Pius Cheung, Marimba Artist, Marimbist & Composer - Official Website

<body> <p> Homepage Marimbist and Composer "In my opinion, Pius Cheung is a remarkably gifted and accomplished young artist. I always enjoy listening to his elegant and virtuosic music-making." Gary Graffman "When Pius Cheung raises his mallets and strikes his marimba, his skill, technique and unbelievable dexterity produce a musical complexity more common to the agility of ten fingers on the keys of a piano." Hong Kong Arts Festival “Absolutely incredible! .... Cheung adds a tasty amount of musical nuance that Bach would have likely approved of had he heard today’s modern marimba.” Percussive Notes Magazine "An excellent alternative to the usual keyboard version of this Bach masterpiece. As Charles Ives would have said, 'A real ear-stretcher.'" Audiophile Audition "The Classical Marimba League announced Pius Cheung as 2007 Composition Competition 1st prize winner of the Romantic category. Pius wrote Three Preludes for Solo Marimba (C major, c minor & Db major)." Classical Marimba League ------------------------------------------------------------- News Pius Cheung's American Radio Debut The McGraw-Hill Young Artists Showcase announced the American Radio debut of Pius Cheung, winner of 2008 Young Concert Artists International Audtions, on March 5, 2008 and encores on March 12, 2008. The programs will be aired on 96.3 WQXR-FM Classical Music & New York Times News. (related link) March 5, 2008 Program: Bach - Goldberg Variations: Aria and Variations 1-7 Keiko Abe - Variations on Japanese Children's Songs March 12, 2008 Program: Two of his own Etudes for Marimba First Prize Winner - 2008 Young Concert Artists International Auditions The Young Concert Artists Inc. announced the first prize winners of 2008 Young Concert Artists Inetrnational Audtions are Pius Cheung, marimba and Narek Hakhnazaryan, cello. At the Auditions, Pius Cheung was also awarded the Miriam Brody Aronson Award, the Brownville Concert Series Prize, the Swiss Global Artistic Foundation Award for an engagement in Europe, the University of Georgia Performing Arts Center Prize, and the Usedom (Germany) Music Festival Prize. (press release) (related link) Marimba Recital in the 36th Hong Kong Arts Festival Pius is invited to perform in the Hong Kong Arts Festival on February 22, 2008 at the Hong Kong City Hall, Theatre. In this Marimba Recital, Pius will play a selection of piano masterworks arranged for marimba, pieces by Keiko Abe, Zhou Tian as well as his own compositions. All tickets for the first concert are sold out and an additional concert is scheduled on February 24, 2008. (related link) The 5th World Marimba Competition Stuttgart 2008 Pius' composition Etude in e minor is selected as part of the repertoire for the second round of the 5th World Marimba Competition Stuttgart 2008 to be held on September 20-28, 2008. (related link) 1st Prize Winner Three Preludes for Solo Marimba Premiered The Classical Marimba League announced Pius Cheung as 2007 Composition Competition 1st prize winner of the Romantic category. Pius wrote Three Preludes for Solo Marimba (C major, c minor & Db major). (related link) The 1st prize winner compositions: Etude in C major, Etude in c minor and Etude in Db Major are premiered by Prof. Eric Hollenbeck, Colorado State University in his faculty recital on February 4, 2008. CD Review - Goldberg Variations (for solo marimba) John Sunier of Audiophile Audition wrote in his Classical CD Review on Pius' Goldberg Variations - "An excellent alternative to the usual keyboard version of this Bach masterpiece. As Charles Ives would have said, "A real ear-stretcher."" (related link) "Absolutely incredible!...." wrote F. Michael Combs in his latest review of Pius' Goldberg Variations CD in the February 2007 Issue of Percussive Notes, a Percussive Arts Society's Publication. To view the complete CD review, please see Percussive Notes - February 2007 Issue (P. 80) (Membership required) (related link) Goldberg Variations (for solo marimba) CD Aired Adeline Sire of The World, a co-production of BBC World Service, PRI and WGBH Boston, met with Pius Cheung who talked about playing keyboard masterpieces on the marimba. Adeline's report in The World's Global Hit was aired by PRI's network of public radio stations on January 1, 2007. (related link) ---------------------------------------------------------- Upcoming Concerts & Masterclasses February 18, 2008 - 6:00pm Selections from Goldberg Variations and his own compositions Millenium Stage Conservatory Project The Kennedy Center, Washington DC February 21, 2008 - 12:00pm Pius Cheung Marimba Masterclass The Chinese University of Hong Kong Arts Festival Society Lee Hysan Concert Hall February 22, 2008 - 8:15pm A selection of piano masterworks arranged for marimba, pieces by Keiko Abe, Zhou Tian as well as his own compositions Hong Kong Arts Festival Hong Kong City Hall Theatre February 24, 2008 - 8:15pm Additional Concert Hong Kong Arts Festival Hong Kong City Hall Theatre March 19, 2008 - (time TBA) Michigan State University May 15, 2008 - (time TBA) Paris Conservatory May 16, 2008 - (time TBA) Lyon National Conservatory of Music May 19-21, 2008 - (time TBA) Amsterdam Conservatory July 23, 2008 - (time TBA) Stratsford Summer Music Festival Ontario, Canada January 25, 2009 - 1:30pm "Goldberg Variations" Sunday Concert Series Isabella Stewart Gardner Museum, Boston MA, USA Recent Performances November 3, 2007 "Goldberg Variations" Foundation for Chinese Performing Arts Jordon Hall, Boston MA, USA October 27, 2007 "Goldberg Variations" Bucks County Performance Center Yardley PA, USA October 14, 2007 - 7:30pm "Goldberg Variations" Edmonton Recital Society Holy Trinity Anglican Church, Edmonton AB, Canada September 25, 2007 "Goldberg Variations" Concert and Masterclass University of Central Florida Orlando FL, USA