Reviews and Quotes

Solo Recitals and Concerto Performance


“Cheng delivered an alternately tender and vigorous interpretations, driven by the varied moods of the piece [Bach/Brahms Chaconne for Piano Left Hand]. The audience, in awe over her presentation of the difficult work, twice rose to its feet after her finish.”

--Patrick B. McGuigan, Executive Editor, City Sentinel (June 2012, OKC)

“One key to this work’s [Beethoven’s Triple Concerto] success is the soloists’ ability to hand the melodic themes back and forth, something Lee, Ruck and Cheng handled with remarkable finesse. Each displayed fine musicianship in solo and group passages.”

-- Rick Rogers, The Daily Oklahoman (September 2008)

“For a 10 minutes piece [Hummel’s Variations on a Theme from Armide by Gluck in F major, op. 57], it contains enough twists and turns…with Cheng making the most of the comfortably shifting textures and tones, using her keyboard as an expansive elaborate palette.”

“Beethoven’s triumphant ending to the sonata [op. 109] was perfectly illustrated by Cheng’s cascading fingers.”

“Cheng made Brahms’ [op. 5] attempt at crafting a definitive statement more plausible, and received the expected, but well-earned, standing ovation.”

-- Tory Troutman, Oklahoma Gazette (February 2006)

“Debussy, a trio of Impressionistic pieces…soft, colorful washes and waves of sound that Cheng brought forth…with a remarkably liquid attack.”

“Cheng played this work [Prokofiev] with great and startling power. The sledgehammer-like chords, the frenetic passage work, all were delivered with a kind of fierce energy. Yet, Cheng never resorted to histrionics. Each emotional shift was presented clearly and distinctly, nothing exaggerated into grotesqueries.”

-- James D. Watts Jr., Tulsa World (June 2004)

“AMY CHENG keeps her listeners at the edge of their seats from the first note until the last.”

“She is a brilliant, sensitive, imaginative and most beguiling pianist.”

-- Claude Frank, renowned concert pianist

“She obviously has a natural talent for the piano; her control of the keyboard is complete, her technique easy and relaxed, with a wide range of touch, color and dynamics.”

-- Edith Eisler, New York Concert Review (Summer 1999)


Chamber Music Recitals

“Clarinetist Chad Burrow and the pianist Amy I-Lin Cheng offered a bright, genial account…”

-- Steve Smith, New York Times (September 29, 2009)

“…an intimate piece, one that only a duo [Duo Clarion] with exceptional teamwork can pull off.”

-- Edward Knight, renowned composer

“If there is a trio that knows the Bartok any better than the Trio Solari, I haven't heard them!  They know this work so intimately that they speak with one multi-colored voice rather than as three individuals.  But - as individuals each is a master of his/her own instrument.”  

-- Michael Webster, Rice University, renowned clarinetist, pedagogue

“Chamber music is perhaps the most intimate of musical forms…it requires a unique quality of interaction among its players, something which usually can be developed only through years of collaboration. So the most striking news about Sunday afternoon’s concert was how easily and completely Cheng made herself a part of this ensemble in the two works she performed with the members of the American Chamber Players.”

-- James D. Watts Jr., Tulsa World (January 18, 2005)

“Mr. Lu’s partner for the rest of the program was Amy I-Lin Cheng, another excellent pianist…the performance [Debussy Cello Sonata] was wonderfully imaginative and impressionistic and captured the work’s quirky rhythms and parodistic humor perfectly…both players dispatched Astor Piazzolla’s Le grand Tango with great virtuosity and idiomatic flair.”

-- Edith Eisler, New York Concert Review (Winter 1999)

“This is precisely what the Goffriller performance manifested, with the three players wonderfully unanimous in their talents and their musical understanding (and especially broad tone and dynamic drive in the piano part, by Amy I-Lin Cheng).”
-- Jonathan Saville, San Diego Reader (August 1999)

“The [Goffriller] Trio showed a marvelous balance and ensemble sensibility as they negotiated the musical conversation with great Subtlety and elegance.”

-- Lukas Schulze, The San Diego Union-Tribune (August 1999)