rings, the coagulation of the tree’s breath. Each ring, which seems indistinguishable from the others at the macroscopic level, tells a unique story if we look closely enough. The music is the process of metamorphosis of a single impulse, a breath that repeats throughout the piece. All three movements are a sonic transcription of three different images of tree rings, in which each has a unique perspective on these beautiful creatures. Through the exploration of timbre, subtle changes and micro-tonality, I build up a soundscape where a single sound source and its boundless form become one… as a single stroke of black ink can harbour within itself a whole spectrum of color, ranging from white to grey.