{"id":186395,"date":"2021-12-01T09:00:25","date_gmt":"2021-12-01T01:00:25","guid":{"rendered":"https:\/\/thehoneycombers.com\/hong-kong\/?p=186395"},"modified":"2024-11-20T19:35:46","modified_gmt":"2024-11-20T11:35:46","slug":"interview-hippocrates-cheng-sync-5","status":"publish","type":"post","link":"https:\/\/thehoneycombers.com\/hong-kong\/interview-hippocrates-cheng-sync-5\/","title":{"rendered":"Where East meets West (and beyond): Explore the imaginative musical world of composer Hippocrates Cheng"},"content":{"rendered":"

I first met Hippocrates Cheng Ching-nam after the debut concert<\/a> of a new local music ensemble, Sync 5<\/a>. He\u2019s the Composer-in-Residence for the group, and this isn\u2019t just any band<\/a> or chamber music group out there \u2013 the quintet features both western and Chinese instruments. These include the chromatic harmonica (played by Steffi Leung), melodica and recorder (played by David Tong), cello (played by Erica Wong), zhongruan (played by Eddie Kung), and erhu (played by Benjamin Tong). I didn\u2019t know what to expect before the concert, but I was blown away by the end of it, and boy was I glad that this was the first live concert<\/a> I attended since the pandemic. But how did Hippocrates manage to compose music for such an eccentric combination of instruments?<\/p>\n

Listen out for Hong Kong composer Hippocrates Cheng<\/h2>\n

Hey, Hippo! Thank you for chatting with us. How did you go into music growing up?<\/h3>\n
\"hippocrates
Hippocrates Cheng (centre) makes use of many non-western musical instruments in his compositions<\/figcaption><\/figure>\n

None of my relatives are musically trained, but they\u2019ve always encouraged me to pursue whatever I enjoy doing.My parents provided me with the opportunity to try various extracurricular activities when I was young, and I developed an interest in music when I was in primary school. At that time, instead of playing the Gameboy like most of my friends did, I treated my musical instruments as if they were my game consoles. And growing up, while some traditional Asian parents might want their children to secure high-paying jobs, my parents never forced me to do so, even though I\u2019m the only child (and a son) in the family. For this, I\u2019ve always felt blessed and I\u2019m really thankful to my parents.<\/p>\n

When I was about ten years old, I initiated learning the violin, followed by the piano and clarinet. Understanding these instruments, which belong to different sections of the orchestra, has proven to be very helpful to my composing. This is because I\u2019m familiar with what each instrument is capable of doing, hence I can write better and more suitably for the performers.<\/p>\n

How did studying music vary in Hong Kong and in the US?<\/h3>\n

I completed my Bachelor\u2019s and Master\u2019s degrees in Hong Kong, with the former at Hong Kong Baptist University (HKBU) and the latter in The Hong Kong Academy for Performing Arts (APA). When I started out as an undergrad, I hadn\u2019t actually considered becoming a full-time musician. This changed when I was accepted into HKBU\u2019s composition class, during which I developed a strong interest in composing. HKBU also provided me with an excellent foundation in music, in general.<\/p>\n

Then, when I was studying composition in APA, I was exposed to a lot of traditional Chinese music, as well as cross-disciplinary and multimedia works. I had the chance to investigate how music worked together with film, dance, and theatre.<\/p>\n

Next, I went to Indiana University Jacobs School of Music for my doctoral degree. Though I\u2019ve had to come back to Hong Kong due to the pandemic, I\u2019ve been able to work on a contemporary opera called In the Midst of\u2026<\/em> which allowed me to explore more experimental music and virtual platforms.<\/p>\n

Many artists tend to be perfectionists. Do you ever doubt yourself as a composer and performer? What gives you the confidence to keep going?<\/h3>\n
\"hippocrates
Having an open mind and not being afraid to fail are the keys to Hippocrates\u2019 success<\/figcaption><\/figure>\n

Firstly, I consider myself an open-minded person; I\u2019m not afraid of trying something new and making mistakes<\/a>. I\u2019m also quite optimistic, so I always get back up even if I\u2019ve failed multiple times. That said, I do have doubts about my musical career from time to time, especially when I lose out in competitions. But, whenever these sorts of thoughts emerge, I always think back to my original intention in pursuing music, and it brings me comfort. Moreover, participating in regular competitions still gives me the motivation to improve myself; I think it gives me an appropriate amount of stress, in this case.<\/p>\n

More importantly, I think my confidence stems from being able to recognise the hard work I\u2019ve put in over the years. Many people ask me, \u201cWhy are you so talented?\u201d But as much as I\u2019m grateful for their appreciation, I believe my achievements are more about the amount of effort I\u2019ve exerted. After all, those many nights I spent staying up composing and researching aren\u2019t for nothing!<\/p>\n

Have you ever had a composer\u2019s block? How do you usually overcome that?<\/h3>\n