September 23, 2007 - 8:00pm "Goldberg Variations" Concert and Masterclass University of South Florida Tampa FL, USA April 7, 2007 Pius Cheung Marimba Concert Vancouver Metropolitan Orchestra Vancouver BC April 6, 2007 Masterclass The University of British Columbia Vancouver, BC February 6 & 7, 2007 Masterclass and Concert The University of Illinois with marimbist Eriko Daimo January 27 to February 3, 2007 Residency at The University of Michigan with marimbist Eriko Daimo December 4, 2006 Masterclass Boston Conservatory November 17, 2006 Masterclass Boston Conservatory August, 2006 Marimba Solo J. S. Bach Goldberg Variations BWV 988 (arr. for solo marimba) Zeltsman Marimba Festival 2006 Boston Conservatory, Suelly Hall July, 2006 Marimba Duo with Eriko Daimo J. S. Bach Keyboard Concerto in d minor, BWV 1052 (arr. for 2 marimbas) Zeltsman Marimba Festival 2006 Boston Conservatory, Suelly Hall March, 2006 Concerto, J. S. Bach Keyboard Concerto in d minor BWV 1052 B.C. Chamber Orchestra Playhouse Theater, Vancouver, Canada March, 2006 Marimba Solo Goldberg Variations Amsterdam Conservatory Netherlands February, 2006 Clinic/Performance with Eriko Daimo University of Michigan, School of Music November, 2005 Marimba Recital Goldberg Variations The Boston Conservatory July, 2005 Zeltsman Marimba Festival Lawrence University Appleton, USA April, 2005 Masterclass & Concert 5th International Marimba Festival Chiapas, Mexico Tuxtla Gutierrez, Mexico April, 2005 Outdoor Concert and Finale Concert with all the different artists including Jean Geoffroy, Angel Frette, Victor Mendoza, and Nanae Mimura 5th International Marimba Festival Chiapas, Mexico ---------------------------------------------------------- Biography “Absolutely Incredible!” – PAS Percussive Notes Magazine “Pius Cheung is a remarkably gifted and accomplished young artist.” – Gary Graffman As one of today’s most promising marimba artists and composers, Pius Cheung has captured audiences around the world with performances of compositions by contemporary composers, as well as his own compositions and arrangements of music from the classical masters, most notably Bach’s Complete 'Goldberg Variations’. Pius has received increasing recognition for his interpretations and adaptations of Bach's music for solo marimba. His debut album of the 'Goldberg Variations' is the first and only recording of this Bach monument on marimba. Since its release in 2006, the album has received rave reviews and is held in high regards by his peers. PAS Percussive Notes Magazine says, “Absolutely Incredible! Cheung adds a tasty amount of musical nuances that Bach would have likely approved of had he heard today’s modern marimba." The album has been aired frequently on CBC Radio in Canada, and National Public Radio in US. Highlights of Pius's recent and upcoming engagements include his Boston debut at Jordan Hall, Gardner Museum in Boston, Hong Kong Arts Festival, Edmonton Recital Society, Bucks County Performance Center, as well as a tour to Europe performing in several music conservatories. Since his U. S. concerto debut with the Philadelphia Orchestra at the Kimmel Center in 2003, Pius has been actively performing internationally on tours to countries including Russia, Australia, Holland, Mexico, China, Canada, and the U. S. In prior seasons, Pius has made concerto appearances with the British Columbia Chamber Orchestra and Vancouver Metropolitan Orchestra, as well as in concerts and masterclasses at the V Festival Internacional de Marimbistas, Zeltsman Marimba Festival, Amsterdam Conservatory, Curtis Institute of Music, Boston Conservatory, UM (Michigan), USF (South Florida), UCF (Central Florida), UI (Illinois), Boston University, and many well known institutes around the world. In his teenage years, Pius has performed extensively on national tours throughout Canada and was a marimba soloist at the World Music Forum 1999 representing Canada. As a composer, Pius was awarded 1st prize winner of Classical Marimba League 2007 Composition Competition for his ‘Three Etudes’. He has written numerous works for the marimba which are gaining increasing popularity from his peers worldwide. His works include a set of five Musical Moments, Marimba Concerto with String Orchestra, Sonata No. 1 "Vitanata", Ballade for Eriko Daimo, Symphonic Poem for solo marimba, and a collection of smaller pieces including Etudes, Nocturnes, and Preludes. His music is published by the Connecticut Hills Music Publishing Company and MPC Music Publishing. The Chinese-Canadian marimbist began his musical journey on the piano at age 5 and the marimba at age 9. At age 17, he entered the prestigious Curtis Institute of Music in the U. S. During his studies there, Pius was awarded a merit-based full scholarship, Bok Foundation Scholarship, and was awarded 1st prize at the Philadelphia Orchestra’s Albert Greenfield Concerto Competition. He received his Bachelor of Music from the Curtis Institute of Music, and his Artist Diploma from The Boston Conservatory. Pius is a Yamaha Performing Artist and Vic Firth endorser. ---------------------------------------------------------- Composition Music from my heart For a long time, I didn't really consider myself a composer. I think of composers as the highest in the food chain of musicians, therefore I never thought of myself as worthy of that title. Yes, I have been writing music since I was 10 (none of those pieces are presentable), but I have always thought of it as a hobby. For one, I never really received formal compositional training, though I have had many teachers over the years who guided me along the way and encouraged me to keep writing. But till this day, I still feel weird when others call me a composer. I started to write because I sometimes get strong urges to create and sculpt something or I hear voices that I just can't get out of my head until I write them