She is obviously extremely talented, and able to combine delicacy of touch with a contrasting power which defies her slight stature. The first movement produced some excellent playing from both the OST and soloist, with the slow movement beginning with some excellent string tone, coupled with some good smooth playing from the piano. The finale was taken at a faster speed than normal, but, despite a few wayward tempo changes from Ms. Chung, the conductor and the orchestra accompanied well, and the audience was treated to a well-deserved encore.
Four young pianists came out to share their fantasies with an intimate audience on Tuesday night. And it was memorable. But perhaps not in that sort of way. A special treat was having more than one performer, which gave extra insight into the different style each artist brings to a performance. These eight pieces are sometimes brash, sometimes lyrical and always melodic.
But the melodies and musical motifs are buried inside clusters of notes which all too often get in the way of a performance. The Dallas resident rose to the challenge, delivering the most convincing interpretation of this work this reviewer has heard. Chung exudes grace and poise at the keyboard, directing all of her energy toward making the music speak clearly. Yu romanticised J. Here Louie could show off his prodigious technique to great effect. Had he added a bit of rubato for dramatic nuance — surely a good thing in Romantic music — the performance would have been fabulous.
Radio Two airs it at p. You may want to skip work that day. Unless you are keeping tabs on the track list, you would not immediately realise that this increase in complexity is achieved by two hands, not four! Lucille Chung and Alessio Bax have excellent websites, worth showiting for fuller background, and including a wide range of reviews. Gloriously experimental, this is music of a purity and intellect that has rather gone out of fashion.
Not only did Lucille Chung come to entertain the patrons with her impressive piano playing, but she also paused in between each piece to step up to the microphone and introduce her repertoire and her musical ideas to the audience. It was a very successful endeavour. This concert with commentary from the guest artist got off to a nice start with an appetizer from Beethoven. His Eight Variations on the Trio Tandlen und Scherzen is, frankly, not particularly familiar territory for most listeners.
Her singing tone was evident throughout as she rang out the melody beautifully. While her performance was not improshowational in nature, she did organize the music in convincing fashion.
Again, after a nice verbal introduction to the works, she proceeded to demonstrate a real sense of melody. Her take on Des Abends was a lesson in pedalling and the need to sing a melody extravagantly over a chordal accompaniment. But she did not lack for power and passion either: Aufschwung and In der Nacht were idiomatic and romantic, and the note-spinning difficulties of Traumeswirren were attacked with fleet abandon.
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Chung also proved herself to be a fine Scriabin player in her selection of nine preludes from the Opus 11 and Opus 16 sets. Geburtstags am Mai spielte. Eine aktuelle Reverenz. Und eine weitere an Sergej Prokofieff zum Die Klaviersonate Nr. En revanche, il est davantage servi par le disque. Un apport majeur de la discographie de ce romantique tardif.
Lucille Chung is at her best at the opening of the disc, the 24 Preludes, Op. Her singing legato tone and her winning simplicity are ideal vehicles for the poetic themes of preludes 2, 4, 5 and 7 or, indeed, the opening prelude of the five of Op. Nor does she lack the technique to convey the virtuosity of preludes such as Nos. Genuine simplicity succeeds in a prelude such as Op. Lucille Chung is Canadian, born in Montreal, and already has a reputation for playing contemporary music; she has an impressive list of recital and concerto appearances. It is certain her many talents will bring her future success.
The sound here is fine and open, if over-bright at times. Nevertheless, this is a recommendable CD, which is immaculately presented. International Record Review, April In turning her attention now to Scriabin, Chung brings the same qualities to music whose idiom, despite its comparative familiarity, is scarcely less elusive.
This is particularly true in the more wistful, more unapologetically Chopinesque numbers of Op. She is most impressive in the relentless drive of No. Chung is as alive to the grace and nostalgic charm of the music as she is to the demons that lie behind so many of these fleeting images. The wildly fluctuating imagination of Scriabin caught wonderfully by Chung.
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Now in her new Scriabin recital she takes us on a journey ranging from Opp 11 to 74 that is arguably not such a giant leap from Ligeti. At the opposite end of the spectrum , the 24 Preludes, Op 11, where a Chopinesque bias is already coloured by a distinctive voice, she is warmly attuned to brio and introspection alike. Outstanding in the wistful, in-turned character of No 10, or the way in which the entreating magic of No 11 dissolves into quietly rapturous dreams, she is no less successful in the fire-storm of No 14 or the thrumming insistence of No Chung has several distinguished rivals on record in this repertoire, but her performances are sufficiently fluent, characterful and consistent to make comparisons largely irrelevant.
She has been finely recorded and lavishly presented and further discs by this outstanding pianist are eagerly awaited. After admission to the Curtis Institute of Music when she was fourteen, this Montreal wunderkind began graduate work at Juilliard while still a teenager. She is now approaching the end of her second decade as a professional concert performer. Lucille Chung can more than hold her own in this company and her recital is an excellent programme in its own right.
In her hands, many of these pieces take on a rather less forbidding character than they can assume with some other players, and Chung responds readily to the particular style determined by each piece. In chronological terms, the Caprices and Invention are the earliest, though placed sensibly between the two lengthier works on this CD. More substantial is the second book of Etudes The set as a whole is well contrasted, with some quasi-impressionistic movements alternating with more intractable music, such as the rapid pulsation that is a feature of Etude 10 No.
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The set culminates in a violate finale with forceful and extreme dynamic indications. Her pedalling, too, is worthy of praise, for she never allows the sound to blur and, where appropriate, individual notes or lines are clearly brought out without any undue distraction or point-making. There is a neo-classical feel to many of these short pieces, which may surprise those who only know Ligeti through atmospheric orchestral sonorities or disquieting choral sounds. The first and third movement cadenzas were dazzling in the colouring and flawless elegance.
This was vivid, stylish, and convincingly lyric playing, and Chung gave an unstinting display of her masterly pianism. The spot-on balance between podium and soloist brought nuance and finesse to this very familiar piece. Aimard makes his points through steady rhythmic cumulation and has a superior instrument on hand.
This CD, performed by the Canadian Lucille Chung, draws on piano music written between and But nevertheless she plays with such great power and verve nobody would expect. Lucille Chung, born in Canada, conquered them with sensitive construction and phrasing. She is always thinking from the pianistic point of view: that is why her interpretations are congenial and always organic. This recording is mature and exemplary.
She conquers Ligeti with exceptional sensitivity and ease. And when it comes to smaller works , she demonstrates the congeniality with Bartok. Musica Ricercata is amazing in her interpretation and even a bit coquettish. This recording is First Rate and the engineers are as well.
The Gazette, Canada, January 24, They are instant classics. The Sunday Times, London, September 16, This disc shows her to be a considerable artist, admirable for her bold choice of music — Ligeti is not, for most pianists, at the heart of the repertoire — for her obvious enjoyment of the character of the music, and for her ease with the extreme technical difficulties posed by the second book of Etudes Gramophone Awards Issue, November Vom Zusammenspiel zwischen Hand und Taste.
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