Born and raised in Hong Kong, Hon Ki Cheung started her music studies as a Chinese music player and completed her undergraduate studies in Electronic Engineering at the Chinese University of Hong Kong. She recently finished her Bachelor’s degree in Music in Organ Performance, Music Theory and Composition at the University of Kansas. Her organ teachers include Michael Bauer and James Higdon, and her composition teachers are James Barnes, Bryan Kip Haaheim, and Forrest Pierce. She will begin her master’s degree in music theory at the Florida State University in August.


A Star Ferry Ride for tuba and piano (2016)

PDF score

Star Ferry is a major tourist attraction in Hong Kong. It has more than a hundred years of history, and the ferry carries passengers across the Victoria Harbour. As people wait for the ride and get aboard, one can hear the low-pitched ferry horn, beeps from the gates, lots of footsteps, and of course, water. I try to capture the sounds and the motion of the ferry in this piece. The tuba represents the movement of the ferry, from getting ready to depart to its arrival on the other side of the Harbour, while the piano mimics the environmental noise where the ferry locates. The pitch content of the piece is completely taken from the opening gestures of the tuba part. They are arranged in a 9-chord series and are played several times before the series retrogrades. premiered by Max Gerhart (tuba) and Christina Liu (piano) on April 6, 2016 at Swarthout Recital Hall, University of Kansas, Lawrence, KS.

To Thee, With Love — A Cèilidh for solo flute (2015)

PDF score

Cèilidh, in Scottish Gaelic language, is a social gathering with many dances.The set was written for Margaret Lambie as part of the collaboration project of the composition and flute studios. Margaret expressed her interest in Celtic music when we met, while I was firstly exposed to Scottish fiddling when I attended Silkroad’s Global Musician Workshop in summer 2015. I thought it would be interesting to write a piece for her in different Celtic styles. This set of flute solo work is eventually inspired by Celtic and American fiddle tunes and folk songs (yet only one folk tune, Little Mary Cassidy, is quoted in the third movement). The three movements are written in American, Scottish and Irish styles respectively, and the titles are taken from poems from the same region. It is arranged to tell a simple love story – from the initial electrifying attraction, to the sacred promise, and finally the happiness dwelling within.