down. My goal was never to create something new or find my own voice, because I think consciously trying to find ones voice could be a very dangerous thing. Like my Bach/Theory teacher, Edward Aldwell once told me, "Don't be afraid of how others judge your music, just write what comes to your heart." Stravinsky once said, "Good composers borrow. Great composers steal." In a way, my compositions are like a stir fry of various elements from great composers like Bach, Beethoven, Rachmaninoff, Chopin. Liszt, Mahler, Strauss, Stravinsky, Shostakovich, Debussy, Ravel, etc. In that way, I guess that is my voice. Lately, I have also been exploring with going back to the roots of my Chinese heritage and mixing it with what I already know and what comes naturally from my heart. The result of that is still to be determined. Complete List of Composition Pius Cheung Oct 2007 --------------------------------------------------------- Complete List of Composition Concerto Concerto for Marimba and String Orchestra (1st mvt~i) (1st mvt~ii) (2nd mvt) (3rd mvt) Large Scale Solo Marimba Work Classical Sonata (play video in YouTube) Sonata in c, Vitanata (1st mvt~i) (1st mvt~ii) (2nd mvt) (4th mvt) Symphonic Poem for solo marimba Ballade Ballade for Eriko Daimo (play sound clip performed by Eriko Diamo) Ballade No. 2, Black Poem Etude Etude in C Major (play sound clip) Etude in c minor Etude in Db Major Etude in e minor (play sound clip performed by Eriko Daimo) Musical Moments No. 1 - Lust No. 2 - Storm No. 3 - Solitude No. 4 - Dance of the Golden Mean (play sound clip) No. 5 - Romance (play sound clip) Other Works Five Pieces for solo marimba (Theme) (Dance) (Aria) (Interlude) (Lament) Inspiration Astor Nocturne ---------------------------------------------------------- Ballade for Eriko Daimo Ballade for Eriko Daimo was written in May 2005. I met Eriko in 2003 at the Zeltsman Marimba Festival, and was immediately captured by her playing, which I find very dramatic, exploring both the delicate and the organ-like grand sound of the marimba. Since then, we have grown to be very close friends, therefore I decided to compose a piece for her that describes her personality in the way she has reflected herself to me. Structurally, this piece consist of two contrasting subjects, first of which is slow, mellow and in major, second of which is fast dramatic, and in minor (based on Eriko Daimo's initials D# E). Sound Clips Ballade for Eriko Daimo (play sound clip performed by Eriko Daimo) Music Sheets Printed or Download .pdf version (order music sheets) --------------------------------------------------------- Classical Sonata Classical Sonata began as a composition exercise to write in the style of Beethoven. Needless to say, this work can in no way be compared to the genius of Beethoven. It is merely my humble tribute as a composer and marimbist to one of the greatest geniuses in the history of music. Structurally, this piece follows the traditional sonata form, which of course is one of the biggest trademarks of the era. The work is in four movements. First, in sonata-allegro form; Second, is slow, singing, and elegant; Third*, a short scherzo; Fourth, also in sonata-allegro form with a short glimpse of the first movement in the middle. The entire work is about 23 minutes long. * The Third movement was added after the premiere of the work, where I performed it in a special tribute concert held by the Vancouver Metropolitan Orchestra. ca. 23 mins. Sound Clips Classical Sonata 1st movement (play sound clip) Classical Sonata 2nd movement (play sound clip) Classical Sonata 3rd movement (play video clip in YouTube) Classical Sonata 4th movement (play sound clip) Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Etude in C Major This piece is one of three pieces that was awarded the Classical Marimba League Prize. My plan is to write a set of twenty four etudes, one in each key, in the future. Despite the fact that these pieces are 'etudes', they are not 'exercises' for mere technical practice. They are each short pieces of individual musical moments. Etude in C major is a soft and simple song, much like a Schubertian song for voice and piano. Sound Clips Etude in C Major (play sound clip) Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Etude in c minor This piece is one of three pieces that was awarded the Classical Marimba League Prize. My plan is to write a set of twenty four etudes, one in each key, in the future. Despite the fact that these pieces are 'etudes', they are not 'exercises' for mere technical practice. They are each short pieces of individual musical moments. Etude in c minor is designed for octave practice. Much like a Liszt etude, this piece is quite virtuosic. Though the music was intended to be rather angry in nature and virtuosic, it should always still sing. ca. 5 mins. Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Etude in Db Major This piece is one of three pieces that was awarded the Classical Marimba League Prize. My plan is to write a set of twenty four etudes, one in each key, in the future. Despite the fact that these pieces are 'etudes', they are not 'exercises' for mere technical practice. They are each short pieces of individual musical moments. Etude in Db major is a short operatic aria for solo marimba, similar to the italian operas by Puccini. ca. 4 mins. Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Etude in e minor This piece is dedicated to Edward Aldwell, my theory/Bach teacher while I was at the Curtis Institute of Music. He was a man of few words, but all of them were important. His teachings were always witty, but extremely intelligent. During one of our discussions about music, and knowing that I have always had self-doubt about my own compositions, he told me, "Don't be afraid of how other people judge your music. Just write whatever comes to your heart." That, coming from one of my most respected musicians in the world, all of a sudden sparked something in my mind, and I just sat down and wrote this etude. Compositionally, this piece is very simple, but it is one of my most honest works. Edward Aldwell passed away in 2006. ca. 4 mins. Sound Clips Etude in e minor (play sound clip performed by Eriko Daimo) ---------------------------------------------------------- Five Pieces Five Pieces for solo marimba is a set of five miniatures dedicated to five good friends of mine who are also marimbists: Nancy Zeltsman, Yuko Yoshikawa, Eriko Daimo, Fumito Nunoya, and Jonathan Singer. Each piece is a short glimpse of how these great marimbists has appealed to me as a performer. These pieces were my first attempt at twelve tone music. The tone row for these pieces is comprised on three sequences of four note motifs/cells, which can also be found in many of my other works. Though these pieces are 'twelve tone', I don't consider them as 'atonal', since my treatment of the twelve tone row is quite tonal. ca. 5 mins. Sound Clips I. Theme (play sound clip) II. Dancei (play sound clip) III. Aria (play sound clip) IV. Interlude (play sound clip) V. Lament (play sound clip) Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Musical Moment No. 4 Dance of the Golden Mean is the fourth of a set of five Musical Moments written during my years studying at the Curtis Institute of Music. All five Musical Moments are based on the same four note motif. This piece is four voice fugue. Structurally, it is very traditional. It starts with an exposition section where the subject is presented in all 4 voices. Then a development section where the subject and counter-subjects evolve. At the point of the golden mean is the return of the exposition, but this time the subject is inverted. Ending with a short coda. Though intended for solo marimba, this piece can also be performed with a marimba duo, trio, or quartet, splitting the voices between players. ca. 4 mins. Sound Clips Musical Moment No. 4 (play sound clip) Music Sheets Printed or Download .pdf version (order music sheets) --------------------------------------------------------- Musical Moment No. 5 Romance is the fifth of a set of five Musical Moments written during my years studying at the Curtis Institute of Music. All five Musical Moments are based on the same four note motif. Originally written for a string orchestra, I later transcribed this piece for solo marimba so I can perform it myself. Therefore when performing this piece, player should always keep in mind long luscious legato lines. This piece was recorded on Nancy Zeltsman's album, Sweet Song. ca. 6 mins. Sound Clips Musical Moment No. 5 (play sound clip) Music Sheets Printed or Download .pdf version (order music sheets) ---------------------------------------------------------- Sonata in c, Vitanata Sonata in c, Vitanata was written in 2005 for my performance at the Fifth International Marimba Festival in Mexico, where I premiered the work. "Vita" is latin for life. This piece is programmatic, not in the sense of there being a story behind it, but that it depites the essence or journey of life as I see it. The entire piece is based on one short motif which circles around the interval of a third. This motif is introduced as the second subject of the first movement. The entire work is in four movements. The first is in traditional sonata-allegro form. The second is an intimid nocturne based on the theme-motif, with reminiscence of the first movement in the middle. The third is a scherzo-like fugue, the subject of which is also derived from the theme-motif. The fourth is a slow chorale which begins as a tragic requiem representing death, but transforms into a peaceful hymn of the theme-motif, representing life after death, Utopia. ca. 30 mins. Sound Clips Sonata in c, Vitanata 1st mvt. excerpt i (play sound clip) ------------------------------------------------------------- Gallery Live in Vancouver Rehearsal with BCCO Bach d minor Keyboard Concerto Rehearsal in Vancouver In the Studio In the Studio Playing "Goldberg Variations" Live in Mexico, International Marimba Festival Chiapas In the Studio In the Studio At the Curtis Institute, 2002 In the Studio In the Studio With Maestro Thomas Wang in Vancouver With Pianist Kam Sing Lee in Vancouver After Conert at ZMF with NancyZelstman In master class with Keiko Abe, Curtis 2001 Visit to Marimba Factory in Chiapas with Nanae Mimura and Jean Geoffroy Master Class at the V International Marimba Festival, Chiapas At ZMF with Naoko Takeda, Nancy Zeltsman, Ria Ioleta, Emmanuel Sejourne, Anne-Julie Caron & Jack van Geem After Concert at ZMF with Emmanuel Sejourne After Concert at ZMF with Jack van Geem After Concert at ZMF with Bev Johnson and Christos Hetzis After Concert at ZMF with Peter Prommel After Concert at ZMF with Joe Locke Video Links Hong Kong Arts Festival promotional video appearing in HKAF's website Rehearsal with the British Columbia Chamber Orchestra at the Vancouver Playhouse Theatre Live in Concert with the British Columbia Chamber Orchestra at the Vancouver Playhouse Theatre Live in Concert Classical Sonata (mvt iii) - Pius Cheung, solo marimba Marimba Duo Vitanata (mvt i) - Pius Cheung & Eriko Daimo Marimba Duo Bach Concerto in d minor - Pius Cheung & Eriko Daimo -------------------------------------------------------------- "Absolutely incredible! Considering the complete Goldberg Variations include a theme (Aria), 30 variations and a concluding Aria, with a total performance time of about 53 minutes, the sheer volume of notes is a major feat in itself. Those thousands of notes in a classic harmonic setting are performed with amazing accuracy by young marimbist Pius Cheung." "One could spend pages discussing the appropriateness of transcriptions from the Baroque period, but there would be general agreement that there is some