The Binghamton University Music Department will present a distinctive faculty recital, “Re/Sonic: New Music for East Asian Instruments,” showcasing original compositions by composer and instrumentalist Hippocrates Cheng. The program brings together Chinese, Japanese, and Korean instruments in ways audiences rarely encounter.
Cheng describes the concert as part of a broader initiative to expand both the repertoire and visibility of East Asian instruments in North America. “The goal…is to write new music for East Asian instruments, and…to promote the artists’ stories,” he said. “These instruments are not likely to play all together…yet they share so many commonalities in philosophy, aesthetics, and sound.”
The recital features nine instruments—three from each tradition—including the Chinese erhu and pipa, Japanese sho and hichiriki, and Korean daegeum and gayageum. While these instruments often appear within their own cultural ensembles, Cheng’s project intentionally brings them into a shared musical space. “You’ll hear some kinds of harmony… but also lots of collisions,” he explained, noting the interplay of different scales, tunings, and expressive techniques.
For Cheng, who grew up in Hong Kong immersed in both Western classical and Chinese music, these instruments offer a wide expressive palette. “They have very rich colors,” he said. “For example, flutes or fiddles can do different kinds of vibrato that we would not expect in Western classical music.” He also points to techniques such as pitch bending and varied string articulations as central to the music’s character—features that present both creative opportunities and compositional challenges.
Coordinating such a diverse ensemble is no small task. “Some instruments are tuned to A=440, some to A=442…we have to really coordinate,” Cheng noted. Many of the musicians are also unaccustomed to performing in large, conductor-less ensembles. “We are planning to have this performance unconducted…so it will be a very interesting experience seeing all musicians interact with each other.”
Finding performers capable of meeting those demands required a wide search. While many players are based in New York State, Cheng brought in additional artists from across the country. “To be able to find these distinguished artists… I actually have to fly some musicians from other states,” he said, emphasizing both the rarity of the specialization and the collaborative spirit of the project.
Although Cheng does not perform all nine instruments, his background includes extensive work with the Hong Kong Chinese Orchestra and experience writing for a range of East Asian traditions. Collaboration with performers is central to his process. “You have to really customize the music—not just for the instrument, but for the artist,” he said. “It’s not just writing a tune and asking them to play it. It takes a lot of communication.”
Beyond this project, Cheng’s musical interests range widely—from early jazz player pianos to overtone singing. Of the latter, he said, “You can sing two notes at the same time…one is the fundamental, one is the harmonic.” Though often perceived as unusual, he notes that the technique appears in many cultures, including Mongolian traditions.
“Re/Sonic: New Music for East Asian Instruments” will be performed on Sunday, April 19, at 3 p.m. in the Chamber Hall of the Anderson Center for the Performing Arts on the Binghamton University campus. More information is available online at Binghamton University Music Events Page.