August 11th, 2017

Joyce Yang’s summer schedule features performances with collaborators both old and new. Yang began the summer season in June with a performance in Hong Kong alongside long-standing duet partner Augustin Hadelich (violin), where the “dynamic duo” performed works by Beethoven, Mozart, Stravinsky and Tchaikovsky. She then visited the Rockport Chamber Music Festival for a recital of Russian music alongside Escher String Quartet.

June 27th, 2017

Joyce Yang has concluded a sparkling 2016-2017 season that featured orchestral debuts, ambitious recitals, thoughtful collaborations, and a critically acclaimed album release. As she prepares for a summer of festivals and a demanding 2017-2018 concert calendar, we take a moment to reflect on the highlights of the past year.

September 1st, 2016

Albany Records has just released the piano concerto I premiered and recorded last December with the Grammy Award-winning Albany Symphony: Michael Torke’s Three Manhattan Bridges for Piano and Orchestra.

March 28th, 2016

This week as Joyce Yang returns to the New York Philharmonic as soloist in five performances of Manuel de Falla’s “Nights in the Gardens of Spain” she recalled her first experience with the Orchestra in 2005. “A few months after the Cliburn Silver Medal was given to me, I was summoned to show up at Lincoln Center at 9 AM on Thanksgiving Day to play for Lorin Maazel, the Orchestra’s Music Director at the time…”

March 8th, 2016

As winter turns to spring in New York City, Joyce Yang invites audiences into the lush gardens of Manuel de Falla’s musical imagination. She performs as soloist in five performances of the Spanish composer’s “Nights in the Gardens of Spain” with the New York Philharmonic, March 30-April 5. “It’s different from your usual piano concerto,” says Joyce. “Even though it’s in three movements, they don’t follow the traditional concerto form. It’s more like three brush strokes – and in the first seconds Falla tells us we’re in a totally different place.”

February 3rd, 2016

I sometimes wonder when I play a favorite piece like the Schumann Quintet with different quartets, am I cheating on the other groups? Because you come back and you’re a little changed. In a rehearsal they’ll say, “What are you doing?” And I realize, ooh, right, that’s someone else’s markings.