Canadian pianist Lucas Wong is earning a diversified career as a soloist, chamber musician, pedagogue, and vocal coach. He has performed in many prestigious venues across a dozen countries on four continents. Wong specializes in French music, collaborative piano, and songs of William Bolcom. His career highlights include multiple engagements at the Carnegie Hall, innovative recital programs like "Beyond 88" and the "Mostly Debussy" series, a complete performance of Des Knaben Wunderhorn at the Shanghai Conservatory, directorship of the complete Duparc melodies at Songfest in LA, and collaborations with American composers such as William Bolcom, Jake Heggie, Libby Larsen, and John Musto.
Lucas Wong has collaborated with world-renowned artists such as trombonist Joseph Alessi, violinist Soovin Kim, mezzo-soprano Susanne Mentzer, bassoonist Frank Morelli, clarinetist David Shifrin, and Erhu artist Fei Song. A versatile partner for both instrumentalists and vocalists, he is also a superb opera coach and assistant conductor. He has appeared on professional rosters of the New York City Opera, Opera America, and Metropolitan Opera National Council Auditions in Connecticut. He is the founding artistic director of Liederfest in Suzhou. As an educator and administrator, Lucas Wong was a founding faculty member at the Soochow University School of Music (China), where he served as piano professor and coordinator for chamber music, collaborative piano, and staff accompanists. He has been regularly invited to give masterclasses and adjudications in top institutions, festivals, and competitions.
François Couperin was a French composer. He is the most imporant and best known member of the Couperin family, which consisted of a whole dynasty of composers. Couperin was nicknamed 'Le Grand' (the Great), and is considered to be one of the most seminal composers of the Baroque period, especially in regard to his music for harpsichord. His keyboard music is characterised by a strong idiomatic nature, both in its personal style and in its close relation to the instrument's features.
Next to his harpsichord music, Couperin composed music for organ, vocal music, both sacred and secular, and chamber music. Moreover, he published several theoretical treatises on the playing techniques on the harpsichord and its role in the accompaniment of music.
The Frenchman Jean-Philippe Rameau was one of the most important music theorists in the history of Western music. He introduced the term of the"subdominant" and divided chord structures into triads (chords with three notes) and tetrads (chords with four notes), and laid the foundation for the modern study of harmonics. Yet, he was also a seminal composer, and his contribution to the development of opera should not be underestimated. In the first 40 years of his life, Rameau remained in obscurity as an organ player in the country side of France. In 1722, he moved to Paris, where he published his Traite de l'Harmonie (treatise on Harmony). Here, Rameau was recognised as a major music theorist and teacher, and soon he would achieve fame as a harpsichordist and composer. Yet, Rameau had even greater ambitions. He desired to become an opera composer. His first operas Hippolyte et Aricie, Castor et Pollux en zijn opera-ballet Les Indes Galantes became huge hits. The music was harmonically a lot complexer than the audience of the time was used to, yet it was also more dramatic. Rameau received financial support from the fabulously rich La Pouplinière and his ties with the royal court. Around 1750, Rameau was at the peak of his fame and his works were being performed throughout France. However, he slowly lost the support of the philosophers and artists of the Enlightenment and after his death in 1764 his operas went into oblivion. Only in the last couple of decades, his music was rediscovered and Rameau gained the attention he deserves.