Van Cliburn International Award winner
Rachel Cheung has been cheered by audiences in St. Petersburg, Russia; at the Chopin Festival in Duszniki, Poland; and in such other global centers of music as Kiev, Heidelberg, Geneva, Rouen, Paris, London, Hong Kong, Sydney, Jerusalem, Toronto, Fort Worth, and New York.
Critics are as enraptured with her playing as the public. As Culture Spot LA says, “Cheung is the complete package: skill, technique, artistry.”
Princeton audiences are in for a wonderful evening of music, played by a truly remarkable musician.
“A poet, but also a dramatist . . . the most sophisticated and compelling music-making.” – The Dallas Morning News
General Admission $50 - $60
Students $15 (use STUTIX promo code when ordering)
Free "Meet the Artist" Reception follows the performance
AN EMOTIONAL JOURNEY
Rachel Cheung’s program for her Princeton debut takes the listener through a kaleidoscope of moods. You will experience melancholy, bright joy, profound reflection, sheer sensuous pleasure, and so many more emotions as she moves through a selection of French keyboard music from the 18th through the 20th centuries, then closes the evening with a single towering masterpiece from the German romantic period.
The concert opens with the quicksilver turns of Pièces de Clavecin by Rameau, a French Baroque master of harmony who was also a genius of expressive melody. Cheung then plays a selection of Chopin’s Preludes. Influenced by Bach’s Well-Tempered Clavier, these works mark him as a musical innovator and a Romantic poet.
If Chopin was influenced by Back, Gabriel Fauré’s passionate Nocturne #6 pays homage to Chopin. It is followed by Fauré’s Impromptu #2, which has a lively tarantella rhythm and is more lightly textured.
Cheung then turns to Toccata from Le Tombeau de Couperin, another homage to a French Baroque composer. Tombeau can mean tomb or memorial, and this selection was written in memory of a friend killed in World War I, yet it is surprisingly light-hearted and up-tempo. When asked why it wasn’t sad, Ravel answered, “the dead are sad enough.”
The final piece, Schubert’s great B-flat major sonata, is a long, deep emotional journey featuring a mesmerizing flow of gorgeous melody and the cyclic return of themes. You emerge from it as if from a dream.
Critics hail Rachel Cheung as a sensitive artist and a virtuoso. Hear both sides in her extraordinary performance of Liszt’s famous Mephisto Waltz No. 1.