DRAFT: This module has unpublished changes.

T h e   A g e   { A u s t r a l i a }

Melbourne Symphony Orchestra, Sidney Myer Music Bowl

Fung has a sterling technique and displayed full control of [Rachmaninov Paganini Rhapsody’s] abrupt shifts from silky romanticism to percussive bursts of energy, remarkable for a young artist handling this taxing score that gives no shelter for the occasional awkwardness or indecisiveness.

The pianist's welding of dynamic attack with expertly considered emotional reactiveness made this the outstanding performance of the series. Clive O'Connell

 

T h e   A m e r i c a n   R e c o r d   G u i d e

Evening Conversations, Yarlung Records

My reviewing process has produced an overall favorite, and that is David Fung. Consistently good from start to finish, his playing impressed me for its phrasing and musicality. His disc also had the best new discovery (to me) in the Tan Dun Eight Memories in Watercolor, Op. 1.  This 15-minute set of pieces is clearly influenced by Debussy and Ravel, but shows surprising originality nonetheless. Whereas the French may have written to evoke oriental music, I find the reverse true with these pieces.  They stem from oriental roots, but evoke the impressionism we associate with French music at the beginning of the 20th Century. His five Rachmaninoff Preludes are a well-chosen consecutive group (Op. 32:8-12) centered by 10, the big B minor, probably the best of the 24 (it was said to be the composer's favorite).  Add in Chopin's beautiful C-sharp minor Nocturne and Schumann's Arabesque and Kinderszenen, and it is clear that Fung's heart and soul belong in the romantic era.  The variety of his touch and articulation is well displayed in this music.  Both the opening Mozart and closing Scarlatti have romantic overtones, and I like that.  I shall return to this recording many, many times and will watch for future releases from this talented artist. James Harrington 

 

T h e   C i t i z e n   { S o u t h   A f r i c a }

University of South Africa
Fung’s performance [of La Valse] was so electrifying that one did not miss the orchestral coloring of the origin
al. Michael Traub
 
C r e s c e n d o   M a g a z i n e
National Orchestra of Belgium, Palais des Beaux-Arts
Brahms’ Concerto in B-flat Major Op. 83 is overtly demanding, dense and particularly challenging because of its length. In the first movement, Fung demonstrated his ability to rival the orchestra in terms of sound and sonority. His sound was round and full, but never excessive. He featured a wide range of colors and played all the technically difficult passages with ease. In the second movement, Fung had a simplicity in expression, free of pathos that is inconsistent with the movement. He followed the orchestra, listening to the offerings from its members, without conflicting with the overall orchestral mass. The third movement was simply divine, aided by an inspired and measured cellist. Fung enticed us into a world of delicacy and finesse. The last movement was cheerful, playful and very energetic. Fung never stopped being "inside" the concerto for one minute: not a single moment of hesitation. Neither his smile or his concentration eluded him for a moment. François Mardirossian

T h e   E d i n b u r g h   G u i d e
Edinburgh International Festival, Queen’s Hall
David Fung is prodigiously talented.  As a pianist he is clearly drawn to the extrovert and fantastic in the virtuoso repertoire, which he plays without apparent difficulty, and from memory of course; according to the programme notes he originally studied medicine; he also plays violin and viola to concert standard - yet he is still in his early twenties.  He probably does ten more impossible things daily before breakfast.
Each of the twenty [Rachmaninov Corelli] variations was strongly characterized and the way in which they often link was neatly accomplished.  David Fung particularly brought out Rachmaninov's chromatic tricks, which give a modernist feel to his later works.  He demonstrated the variety of texture and mood that Rachmaninov could conjure, ranging from exquisite to violent.
Ravel's original solo-piano version of La Valse (which David Fung described as 'a fun piece' though acknowledging its darker aspect) was even more impossibly virtuosic.  After an opening which he made sound orchestrally colourful, we were treated to a whirlwind of glissandi, great clusters of chords, and - as he had warned us - 'bombs going off'.
David Fung made [Liszt’s B-minor Sonata] spell-binding, from the hushed opening, through splendid double-octave passages, the singing tone and graceful decoration of Andante sections, the drama of the long Development, and the crystal-clear fingering of the fugal scherzo - to a perfectly paced conclusion which quietly recalls the opening.  In all this he subordinated his great technical skills to give prominence to the work's overall shape.
He then quickly and nonchalantly gave two encores to a wildly enthusiastic aud
ience. Jonas Green


