“…the crowd at Miller heard a rare glimpse of the early, idea-stuffed Boulez as his first piece, Notations for Piano (1945), found an inspired interpreter in the young pianist Anthony Cheung. Boulez has characteristically been engaged (for decades) with the task of going back and rewriting all these pieces for orchestra, but Cheung's expressive playing—hinting at the fluidity of Debussy at one moment, and in the next dishing out a heart-stopping ritardando with the repeating, ominous bass notes in "Lointain—Calme"—amounted to a plea for just leaving these under-heard classics alone.”