Oh yes, all the time! When I get a composer\u2019s block (that lasts for a prolonged period), I still try to write; even snippets or fragments suffice, because I can then look back at all these ideas later and maybe get inspiration from them, as a big picture. I also continue to work with musicians, as they\u2019ll often give great feedback about my work.<\/p>\n

As for those odd evenings when I struggle to write, I usually try to put music aside for the night and get on with something else. After all, my life isn\u2019t only<\/em> about music; in fact, music comes from my life, so I can only write well when I\u2019m feeling well. To get my mind off things, I like to play basketball, watch movies and anime<\/a>, or go on a hike<\/a>.<\/p>\n

Aside from being a composer, you\u2019re also a multi-instrumentalist. What drew you to learning about overtone singing and other lesser known world music instruments?<\/h3>\n
\"hippocrates
Sync 5 performed several pieces written by Hippocrates in its debut concert, \u2018Liminality\u2019, in October 2021<\/figcaption><\/figure>\n

Apart from the piano, violin, and clarinet, I also play the jaw harp, Nagoya harp, and many other world music instruments. This all started when toy music \u2013 think castanets and maracas \u2013 piqued my interest at a young age. I gradually discovered more and more musical instruments and techniques from different cultures around the world, one of which was overtone singing. I first learned about it in a class back in uni. It was a truly awe-inspiring experience; I remember being so amazed by how the performer was able to sing two notes at the same time. So, I ended up teaching myself overtone singing using YouTube videos.<\/p>\n

Could you tell us more about your role in Sync 5?<\/h3>\n

I was one of the founding members of Sync 5. I first had the idea to create a new group featuring young musicians on a mix of instruments. After discussing with Steffi, who\u2019s now the harmonica player of Sync 5, we decided to form an ensemble with our peers. We then gathered some fellow musicians we had met in APA and via RTHK\u2019s Young Music Makers programme (\u6a02\u58c7\u65b0\u79c0). It may come as a surprise to our audience, but all of our members are born in the 2000s (except myself). Furthermore, only Erica the cellist and Eddie the zhongruan player are currently enrolled in APA [as professional performers]; the other three members are all full-time students at Hong Kong universities, majoring in non-music-related subjects, such as medicine and education.<\/p>\n

With the ensemble having hit the ground running, I\u2019ve now very much left its development to the hands of the players. But, I still attend the rehearsals, coach them, and write pieces for them as the Composer-in-Residence.<\/p>\n

In a previous interview, you said that music was about the culture and history of its place of origin. How would you describe the music of Hong Kong right now?<\/h3>\n
\"hippocrates
Western and non-Western instruments cross paths in the music of Hippocrates Cheng and Sync 5<\/figcaption><\/figure>\n

I think Hong Kong is a very special place, with a rich history and great cultural diversity. I\u2019d compare the music here to the likes of a \u2018harbour\u2019 \u2013 it has a variety of everything. When you look at our popular music, we have chart pop, but also indie bands; we also have experimental musicians, an active western classical music scene, traditional Chinese orchestras, ensembles, and more. Unfortunately, while I personally feel that all music genres are equal, I see that there\u2019s still a strong sense of hierarchy in the public\u2019s reception in music. And this isn\u2019t limited to Hong Kong, of course \u2013 there are similar issues around the world. So, we have lots to work on as musicians nowadays!<\/p>\n

What are your upcoming projects and plans?<\/h3>\n

Having just finished our performances in Xiqu Centre and the Fringe Club, Sync 5 and I are working on a documentary commissioned by the Hong Kong Jockey Club. For this documentary, we\u2019re collaborating with puppet shadow master, Wong Fai<\/a> (\u9ec3\u6689). This will be an interesting partnership, with people across different generations coming together to promote the arts and traditional craftsmanship in Hong Kong. We hope you\u2019re as excited as we are towards seeing (and hearing) the artistic chemistry between us!<\/p>\n

In terms of a personal long-term goal, I\u2019d like to further promote world music \u2013 but not as \u2018world music\u2019 i.e. a label plastered on music that is simply \u2018non-western\u2019. I hope we can all learn to appreciate music as a whole, and at least be aware of \u2013 if not remove \u2013 the stereotypes attached to each genre, in particular the music outside of the Eurocentric canon.<\/p>\n

Follow Hippocrates Cheng on Instagram<\/a> and Sync 5 on Facebook<\/a> to stay updated with their projects and performances!<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

I first met Hippocrates Cheng Ching-nam after the debut concert of a new local music ensemble, Sync 5. He\u2019s the Composer-in-Residence for the group, and this isn\u2019t just any band or chamber music group out there \u2013 the quintet features both western and Chinese instruments. These include the chromatic harmonica (played by Steffi Leung), melodica […]<\/p>\n","protected":false},"author":107518,"featured_media":186400,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false},"categories":[1136,18024,18025,9],"tags":[31147],"acf":[],"yoast_head":"\nListen out for Hong Kong composer Hippocrates Cheng | Honeycombers<\/title>\n<meta name=\"description\" content=\"Ever wondered what an erhu would sound like together with a cello? 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