P e t e r   F r a n k l ,   C o n c e r t   P i a n i s t
It is in my opinion that David Fung is one of the most outstanding artists of his generation, whom I have had the chance to get to know and hear. He is a virtuoso of the highest order and has an extraordinary musical understanding, which is a rare combination in any musician.

L e   L i b r e   { B e l g i u m }
Royal Chamber Orchestra, Flagey
Australian David Fung, arrived on stage like a star, relaxed and laughing with the conductor, acknowledging the musicians of the orchestra before his performance of the Concerto No. 21 in C major [by Mozart]. While his playing was hyper-articulated and hypertonic, he produced clear and beautiful sounds without harshness. In the Allegro, Fung was committed, risk-taking and brilliant, featuring an original cadenza in the style of Beethoven. The Andante was lyrical and expressive, and for once, without an excessive ounce of sentimentality. Carrying out an intense dialogue with the orchestra, the finale was feverish, and once again marked by audacity, some insolence (in the cadenza) and harmless excitement. Martine D. Mergeay

T h e   L o s   A n g e l e s   T i m e s
Los Angeles Chamber Orchestra, Royce Hall
Fung, on the other hand, was startlingly good...  There are few young pianists that have the unassuming charisma, charm and natural talent of Fung, and he will certainly be welcomed back by his audience in Los Ange
les. Chris Pasles
 
M a a r i v   { I s r a e l } 
Israel Philharmonic Orchestra, Mann Auditorium
Fung is a special breed of storyteller who keeps the public spellbound from the first note to the last.  His ability to summon extraordinary colors and nuances from the piano reveals his status as a remarkable artist. David Fung was sensationa
l. Ora Binur
 
T h e   N e w   Y o r k   T i m e s
Weill Hall, Carnegie Hall
Many Prokofiev scores try to contain modernist, sometimes barbaric impulses within New-Classical forms, in a harmonic language that for all its dissonance is essentially tonal... [That tension] came through in the Sonata No. 5, which Prokofiev called the “most chromatic of all his compositions” and which was here given an articulate and stylish performance by David Fun
g. Anthony Tommasini

T h e   S c o t s m a n   { S c o t l a n d }
Edinburgh International Festival, Queen’s Hall
"This is one of my favourite pieces. As I play I imagine slowly changing patterns on a kaleidoscope entangling with the melody."  A relaxed David Fung began a stunning performance by thanking us for coming, then introducing Schumann's Arabeske Op 18, his joyously limpid playing conjuring up skittering dragonflies over a loch.
The diverse emotions inside the intense structure of Rachmaninov's Variations on a Theme of Corelli were revealed with the technique of a glass blower, pushing deep and out without breaking limits.  
In Fung's hands the deep subversive textures of Ravel's La Valse became a dance of death, the music continually teetering to contain the piece's spiralling frantic moods.
Having set us up to visualise the first three pieces with his own images, Fung left Liszt's Sonata in B Minor as music alone.  As his fingers sculpted this dark masterpiece, full of musical paradoxes, playing the piano like a potter deftly shaping clay on a wheel, you were inside a startling world of pure so
und. Jan Fairley
 

T a m á s   V á s á r y ,   C o n c e r t   P i a n i s t
It is clear to me that David Fung is a most accomplished artist who is among the world’s foremost pianists. His technique is superb, his musicality is exemplary, he has a great imagination, spiritual power, plus charisma, which enables him to captivate his public.

Y e d i o t h   A h r o n o t   { I s r a e l } 

Tel Aviv Museum of Art
[Fung] delivered Beethoven’s Bagatelles as if telling an exquisite story, demonstrating supreme maturity and a rare talent for music of the classical style. Hanoh Ron

DRAFT: This module has unpublished changes.