Full Biography
Ng Yu Hng is an award-winning composer whose music was performed and published internationally, in 15 countries across Europe, Asia, the Middle East and North America. His works explore notions of musical time, liturgy and intertextuality.
Luna Collective - New Sounds Concert - Interview on Kintsugi (time track 1:11:18 - 1:24:52)
His past and ongoing works with notable ensembles include the Singapore Chinese Orchestra, Mivos Quartet, Black Pencil Ensemble, CHROMA, Lontano, Meitar Ensemble, Fretwork Viol Consort, CoMA, Sopriola, Hill Quartet, Xin Saxophone Quartet, Philomel, and by soloists such as George Fu, Juan Aguilera Cerezo, and Richard Uttley among others.
Three Tree Tunes from the Garden City - Premiered and recorded by the Xin Saxophone Quartet at MusoSpace, Singapore.
Fragment of Sappho for Viol Consort and Narrator - Dartington Festival, Totnes.
He has also been programmed at numerous prestigious venues, festivals, and competitions, including: the UNESCO World Heritage Site of Schokland and Surroundings (Netherlands), the CEME International New Music Festival (Tel-Aviv, Israel); the 10th Singapore Saxophone Symposium and the IMPRINT concert at the Esplanade (Singapore); the Festival International de Guitare en Béarn des Gaves (Salies-de-Béarn, France); Fitzwilliam College Chapel, University of Cambridge; St. Giles Church, Oxford; Dartington Festival, Totnes (UK), the Hochschule für Musik Nürnberg (Germany), the Miyoshimachi Cultural Center (Japan), at the Hochschule Luzern (Lucerne, Switzerland), the Sibelius Academy, for the Singapore Symphonic Orchestra Musical Soundbites Series (Helsinki, Finland), Conservatorio Alcalá la Real (Spain), Hong Kong Academy of Performing Arts (Hong Kong SAR), the Tallinn College of Music and Ballet (Estonia), the Norwegian Academy of Music (Oslo, Norway), Mahidol University (Thailand), among others.
I came I slept I departed, String Quartet, Asian Composers League (ACL) Asian Music Festival, Performers: Violin 1: Matsuoka Maiko, Violin 2: Kamei Yoshu, Viola: Sakota Kei, Cello: Takemoto Seiko, MUZA Kawasaki Symphonic Hall
Upcoming performances in 2024 include Sopriola's performance of Speak-Un-Listen at the World Viola d'amore Congress (Palermo, Italy), a string quartet for Mivos at the VIPA Festival (Valencia, Spain), an accordion solo for Flavio Rodrigues at the Royal Academy of Music (London, UK), and was a winner of the Idiosyncrasies 2024 Prize for string quartet at Bowling Green University (Ohio, United States)
Speak-un-Listen, Breath of Babel - Sopriola, Lunchtime Concert, St Olaves Church, London
She Gently Rocks the Cradle - Premiered at the Angela Burgess Recital Hall, Royal Academy of Music, UK in Nov 2020.
He completed his Master's degree under Morgan Hayes at the Royal Academy of Music, supported by the Countess of Munster Musical Trust Scholarship. Previously, he studied composition with Edward Nesbit at King's College London, achieving the Purcell Prize in Music for academic excellence. Other teachers include Hans Abrahamsen, Eleanor Alberga OBE, Philip Cashian, Tansy Davies, Christopher Austin, Cevanne Horrocks-Hopayian, Mr Phoon Yew Tien and Dr Zechariah Goh.
"The sonata includes moments of bursting light, and crushing darkness often set in close proximity. This is a piece that explores raw, unrestrained emotion in a way that few other pieces come close to."
Brian Patrick Bromberg - Sonata for Cello.
His works have been published by NIBIUS Records (Spain) and Contemporary Music for All (CoMA, UK). Yu Hng had also delivered composition seminars at the Nanyang Academy of Fine Arts (NAFA) the Composers Society of Singapore (CSS), and at the Stamford Arts Centre (Singapore).
"In all musical spaces, there are what I term ‘invisible lines’, barriers that may unintentionally cordon off a musical performance from being attended to by a larger audience."
UK classical music magazine The Strad -The Psalms Project: Contemporary Sacred Music for solo violin.
"As a composer keen on inclusivity, I’ve spent some months thinking about how to articulate sacred music such that all are welcome to the table, that all can participate in a musical conversation about sacred music regardless of background."