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© 2017 by LAU Hiu-Kong. All right reserved.

Concert Music


Endless (2015)


for Flute, Oboe, Clarinet, Trumpet, Horn, Trombone and Percussion

Endless - Lau Hiu Kong, Lawrence
00:00 / 00:00
Thorn - Lau Hiu Kong, Lawrence
00:00 / 00:00

Thorn (2012)


Selected and performed on Asian Composer League Music Festival and Conference 2014

for Piano Trio

The Secluded Serpent (2014)

for Woodwind Quintet

The Secluded Serpent - Lau Hiu Kong, Lawrence
00:00 / 00:00

Xiao (2014)


Composed for HighSCORE Music Festival 2014 Italy


for 4 Clarinets

Xiao - Lau Hiu Kong, Lawrence
00:00 / 00:00

Chinese-Western Mixed Ensembles

Perceiving the Sea (2013)


for Soprano, Xiao and Harp


Lyrics from the poem by Ko Hiu Lee

Perceving the Sea - Lau Hiu Kong, Lawrene
00:00 / 00:00




寫著無盡的白晝與夜晚 ​


而那沉寂的雪夜像你一樣 ​

                  把波濤滾向四面八方 ​

你匯集  一萬種激越








你流動 月搖蕩
你搖蕩 葉飄零








一如                    一個朝代為另一個朝代


讀你 像讀一闕珍貴的古詞







讀你 才是真正的讀詩 

Cicada's Cry (2014)


for Pipa, Sheng and Woodwindquintet

Cicada's Cry - Lau Hiu Kong, Lawrence
00:00 / 00:00

Cicada’s Cry is inspired by a Chinese poem, Early Youth Wanders by poet, Liu Yong from Song Dynasty. Liu Yong showed his disappointment through the beautiful description of the messy sound of cicadas. Inspired by the poem, the composer tries to represent the sound of cicadas through the instruments and elaborate the imaginations of cicadas.

The westerns wind instruments and Chinese sheng provided various unique timbres, which create a different kind of moods of music. The expressions of pipa represent the humanity and imaginations of cicadas. In the composer’s thought, the sound of cicadas is an ordered chaos. Therefore, the composer tries to create clear phrases with variable length. 

The Living Curio (2014)

Commissioned by Musicus Fest 2014

for Erhu and String Trio

The Living Curio - Lau Hiu Kong, Lawrence
00:00 / 00:00

Hong Kong Heritage Discovery Centre, located in Kowloon Park and constructed around 1910, is a historical building known formerly as the Whitfield Barracks. It is known for its irreplaceable historical value and unique architecture. Composer Lawrence Lau is impressed by its history and architecture, and inspired by how the building witnessed, preserved and presented Hong Kong’s history during its lifetime. This piece is dedicated to this respectable building.

The Living Curio can be divided into two main sections. The first slow section begins with a lyrical melody played by the cello with harmonics, representing the modernity and spaciousness projected by the glass wall in the building. Meanwhile, the fast passages of erhu represents the vitality of the preserved heritage out of the apparent calmness. The music gradually moves to the second section with a faster pulse, where eastern and western instruments embrace each other. A series of unexpected changes concludes the piece with joy.

Blooming (2016)


for Flute and 3 Xiao​

Blooming - Lau Hiu Kong, Lawrence
00:00 / 00:00

Blooming itself is energy. It gives different specific results when it reacts to the materials.

The strong individuality often gives Chinese instruments a role of soloist while the western instruments might be more flexible to act as an accompaniment due to its timbre and tuning.
This music is trying to be the opposite. 

Ling (2015)

for Sanxian and Live Electronics

Ling - Lau Hiu Kong, Lawrence
00:00 / 00:00

“Ling” is a Chinese word having several different meanings and “Command” is one of the meanings. In the composer’s opinion, command is a one-direction message. People want to innovate when they see commands. When they succeed, those innovators will be highly raised and gradually become the new driving force of the world and finally, their driving force or innovation will then become the new commands to create a loop.

The music is based on a cycling form. The music materials are repeated and varied in a clear direction. The Sanxian part is composed in a traditional Chinese style with a lot of idiomatic traditional playing techniques as the electronic part forms an echo and amplification of those traditional sounds. 


Let It Be The Universe (2016)

for Full Orchestra

Let It Be the Universe - Lau Hiu Kong, Lawrence
00:00 / 00:00

The first inspiration comes from the Buddhist concept – “a Thousand Universes within the Universe.” A boundless worldview suggested by the concept inspires the composer to imagine “a thousand sounds within the sound.” With this idea, the composer uses the melody from the famous song by The Beatles – Let It Be, to construct the structure of the music. Pitches from the melody form the pitch center of the phrases in the music. In other words, the length of the chorus melody from Let It Be is augmented to 7 minutes long, and the tune of Let It be if is able to be heard if the whole orchestral music is shortened into 30 seconds.

Different colors and musical figures are created on the top of the augmented notes, creating an imaginary stretched time space. 

Fast version of Let It Be The Universe

Live Electronics

ZUJ (2015)

for Live Electronic

Thorn II (2016)

for Live Electronic

Thorn II - Lau Hiu Kong, Lawrence
00:00 / 00:00
ZUJ - Lau Hiu Kong, Lawrence
00:00 / 00:00

ZUJ is a structural improvisatory composition consisting of only two FM synthetic sounds.


Hermann Ebbinghaus (January 24, 1850 – February 26, 1909) was a German psychologist who pioneered the experimental study of memory

, and is known for his discovery of the forgetting curve. Ebbinghaus created 2300 “nonsense syllables” which are one-syllable consonant-vowel-consonant combinations. By reciting the syllables and investigate the rate of forgetting, Ebbinghaus found a regular forgetting curve over time. The title of music, ZUJ, was chosen from the 2300 nonsense syllables.


As the experiment of Ebbinghaus, the music is trying to act like a nonsense syllable, which is not linked with any visual or verbal descriptions. Therefore, there is no suggested theme for the music and the listeners can have their own way to understand the music.


Thorn II only employs the sound of piano. However, with the electronic control, the player is able to make musical gestures which are impossible to be played on a real piano. The control of reverberation gradually turns the sound of piano into a surreal and unique timbre. The composer tried to create line of thorn and present his idea of thorn through the timbral changes between real and surreal piano sound.