Celebrating Rachel Cheung (Born 27 September 1991) From Prodigy to Poet

 by Georg Predota 

Rachel Cheung, born on 27 September 1991, in Hong Kong, is a classical pianist whose artistry blends poetic finesse with dramatic intensity. From a young age, her talent shone brightly, securing first prize at nine in the Hong Kong regional Steinway and Sons International Youth Piano Competition and a triumphant international debut at 11 in Ukraine at the Vladimir Horowitz Competition.

Rachel Cheung

By 13, her electrifying recital at the 2005 Miami International Piano Festival left audiences in awe, marking the rise of a prodigy destined for global stages. Cheung’s career secured prizes at the Llangollen International Musical Eisteddfod (2002), the Gina Bachauer International Junior Piano Competition (2004), and a historic fifth place at the 2009 Leeds International Pianoforte Competition.

Educated at Yale School of Music under Peter Frankl, she graduated with first-class honours and the Elizabeth Parisot Prize. A 2017 Van Cliburn finalist and Audience Award winner, Cheung’s performances are rich in emotional depth. To celebrate her birthday on 27 September, let’s sample some of her most iconic performances and recordings.   

Reflections

In 2023, Rachel Cheung unveiled her debut international album, “Reflections,” under the Decca Classics label. This deeply personal collection, featuring works by Chopin, Beethoven, and Ravel, is a beautiful testament to her poetic sensitivity and dramatic flair.

Described by Cheung as a “collection of reflections” from her lifelong repertoire, the album weaves together works that resonate with her introspective artistry, capturing moments of vulnerability and brilliance. Gramophone noted her ability to “breathe new life into familiar works” through nuanced phrasing and a commanding yet intimate touch.

At the heart of “Reflections” lies Ravel’s Miroirs, a five-movement suite that Cheung transforms into a kaleidoscope of colour and emotion. Cheung’s interpretation is both meticulous and evocative, balancing Ravel’s delicate textures with bold, virtuosic flourishes.

The Dallas Morning News described her Ravel as “a mesmerising interplay of light and shadow.”

A Romance with Chopin

For Rachel Cheung, the music of Frédéric Chopin is a cornerstone of her repertoire, as she balances poetic lyricism with fiery virtuosity. In her performances, she reveals a profound connection to the composer’s introspective and turbulent world.

Cheung approaches each prelude as a miniature universe, with Gramophone praising her “singing tone and narrative clarity.” Particularly in her live performances, Cheung electrifies audiences with her elegance and passion.

Embodying Chopin’s blend of Romantic fervour and structural precision, Cheung evokes a delicate melancholy that critics have called “heartbreakingly vivid.” Although she radiates spontaneity, with her phrases breathing as if improvised, her performances are very much grounded in meticulous craftsmanship.  

Dancing with the Devil

In her performance of Liszt’s Mephisto Waltz No. 1, Rachel Cheung showcases her virtuosic command and electrifying stage presence. She certainly captures the diabolical allure and frenzied energy of the composer’s devilish masterpiece.

Known for her ability to balance technical brilliance with narrative depth, Cheung infuses this fiendishly demanding work with a thrilling blend of demonic exuberance and seductive lyricism.

Critics have marvelled at her “dazzling dexterity and fiery intensity,” noting her ability to “conjure the waltz’s wild, otherworldly spirit” as if channelling Liszt’s own audacious flair. Cheung’s rendition transforms the piece into a vivid musical narrative, evoking the infernal dance with both precision and reckless abandon.   

Transcendent Talent

Let’s conclude our birthday tribute with a trip down memory lane. At the age of 15, Rachel Cheung boldly stepped into the orchestral arena with heroic poise and unbridled passion in a performance of Beethoven’s Piano Concerto No. 3.

Supported by the Hong Kong Philharmonic Orchestra under Edo de Waart, Cheung navigated the turbulent drama and lyrical expanses of the music with a maturity far beyond her years.

This collaboration highlighted Cheung’s innate musicality and technical assurance, forging a dynamic partnership that elevated the work’s classical rigour into a deeply personal narrative.

Critics and audiences alike were struck by her “commanding presence and emotional depth,” as she channelled Beethoven’s revolutionary spirit into a vivid sonic odyssey. Today, Rachel Cheung continues to captivate global audiences with her transcendent artistry, blending virtuosic brilliance and emotional depth while nurturing the next generation through her Rachel Cheung Music Academy.

Violin Concerto of Renewed Passion Pyotr Ilyich Tchaikovsky and Yosif Kotek II

by Georg Predota

  

Story Behind Tchaikovsky’s Violin Concerto in D major Op.35

Tchaikovsky © torrentsland.com

Following his separation from his wife Antonina Miliukova, Pyotr Ilyich Tchaikovsky (1840-1893) hastily fled to the town of Clarens. This small and peaceful Swiss resort village on the shores of Lake Geneva not only allowed him to mentally recover from a feeble attempt at suicide, it also saw the reunion with his former student and lover, the violinist Yosif Kotek, who also gave inspirations and advice to Tchaikovsky’s famous violin concerto. Barely a year had past since the lovers had unceremoniously separated, however, their passion had recently been rekindled.

Travelling with his brother Modest, Tchaikovsky met Kotek in Vienna in November 1877, and the merry threesome happily undertook some scenic travels throughout Europe. Still in the midst of a personal identity crisis that reflected the dialectical irony of homosexuality itself—how to reconcile the need for passive submission towards his male friends that was simultaneously contradicted by competitive aggression towards them—Tchaikovsky eventually summoned Kotek from Berlin to join him in Switzerland. Amongst a good deal of comforting, music making and other pleasantries, their renewed association quickly gave Tchaikovsky the idea of composing a violin concerto.

Violin score of Tchaikovsky’s Violin Concerto © violinsheetmusic.org

Yosif Kotek, ever so willing, provided his technical expertise and hands-on experience and within a month, the concerto was finished. Writing to his brother Anatoly, the composer rejoiced, “how lovingly [Kotek] busies himself with my concerto! It goes without saying that I would have been able to do nothing without him. He plays it marvellously!” Initially, Tchaikovsky wanted to dedicate the new violin composition to Kotek but feared that it would somehow draw attention to the true nature of his relationship with the violinist. By eventually dedicating the work to Leopold Auer—surely also a gesture of passive aggression towards his philandering lover—Tchaikovsky caused a permanent rift in the relationship.

Kotek hastily departed, and Tchaikovsky continued to complain about Kotek’s “unbelievable womanizing”. Kotek never forgave Tchaikovsky for changing the dedication, and when the composer approached him with a peace offering—formally asking him to publicly perform their concerto—he flatly refused. Although they would occasionally meet, love had clearly turned into contempt, and they found each other’s company “more unpleasant than pleasant,” and more “tiresome than attractive”. As it happens, contempt turned into pity when Kotek contracted tuberculosis and was sent to Switzerland for treatment. Tchaikovsky rushed to the bedside of his estranged and ailing lover, and dispensed various spiritual and physical comforts for six days. Kotek died, aged 29, and Tchaikovsky was charged with informing Kotek’s parents of their son’s untimely passing.