composed by Astor Piazzolla, arranged for piano four hands by Li Cheong in 2002

performed by Alfred Wong, Li Cheong, piano four hands

Revolucionario is a tango written by the Argentinean composer Piazzolla, Originally written for violin, guitar, bandoneon, piano and electric bass, it is transcribed for piano four hands in this version. In this piece, we can hear an amazing mixture of the passionate Latin American rhythm and the contrapuntal texture of Bach. This transcription is highly loyal to the original music, except with a few solo passages abridged. It is performed by Alfred Wong and Li Cheong in the Transcription Night I at the Chinese University of Hong Kong (CUHK) on 9 March 2005 and later in the Transcription Night II at Shatin Town Hall on 31 Dec 2005.

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Suite for Piano Four Hands

written in 1999-2003
I. Allegro – Meno mosso – Allegro con moto
II. Andante – Poco con moto
III. Allegro – Andante – Tempo primo

Third movement premiered by Alfred WONG (piano primo), LI Cheong (piano secondo)
Macau APA, May 2001

Whole suite premiered by CHU Hang Chun (piano primo) and LI Cheong (piano secundo)
on 18 Feb 2003
Lee Hysan Concert Hall, CUHK
Composition Concert 2003

Score (PDF): All movements

Recording (MP3): 1st movement, 2nd movement, 3rd movement

(Program Notes by Alfred WONG)

The writing of this piano suite spanned through various stages of composer’s adolescence, yet the suite was in a coherent style. It also displays the composer’s creative mind of writing music.

The first movement was written around secondary six and seven. The modal writing and the characterized augmented fourth oscillations suggest an image of music from Middle East. After the free elaboration of the theme in meno mosso, the music suddenly drives to an exciting ending.

In the second movement, the music begins with a Gregorian-chant like melody followed by a long polyphonic section. It came in composer’s mind for long when he studied medieval music history in first year of music study, though it is not realized on paper until now. The theme is derived from the 3rd movement, in which the theme is also modal. There is no meter in general, and some dotted barlines are used to indicate entrance points. Later the music comes to a 6/8-time. Composer said that perhaps he wants to imitate the style of medieval music, both sacred and secular. The Gregorian chant reappears at the end and leads to the third movement.

The final movement was written in year one around 1999 to 2000. It is highly rhythmic with frequent meter changes, perhaps influenced by Bela Bartok. It was premiered in School of Music, Macau Conservatory in summer of 2001 by Alfred Wong and Li Cheong at the piano. The middle section of this movement of the current version the has been revised.



第二樂章以歐洲中世紀的葛利果聖歌風格的旋律開始,緊接著多線條的段落。作曲者在一年級修讀中世紀音樂史時已萌生創作此曲的念頭,但到了今年才把它譜寫出來。主題是從第三樂章演變出來的,也是以調式作為探索的方向。樂曲沒有固定的拍子,在樂譜上亦只以虛線提示樂句的進入。在樂曲中段卻有一段6/8 拍子的段落,也許作曲者想把中世紀宗教樂和世俗音樂的風格都混在一起。樂曲回到開首的葛利果聖歌作為終結,將音樂引領到第三樂章。


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