Here is the link to the electronic copy of the magazine: http://enroute.aircanada.com/en/articles/portraits-of-the-artists-as-young-musicians

This is a side trip of Pius’ Denmark Tour.

Program:
Pius Cheung, Solo Marimba Recital – (details tba)
Date:
May 4-5, 2010
Place: 
Tokyo, Japan

by James Manheim, All Music Guide

Excerpt of Etude in d minor, c# minor and D Major

Etude in c minor

Etude in Eb Major

Etude in E Major

“Symphonic Poem” audio CD will be available for sale in November 2009 Pius Cheung Online Music Store, Steve Weiss Music and Amazon; and for download version, in CDBaby and iTunes.

Click here for a preview of this new CD and sound track samplers.

The Goldberg Variations CD has recently received critical acclaims in The New York Times; and in earlier years, Audiophile Audition and Percussive Notes – PAS Magazine.

To catch the backlog of orders, a re-run of the Goldberg Variations CD is rushed and will be available for sale again in early November 2009 in Pius Cheung Online Music Store and other selective dealers.

Click here for more details about the Goldberg Variations CD and to play sound track samplers.

The performance will focus primarily on etudes for solo marimba. These etudes are part of my project to compose a cycle of 24 of such works, one in each chromatic key. Despite the title of “etude,” these pieces are not mere technical exercises; each of them is a short musical moment of its own.

I will give a brief presentation regarding my general approach towards music technically and artistically, how I approach composing for the marimba, the benefits of making adaptations, transcriptions and arrangements for the marimba, and how it has affected me compositionally and as a performer. I will also discuss the reasons why I play sitting down and, if time permits, open the floor for questions.

Since time is limited at PASIC presentations, I will only be touching briefly on technical issues towards marimba playing. Therefore, I will provide a more detailed explanation here.

No matter how complex and/or difficult a piece is, all we are doing physically is a combination of different kinds of strokes. I have always believed in a three-step approach towards every note:

1. Think of the sound you want to produce;
2. Make it happen with your hands;
3. Listen and check if the sound you are producing matches what you imagined.

Conceptually, this seems very simple, but in the frenzy of playing coupled with stage fright, one can easily forget steps 1 and 3.

Aside from these steps, there is also a systematic approach towards different kinds of strokes and ways we can draw different tone colors out of the marimba. My approach is largely based on what I learned about timpani playing during my studies with Don Liuzzi, Principal Timpanist of the Philadelphia Orchestra. My other past teachers, Michael Udow and Nancy Zeltsman, also helped me clarify various applications of these concepts in playing and in teaching.

First, we have three stroke types: up, down and full. Second, we have five basic levels of stroke speeds: military, assertive, normal, relaxed, and slow-motion. Military is the most aggressive and quickest; slow-motion is the most relaxed and slowest, similar to a Tai-chi approach.

In my experience, the slow-motion stroke is most useful for developing a physical feel for the connection between notes and horizontal motions on the instrument. Third, we have five basic levels of stroke weight, utilizing the control and natural weight of different body parts: fingers, wrist, forearm, whole arm, and body. We use fingers for easy control over the most delicate passages, and when the music calls for it, we can throw our body-weight onto the instrument for those special peasante moments.

A simple exercise would be to practice scales with combinations of these three
stroke aspects. It is important to constantly listen to what kind of sounds and tones
each stroke combination produces in order for us to physically and mentally absorb these different strokes into our instincts and utilize them when the music calls for it. In addition, we can also draw out different tone colors by playing on different parts of the bar. The key is to have the least possible amount of tension in your body, especially in your hands, arms, and shoulders. And keep your mallets as low as possible, or as high as musically necessary. Speed is almost an addiction for a lot of people, but it is important to remember that technique is only for the purpose of serving the music. One only needs to play as fast or as slow as the music calls for. To develop fast hands, one simply needs to listen, be aware of the sounds and tones one is producing (and how they are being produced), stay relaxed, and be aware of mallet heights and unnecessary motions that have no affect on sound.

Pius Cheung

An article written by Pius Cheung
appearing on Percussive Notes, August/September 2009 Issue

“Bach as you’ve never heard it … [Mr. Cheung] surmounts the contrapuntal hurdles and offers a stylish, deeply expressive interpretation [of the Goldberg Variations] notable for its clear voicing, eloquent phrasing and wide range of color and dynamics …”

The New York Times  [related link]

“Tuneful, neo-Romantic yet technically difficult, these pieces not only showcased Mr. Cheung’s mastery of his instrument but also demonstrated his considerable skill and promise as a composer in his own right – one who writes the kind of music people will want to hear.”