relation between the marimba, with its struck bars of wood, and the clavier or harpsichord, with strings that are plucked or struck." "Cheung adds a tasty amount of musical nuances that Bach would have likely approved of had he heard today’s modern marimba. The richness of tone of the instrument is clear on the recording and the bass line is especially warm and secure. It should be noted that the 30 variations are not motivic variations but based on the bass line and harmonic structure of the opening Aria. This performance brings out the bass line is a subtle but effective way that perhaps the clavier could not. Only a few adjustments were made from the original music and those are limited to taking some of the lower bass notes that were out of the marimba’s range up an octave and editing some of the ornamentations. Variation 28 is an exception with a number of adjustments from the original." F. Michael Combs Percussive Notes Publication of Percussive Arts Society * * * * * "In my opinion, Pius Cheung is a remarkably gifted and accomplished young artist. I always enjoy listening to his elegant and virtuosic music-making." Gary Graffman World-renowned Pianist * * * * * "The music of Bach seems to adapt well to a greater variety of instruments and styles of interpretation than that of any other classical composer. His masterpiece of the simple theme and 30 variations known as the Goldbergs has been transcribed for pipe organ, sax quartet, cello quartet, string quartet, synthesizers, you name it. The concert marimba is an excellent instrument for the performance of Bach transcriptions and this is not the first work of the master to be adapted for it. Yet adaptation is incredibly difficult due to the physical layout of the instrument, the use of the mallets, and the limited range compared to the piano or harpsichord." "The marimba virtuoso in this recording feels that the music of Bach doesn't belong on any one real instrument - that it is so "pure" that it goes beyond any real instruments. That is certainly supported by the failure of Bach (and other composers of the period too) to specify exactly what instrument or instruments a particular work was written for. Cheung says further 'In music that is so perfect formally, rhythmically, contrapuntally, and harmonically, I feel it will always be able to shine in different tone colors, dynamics, tempi, articulations, and phrasings.'" "I recall the first time I heard the Goldbergs performed by a saxophone quartet. It was a revelation, and this marimba version is as well. The different voices are brought out more strongly and the clarity of the percussion instrument drives home the various melodic lines with more emphasis than on a piano or harpsichord keyboard. The micing picks up all the details but is not so close as to over-stress the percussive hits of the bars. An excellent alternative to the usual keyboard version of this Bach masterpiece. As Charles Ives would have said, 'A real ear-stretcher.'" John Sunier Audiophile Audition * * * * * "Pius, Your Bach CD is brilliant. It's so warm and musical, and truly engaging. I would think this is a recording that would do well in the world .... lots of folks would like to put it on and listen, both actively and in the background. Your playing is extremely sensitive and appropriate for Bach. Congratulations on such a wonderful disc." Jennifer Higdon World-renowned Composer * * * * * "Pius Cheung is an extremely gifted, expressive artist: a musician who plays, of all things, the marimba! He applies his unique, virtuosic style to a largely romantic repertoire all his own. In his early 20s, he already possesses enormous vision and is well on the path to taking the possibilities for the marimba to a new level." Nancy Zeltsman * * * * * "I heard the marimba recital that Pius gave in the ZMF, and I was amazed by his mastery of the instrument and music he played. The smooth and musical tones reminded me of the sound of an organ in the wonderful acoustics, and what he played seemed virtually impossible by one person. I think we have discovered the Chopin of the marimba. I wish Pius all the best changes in the future, so that he can continue to amaze his audience with his musicality." Prof. Peter Prommel Timpani and Percussion & International Relations Coördinator Hochschule für Musik Detmold * * * * * “Pius Cheung has burst on the scene as the neo-romantic marimba virtuoso.” Canadian Music Center * * * * * "Pius Cheung's marimba playing is brilliant and spellbinding. His intensity as a musician is riveting. His music is hauntingly romantic and emotionally rich -- very satisfying to listen to." Don Liuzzi Principal Timpanist, Philadelphia Orchestra * * * * * "As one of today's leading marimba artists, Pius Cheung has taken the marimba to a more profound level of expression. His virtuosity is only overshadowed by his beautiful musicality." Victor Mendoza Yamaha Artist Professor, Berklee College of Music * * * * * "Pius Cheung's depth of musical knowledge melded with his brilliant intuitive instincts puts him in that supersonic rarefied stratosphere of consummate artists. Mr. Cheung's marimba concerto is fine work which showcases his talents as a fine composer as well as marimbist extrodinaire." "Mr. Cheung's arrangements of Arnold Schoenberg's “Five Pieces for Piano” is but the tip of the iceberg of this gentle man's gifts." Michael Udow Principal Percussionist: The Santa Fe Opera Professor of Percussion: University of Michigan * * * * * 喷薄而出的熠熠星光 ——Pius Cheung 、龚天鹏独奏音乐会札记 润霖 11月3日晚，风雨交加，我赶去听一场音乐会。当我快速迈越台阶，进入纽英伦音乐学院的“乔丹厅”（Jordan Hall）时，一股我所熟悉的高雅、温暖的艺术气息迅即驱散那深秋雨夜给我带来的萧索与阴冷。我放慢脚步，走入音乐厅，按席就座，身心舒展地阅看音乐会说明书，但见封面上刊登了两幅醒目的照片，一位是青年玛林巴琴演奏家 Pius Cheung， 另一位是少年钢琴家龚天鹏—— 他们两位正是当天音乐会的主角。 音乐会的上半场是由Pius Cheung 担纲演出的玛林巴琴独奏。 玛林巴（ Marimba）是一种大型木琴，是源于非洲的拉丁美洲打击乐器，其结构和发声原理与普通木琴相似，但共鸣管比较大，整个音域要低一个八度，音色优雅、柔和，别具一格。此前，我曾多次于音乐会上观摩玛林巴琴在打击乐合奏或其他形式的器乐作品中大显身手，但能比较完整地欣赏到玛林巴琴的独奏表演，则还是首次有这机遇，心中自有一番期盼。 