“An almost nonstop whirlwind of effervescent power.”
— Blogcritics

“He showed that he had Chopin in his bones.”
— Blogcritics

“Chengcheng Ma knows to hold back from extremes, playing with plenty of velocity but maintaining clarity.”
— Blogcritics

“Chengcheng Ma has the expressive depth to match the sheer physical prowess his repertoire demands.”
— Blogcritics

“The brilliance and sparkle of Ma’s rendition of this impressive new work.”
— Blogcritics

“A near-superhuman exercise in musical athleticism.”
— Blogcritics

“Across a marathon program of Chopin, Liszt, and challenging contemporary works, Ma combined stamina, expressive depth, and technical clarity, leaving an impression of a pianist as a true force of nature.”
— Blogcritics

“Performing the entire opus, Ma sought and often found the distinct expressive character of each etude.”
— New York Classical Review

“Pianist Ma’s crisp touch throughout the work evoked the harpsichord.”
— New York Classical Review

“A sensitive rubato and long lines distinguished the two etudes in slow tempos.”
— New York Classical Review

“Driving fiercely ahead throughout, Ma negotiated the shifting patterns and syncopations with aplomb.”
— New York Classical Review

“Ma sank into Liszt’s full-bodied forte and fortissimo with relish.”
— New York Classical Review

“Pianist Chengcheng Ma is superlative.”
— Colin Clarke, Fanfare Magazine

“Performs in exemplary fashion, with a lovely, exquisitely blended sonority.”
— Ken Meltzer, Fanfare Magazine

“Shapes, bends, and phrases the music impeccably... beautiful and moving.”
— Mark Gabrish Conlan, Fanfare Magazine

“Chengcheng Ma... I’d worked with him on a number of projects, and it seemed a good idea to get him to do the piano parts.”
— Composer Rodney Lister

“Ma’s excellent playing stressed the combative contrast... Ma’s performance was greeted with strong applause.”
— John Frayne, The News-Gazette (Champaign, IL)

“Ma captured the relaxed good humor of Mozart’s Concerto No. 17 in G major.”
— John Frayne, The News-Gazette (Champaign, IL)

“Spiritual depth and extraordinary tonal beauty — a solid and insightful pianist.”

— Anyrews.cn, Sept 2025

Pianist Chengcheng Ma, a student of world-renowned pianist Boaz Sharon, has appeared extensively as a concerto soloist, orchestral pianist, and collaborative artist. He has performed concerto engagements with several symphony orchestras, including Sinfonia da Camera (2022 and 2023, Maestro Ian Hobson), Brookline Symphony Orchestra(2021, Maestro Andrew Altenbach), Boston University Symphony Orchestra (2020, Maestro James Burton), and Hebei Province Symphony Orchestra (2014, Maestro Peng Tuo), among others. His concerto repertoire includes Beethoven’s Piano Concerto No. 4 in G major, Op. 58 and Piano Concerto No. 5 in E-flat major, Op. 73 (“Emperor”); Mozart’s Piano Concerto in G major, K. 453; Tchaikovsky’s Piano Concerto No. 1, Op. 23; Ravel’s Concerto for the Left Hand; Brahms’s Piano Concerto No. 2 in B-flat major, Op. 83; and John Corigliano’s Piano Concerto.

In addition to his work as a concerto soloist, Ma has been active as an orchestral pianist and celeste player. His orchestral engagements include performances with the Boston University Symphony Orchestra (2021, Maestro James Burton), the Longwood Symphony Orchestra (2025–2026, Maestro Jotaro Nakano), the Boston International Symphony Orchestra (2026, Maestro Jorge Soto), and Coro Allegro (2025, Maestro David Hodgkins), where he served as a choral accompanist.

Ma has worked closely with contemporary composers and has been involved in numerous world and regional premieres. These include Ketty Nez’s suite française for solo piano (2024); Rodney Lister’s This Time Next Year (with clarinetist Amy Advocat), Preface to a Twenty Volume Suicide Note (with baritone James Demler), and Again Later (with soprano Aliana de la Guardia). In June 2025, an album of choral music by Rodney Lister, OF MERE BEING, was released on the Métier label, featuring Ma as pianist on 21 choral works performed with members of the Choir of the Church of the Advent under the direction of Maestro Mark Dwyer. Additional collaborations include performances of Barcarola Latinoamericana by Gabriela Lena Frank at Boston University’s Tsai Performance Center during the composer’s residency, and Hua Yi Dance for piano four hands by Zhao Zhang, performed with guest artist Yimiao Fang, at his solo recital at Merkin Hall.

Recent orchestral highlights include his appearance as pianist with the Longwood Symphony Orchestra at Jordan Hall, Boston (December 6, 2025), featuring the U.S. premiere of Diana Syrse’s Colección de Realidades, with the composer in attendance, as well as an encore performance with cellist Joshua Roman in Saint-Saëns’s The Swan. He also performed as pianist with the Boston International Symphony Orchestra at the Boston New Year Grand Musical Ball 2026(January 24, 2026) at Cary Hall in Lexington, Massachusetts. This program included Boston and New England premieres of Mykola Lysenko’s Waltz “Розлука / Farewell” and Guan Xia’s Symphony No. 1 – Overture, alongside additional contemporary repertoire.

In addition to his classical career, Ma has an extensive background in jazz performance and research, with a particular focus on the traditions of J. P. Johnson, Fats Waller, Mary Lou Williams, Erroll Garner, Oscar Peterson, and Art Tatum. He participated in the HARLEM STRIDE PIANO 1921–1943 recording project at Falcetti Pianos in Springfield, Massachusetts, and has presented lecture-recitals at Weatherford College (Alkek Fine Arts Center, Texas) and Gracepoint Media. He has also performed jazz piano duets with Professor Boaz Sharon and Dr. Hyeyoung Song.

Ma’s recent performances include a masterclass and solo recital at the University of Mary in Bismarck, North Dakota; a solo recital at First Church Boston; orchestral performances as a member of the Longwood Symphony Orchestra at Jordan Hall; appearances with the Boston International Symphony Orchestra at Cary Hall in Lexington, Massachusetts; and his New York City Debut Solo Recital
at Merkin Hall, Kaufman Music Center. Upcoming engagements include the Ian Hobson Piano Festival in Puerto Rico, where he will serve as Coordinator and Performer (May 2026), and his Carnegie Hall Debut Solo Recital at Weill Recital Hall on October 13, 2026. The program will feature works by Prokofiev/Pletnev, Chen Yi, Stella Sung, Rodney Lister, and Ketty Nez, including premieres and New York premieres.

In addition to his performance career, Ma serves as Director of the Piano Jury for the Australian International Music Competition & Master Series Concert (North America Division), held in December 2025 at Saint Peter’s Episcopal Church in Cambridge, Massachusetts, and as an Artist Jury Member for the Kairos International Music Competition(2025).

For more details and a schedule of upcoming performances, please visit www.chengchengma.com.