The Washington Times [related link]

Chinese-Canadian marimbist Pius Cheung attracted a hefty crowd of music lovers in spite of what must have been the coldest evening this winter.  Mr. Cheung became a winner of the 48th Young Concert Artists International Auditions in 2008, realizing his childhood dream, as he told the audience in the concert’s conclusion.

The program opened with Variations on Japanese Children’s Songs by Keiko Abe.  The Variations were a wonderful juxtaposition of delicate and violent sonorities.  I was immediately struck by the artist’s wide expressive range and strong command of rhythmic tension.  Although marimba sound appears difficult to fill a six-hundred seat auditorium, the artist managed to paint a picture of grandeur by carefully planning all agogic moves.

Written for and dedicated to Pius Cheung. “Blowing Westward” by Zhou Tian (b. 1981) is a mesmerizing piece based on an impression of a world described by Chinese writer SuTong.  The artist seemed to own the piece technically and emotionally as well, virtually hypnotizing the audience with his reading.

The selections from J. S. Bach’s Goldberg Variations, BWV 988 were conceivably the biggest challenge for the performer, both for their familiarity and the tremendous technical issues in the marimba arrangement; imagine playing the Variations on a gigantic keyboard, using only two fingers in each hand!  Mr. Cheung’s performance of his own arrangement was expressive, sensitive, and unpretentious, and left the listeners with a feeling of comfort.  The artist created perfect legato by carefully matching the reverberation and decay from one note to the next.  The fast-decaying and delicate sound was reminiscent of the clavichord, an instrument which J. S. Bach valued above all keyboard instruments for its expressive capabilities.  In some variations, Mr. Cheung decided to forego some of the original voice crossings.  Because of the technical hoops, the artist had to choreograph his body movements in a way that best accommodated the passagework, which at times made him look like a modern dancer of sorts.  This very successful rendition was another proof that Bach’s music can sound glorious on any instrument.

Mr. Cheung presented his own Three Etudes, a cycle which won him first prize in the Classical Marimba Leaque’s 2007 Compositions Competition.  The influence of Rachmaninov was clear, chiefly in Cheung’s way of utilizing harmonic gestures, rhythmic patterns, as well as textural effects.  The gusting passagework, sequences, and climatic explosions in Etude No. 1 in D minor were reminiscent of Moment musical in E minor.  In Etude No. 3 in D major, evoking the ‘possessed’ waltz from the third movement of Rachmaninov’sPiano Sonata in B-flat minor, I felt that the instrument by it’s nature seemed to lack the dynamic range to convey the tremendous tension and grand musical gestures of this particular style.  Although not very innovative in terms of musical language, the Etudes were engaging and communicated with authority.  The piece caused a roar of applause and will certainly constitute a precious addition to the standard marimba repertoire.

Mr. Cheung’s marimba arrangement of Schoenberg’s Sechs Kleine Klaverstucke, Op. 19 provided an appealing contrast to the comforting warmth of Cheung’s Etudes.  In these short pieces, the artist demonstrated remarkable understanding of Schoenberg;s free atonal style.  “Merlin” by Andrew Thomas (b. 1939) concluded the program.  Through a wide array of articulations and sonorities, Mr. Cheung presented a highly dramatic reading, giving due attention to each sonority and phrase.  By making the most of the extreme dynamics, as well as emotion-filled silences, the artist gave special meaning to the words of the poem (“out of Time…out of tune with Time…”).

Overall, Mr. Cheung conveyed the joy of music-making and true passion for the instrument, proving his ability to communicate through a wide variety of repertoire and styles.  “Somewhere over the Rainbow” from “The Wizard of Oz” was a welcome encore, bringing this very pleasant musical soiree to a close.

Magdalena Baczewska, New York Concert Review

Aside from the yarn on his mallets, marimbist Pius Cheung strives for a “no strings attached” performance that entices the ears of his audience. Tonight at Ramsey Concert Hall, Cheung will perform a repertoire of classical and contemporary marimba arrangements that all possess a historical significance. “Even though Pius is considered a classical musician, people will be surprised by the broad spectrum of music he can play. His program is very eclectic,” said Bobby Tyler, marketing and media relations director of the Office of Performing Arts. 

RedandBlack.com [related link]