年轻、帅气的Pius Cheung 走上舞台，他伫立在玛林巴琴前，凝神片刻，然后左右手各持两柄琴槌，在四槌起落之间，开始了他的独奏演出。 Pius Cheung 表演的第一与第二个曲目是他自己创作的“C大调练习曲”和“E小调练习曲”。这两首音乐小品既然标明为“练习曲”，想必多少有训练演奏技巧的成分。我对玛林巴琴的乐器性能和演奏技巧特点，所知非常少，因而不能评判Pius Cheung 这两部作品在技巧练习方面的建树。但从音乐欣赏的角度，我却能领略到这两首练习曲明显的艺术感染力。 “C大调练习曲”缓慢、舒展，四柄琴槌轻柔地奏出优美如歌的旋律与丰富的多声部织体，而这一切都由演奏家以掌控自如的玛林巴琴特有的音色来加以演绎，音乐朦胧、柔美，别有一番如梦如幻的神韵和意趣。与之形成对比的是“E小调练习曲”，快速、流畅，随着在宽泛音域里驰骋、飞扬的旋律，似乎能感受到一种心绪的涌动与激荡。 Pius Cheung 在音乐会上演出的重点曲目是巴赫的《哥尔德堡变奏曲》，这是巴赫《键盘练习曲》的第四部分，原由羽管键琴演奏，现大多以钢琴独奏的形式传世。要把《哥尔德堡变奏曲》这一充分体现键盘乐器特性的作品，移植于打击乐器玛林巴琴，首先要加以改编，而改编者正是演出者本人，我钦佩Pius Cheung 这种将改编、表演集于一身的勇气、智慧与才华，因为无论是改编抑或表演，用玛林巴琴来令人信服地演绎《哥尔德堡变奏曲》，谈何容易！ 《哥尔德堡变奏曲》是一部结构异常庞大，音乐形象、情趣变幻无穷的作品。乐曲采用一个咏叹调为主题，然后对主题（主要以主题的低音线即“Bass line”为素材）作三十次变奏，其中，每逢“三”的倍数，即第三次变奏、第六次、第九次、第十二次……直到第二十七次变奏都用“卡农”技法写作，全曲以九段不同形态的“卡农”将复调音乐的魅力发挥尽致，同时也赋予这部繁复变奏曲在结构上的层次感。最后乐曲再度出现咏叹调主题，在首尾呼应的平衡中，完满终止全曲。 我还是没有能力来阐述Pius Cheung 如何把《哥尔德堡变奏曲》改编成玛林巴琴独奏曲这一艰辛、缜密的创造性过程，我依然只能以一个音乐会听众的身份来谈些有关感受。 首先我觉得Pius Cheung 选择《哥尔德堡变奏曲》作为玛林巴琴的重要表演曲目是很有艺术眼光的，因为玛林巴琴柔润、迷蒙的音色颇有古典神韵，与巴赫这首十八世纪经典名曲仿佛有一种天然的内在联系。当然，音色要靠人来驾控，再说要出色地演出《哥尔德堡变奏曲》还必须具备其它艺术要素。 Pius Cheung 显然已将诸种要素深谙于心，我觉得他把主题与变奏的内在联系与不同形貌，把每一个变奏的特性形象、情趣及其承上启下的变幻、对比都作了精彩纷呈的演绎。另外，Pius Cheung 对这首庞大乐曲在音乐层次方面的把握与处理，也是很见功力的。大约整整 一个小时的演奏，Pius Cheung 全神贯注地、有条不紊地在舞台上搭建了一座流动的、气象万千的音乐神宫，并引领全场听众兴味盎然地畅游其中。 -------------------------------------------------------------- Links Organizations Yamaha Corporation of America www.yamaha.com Vic Firth www.vicfirth.com Steve Weiss Music www.steveweissmusic.com Brandt Percussion www.percussion-brandt.de Blue Mallet www.bluemallet.com Caveman Music www.cavemanmusiconline.com Marimba.org www.marimba.org Percussion Friends Bilic, Ivana www.ivanabilic.com Cangelosi, Casey www.caseycangelosi.com Daimo, Eriko www.erikodaimo.com Friedman, David www.david-friedman.de Geoffroy, Jean www.jeangeoffroy.com Gramley, Joseph www.josephgramley.com Jacobowitz, Alex www.alexjacobowitz.com Kourtparasidou, Margarita www.margaritapercussion.com Locke, Joe www.joelocke.com Mendoza, Victor www.victormendoza.com Milkov, Theodor www.theodormilkov.com Mimura, Nanae www.nanaemimura.com Nunoya, Fumito www.fumitonunoya.com Saindon, Ed www.edsaindon.com Sejourne, Emmanuel www.emmanuelsejourne.com Stensgaard, Kai www.marimba.dk Zeltsman, Nancy www.nancyzeltsman.com Zivkovic, Nebojsa www.zivkovic.de Other Musician Friends Armstrong, Kit (pianist/composer) www.geocities.com/kitcarmstrong Hatzis, Christos (composer) www.hatzis.com Higdon, Jennifer (composer) www.jenniferhigdon.com Huang, Chu-Fang (pianist) www.chufanghuang.com Kim, Jonah (cellist) www.thejonahkim.com Ludwig, David (composer) www.davidludwigmusic.com Lui, Meng Chieh (pianist) www.mcliu.com Sheng, Bright (composer) www.brightsheng.com Wang, Yuja (pianist) www.yujawang.com Zhou, Tian (composer) www.zhoutian.org -------------------------------------------------------------- Repertoire Concerto Keiko Abe Prism Rhapsody J. S. Bach Keyboard Concerto in d minor, BWV 1052 (play sound clip) Keyboard Concerto in f minor, BWV 1056 Pius Cheung Concerto for Marimba and String Orchestra ~ 1st movement (excerpt i) (play sound clip) (excerpt ii) (play sound clip) ~ 2nd movement (play sound clip) ~ 3rd movement (play sound clip) Paul Creston Marimba Concertino Ney Rosauro Marimba Concert No. 1 Bright Sheng Colours of Crimson Solo Keiko Abe Ancient Vase Marimba d'amore Variations on a Japanese Children Song Wind Sketch Wind in the Bamboo Groove Wind Across the Mountains Kit Armstrong Five Pieces for Marimba J. S. Bach Aria and 30 Variations, BWV 988, "Goldberg Variations" (play sound clip) Aria Variata Keyboard Partita No. 2 in c minor Keyboard Partita No. 6 in e minor Violin Partita in d minor, (adapted by Pius Cheung) Pius Cheung Ballade for Eriko Daimo (play sound clip performed by Eriko Daimo) Ballade No. 2, Black Poem Classical Sonata (play video in YouTube) Etude in C Major (play sound clip) Etude in c minor Etude in Db Major Etude in e minor (play sound clip performed by Eriko Daimo) Five Pieces for solo marimba ~ Theme (play sound clip) ~ Dance (play sound clip) ~ Aria (play sound clip) ~ Interlude (play sound clip) ~ Lament (play sound clip) Inspiration Astor Musical Moment ~ No. 1 - Lust ~ No. 2 - Storm ~ No. 3 - Solitude ~ No. 4 - Dance of the Golden Mean (play sound clip) ~ No. 5 - Romance (play sound clip) Nocturne Sonata in c minor, "Vitanata" ~ 1st movement (excerpt i) (play sound clip), (excerpt ii) (play sound clip) ~ 2nd movement (play sound clip) ~ 3rd movement ~ 4th movement (play sound clip) Symphonic Poem for solo marimba Frederic Chopin Ballade No. 1 in g minor (play sound clip) Ballade No. 2 in F major Ballade No. 3 in A flat major (play sound clip) Ballade No. 4 in f minor (play sound clip) Nocturne in B flat minor Nocturne in C sharp minor Nocturne in c minor Prelude in e minor (play sound clip) Christos Hatzis Fertility Rites Arnold Scheonberg Six Pieces for Keyboard Joseph Schwatner Velocites Anton Webern Satz fur Klavier Zhou Tian Blueprint ---------------------------------------------------------- CD Album Goldberg Variations, J.S. Bach (arranged for solo marimba) “Absolutely Incredible! Cheung adds a tasty amount of musical nuances that Bach would have likely approved of had he heard today’s modern marimba." - PAS Percussive Notes Magazine ”….. An excellent alternative to the usual keyboard version of this Bach masterpiece. As Charles Ives would have said, "A real ear-stretcher." - John Sunier, AUDIOPHILE AUDITION "Brilliant. Pius's Goldberg Variations recording is so warm and musical and truly engaging….His playing is extremely sensitive and appropriate for Bach…” - Jennifer Higdon, World-renowned Composer My debut CD album Why not? I love the Goldberg Variations and I love the marimba, so it is only natural for me to play the Goldbergs on marimba, though I have always been a strong believer that music comes first, instrument comes second. I believe when one plays an instrument well enough, one can achieve a state of musical purity where it does not matter what the instrument is. Audience would forget the actual sounds that they are listening to, and all that is left is pure musical expression. This is something that I always strive for. As to the story of how I have gotten to know the Goldberg Variations, like most people who play this piece on the piano, I first knew of the Goldbergs from Glenn Gould's recording and fell in love with the piece and Gould immediately. Though I have known of the piece since I was really young, I have never played it on the piano, let alone the marimba. For a long time, I thought the idea of playing this gigantic Bach monument on the marimba was simply ridiculous and undoable. It wasn't until Fall 2005, when I finally attempted the task of playing the Goldbergs on marimba seriously. At that point of my life, I always thought I had more to say and share as a performer after every performance. I wanted to perform a big piece by a master composer that is a world of its own in the way Mahler does with his Symphonies. Since Mahler Symphonies are impossible on marimba, I turned to the close to impossible choice of the Goldberg Variations. To give myself the extra push to learn it, I actually scheduled a small school recital 2.5 weeks from the day I decided to learn it. I did so knowing that the first time performing this piece will always be an extremely dangerous experience, regardless of how long I have practiced it. The result was better than I expected. Or shall I say at least good enough to the point that I knew I would want to invest the rest of my life to discover this piece. The summer following that came my debut album of the Goldberg Variations. ------------------------------------------------------------- Sampler Sound Tracks J.S. Bach - Goldberg Variations (arr. for solo marimba) 1. Aria (play sound clip) 2. Variation 1 a 1 Clav. (play sound clip) 3. Variation 2 a 1 Clav. (play sound clip) 4. Variation 3 a 1 Clav. Canone all' Unisuono (play sound clip) 5. Variation 4 a 1 Clav. (play sound clip) 6. Variation 5 a 1 ovvero 2 Clav. (play sound clip) 7. Variation 6 a 1 Clav. Canone alla Seconda (play sound clip) 8. Variation 7 a 1 ovvero 2 Clav. (play sound clip) 9. Variation 8 a 2 Clav. (play sound clip) 10. Variation 9 a 1 Clav. Canone alla Terza (play sound clip) 11. Variation 10 a 1 Clav. Fughetta (play sound clip) 12. Variation 11 a 2 Clav. (play sound clip) 13. Variation 12 Canone alla Quarta (play sound clip) 14. Variation 13 a 2 Clav. (play sound clip) 15. Variation 14 a 2 Clav. (play sound clip) 16. Variation 15 a 1 Clav. Canone alla Quinta. Andante (play sound clip) 17. Variation 16 Overture a 1 Clav. (play sound clip) 18. Variation 17 a 2 Clav. (play sound clip) 19. Variation 18 a 1 Clav. Canone all Sesta (play sound clip) 20. Variation 19 a 1 Clav. (play sound clip) 21. Variation 20 a 2 Clav. (play sound clip) 22. Variation 21 Canone alla Settima (play sound clip) 23. Variation 22 a 1 Clav. Alla breve (play sound clip) 24. Variation 23 a 2 Clav. (play sound clip) 25. Variation 24 a 1 Clav. Canone all' Ottava (play sound clip) 26. Variation 25 a 2 Clav. (play sound clip) 27. Variation 26 a 2 Clav. (play sound clip) 28. Variation 27 a 2 Clav. Canone alla Nona (play sound clip) 29. Variation 28 a 2 Clav. (play sound clip) 30. Variation 29 a 1 ovvero 2 Clav. (play sound clip) 31. Variation 30 a 1 Clav. Quodlibet (play sound clip) 32. Aria da capo (play sound clip) -------------------------------------------------------------- My Thoughts about Bach on the Marimba Playing Bach is one of the most controversial subjects for performers today. There are constant arguments about what the 'correct' way to play Bach is. In recent years, many people seem to be very concerned with whether or not a Bach performance is 'baroque', and if it is not, it is bad. The issue of whether or not it is justifiable to perform Bach on modern instruments seem to be never resolved. On one hand, there are the music purists who believe it is an absolute sin to play Bach on anything but 'authentic' period instruments, and that it is crucial to play Bach in a 'baroque' way; but on the other hand, there are those who believes one could only do Bach's music justice by performing them on modern/more developed instruments, and takes more flexibility with the performance style. To me it is very hard to define what is 'baroque' and what is 'romantic'. These terms were created mainly for the purpose of keeping clarity for studying music history. Of course, it is crucial to research about the composer's era and its performing traditions, but I think it is also very important to keep in mind that for a performer, research is for the sake of performance. One should be careful not to cross the line when you are playing in a way just to be 'correct' or to make a point that you have done your homework. Though I very much respect performances of the 'authentic' or 'baroque' Bach interpreters, I have to be honest that I am more moved emotionally by performances or recordings that are more flexible or less 'correct' in accordance to modern day scholarship. Interpretations of Bach by those such as Edward Aldwell, Pablo Casals, Glenn Gould, Mtislav Rostapovich, and Andras Schiff, all of whom I think has/had (some of the above mentioned has already passed away) very deep understanding of Bach performance traditions, but are/were willing to occasionally step over the line and risk being scholastically 'incorrect', has touched me the most. Part of the reason why I think performing Bach is so controversial is that the music itself is very controversial. He belonged to a time when music was very diatonically contained, and yet at times, he was using composition techniques that are far more advanced/complex than anyone of his era, such as Vivaldi or Teleman. Take Variation 25 from the Goldberg Variations for instance. This variation is essentially in g minor, but by the second bar, Bach already modulated into f minor. Chromaticism and complexity in tonality like that did not exist until composers like Chopin or Wagner. In fact, during his time Bach's music was sometimes criticized for being too complicated, and that one cannot follow what key or meter the music is in; and also there are too many voices happening at the same time. I suspect that is why nowadays there are constant disputes about Bach interpretations. Inside the 17th/18th century shell of Bach's music, there are elements that belong more in the 19th century. As far as arranging Bach's music for the marimba, I dare not say something like, "I believe if the marimba existed in Bach's time, he would have written music for it.", or "If Bach was arranging his own music for the marimba, this is what he would have done..."; but I do believe it is justifiable to play Bach on modern instruments. If I were to break down music into five elements, they would be: Form, Rhythm, Counterpoint, Harmony, and Sound. Form, the general contour or structural blueprint of an entire piece. Rhythm, music in the horizontal sense time-wise. Counterpoint, music in the horizontal sense pitch-wise. Harmony, music in the vertical sense. Sound, meaning orchestration/instrumentation, dynamic, tempo, articulation, etc. Form is of utmost importance to all composers, but as for the other four elements, different composers stress on them differently. To me, Bach stresses on rhythm, counterpoint, and harmony, more than on sound. His music is compositionally perfect in a technical or mathematical sense. Though Bach definitely had thorough knowledge of orchestration/instrumentation technique, if one were to compare his music with the works of composers such as Stravinsky or Debussy, the element of tone/instrument color is not as important. Also, although markings of dynamics, articulations, tempi, etc., are minimal mostly because it is the common compositional practice of his time, I cannot help but think that Bach in a way did that intentionally to give performers more flexibility. In music that is so perfect formally, rhythmically, contrapuntally, and harmonically, I feel it will always be able to shine in different tone colors, dynamics, tempi, articulations, and phrasings. Also, let us not forget Bach himself arranged his own music for different instruments frequently. For example, his keyboard concertos (BWV 1052-1057) were originally violin concertos. His violin sonata in a minor, BWV 1003, and Adagio from his violin sonata in C major, BWV 1005, were later arranged for the keyboard by Bach himself. His lute suite in g minor, BWV 995, is a transcription of his cello suite in c minor, BWV 1011. There is also the Art of Fugue which he did not even specify what instrument(s) it is intended for. In a way, I think Bach's music does not belong on any real instruments. I feel it is so 'pure' that it goes beyond the reality and actuality of sound. Goldberg Variations is the fourth part to Bach's Klavierbung (Keyboard Practice). Although the validity is disputable, it is believed that this piece was commissioned by Count Herrmann Carl won Keyserlingk for his resident harpsichordist, Johann Gottlieb Goldberg, who was a student of Bach's. It was intended to lift the Count's spirits during his sleepless nights. It is said that Bach received a golden goblet filled with 100 louis d'or for this composition. This piece consists of an Aria and 30 variations with the Aria returning at the end of the piece. The variations are not melodic or motivic variations, but rather they are based on the bass line and/or the harmonic structure of the Aria, which in essence is a sarabande. The variations can be divided into groups of threes, consisting of one free movement (most likely a dance movement); a virtuosic toccata (with the exception of Variation 2); and a canon. (A canon is a composition technique in which one voice starts, and another enters later on top of it, imitating the first voice throughout the entire composition.) There are nine canons total in the Goldberg Variations, the first of which (Var. 3) is a canon in unison, second (Var. 6) is a canon in seconds, and so on, all the way up to the ninth canon (Var. 27) which is a canon in ninths. The last variation (Var. 30) would have been a canon in tenths if Bach had kept to his organizational scheme of the previous variations; but instead, he decided to change it into a quodlibet, contrapuntal hotchpotch of popular tunes during his time. In this last variation, Bach shows us his humorous side. An example of some of the original words of the two popular tunes he used are: Ich bin so lang bei dir micht g'weat, which translates to "It is so long since I have been at your house"; and Kraut und Ruben haben mich ver tricbenI, which translates to "Cabbage and turnips have driven me away. If my mother had cooked some meat, I might have stayed longer.". Playing the Goldberg Variations on the marimba is incredibly difficult. In arranging it for the marimba, I tried to do as little as possible. Most of what I did (except for Var. 28) was just taking some bass notes that are out of the marimba's range up an octave, and modifying/adding/eliminating some of the ornamentations. Some of the tempi that I took are a little slower than what is commonly heard on the piano or harpsichord, but I do not think that would diminish the beauty of this architecturally perfect monument by one of the greatest geniuses in western music history. Pius Cheung 2006 -------------------------------- Contact Me For Concert and Master Class Booking Pius C. Office Catherine Lam, Associate music@piuscheung.com Contact Pius Cheung directly Pius Cheung pius@piuscheung.com (215) 435-5887 Web Technical Webmaster webmaster@piuscheung.com </p> </body>