Press
From the Press
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Yang’s technical ability was impressive. In the outer movements, the chords and octaves were handled with weight and depth of tone; and in the slow movement, the finger-work was dazzling ... The HKPO on the other hand, led by maestro Edo de Waart, played in equal partnership with Yang and unabashedly pushed the orchestra to the full-blooded boundary of the romantic manner to good effect.
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The sound is bold and modern, yet restrained. The precision of the fingerwork is astounding.
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In a world of dime store piano virtuosi, all with impeccable technique, she seems like something out of Tiffany's special collection.
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But it was Joyce Yang, in her San Francisco [Symphony] debut, who delivered the stunning level of excitement everyone experienced, with her performance of the Rachmaninoff. This Korean-born, New York-based pianist, brought forth from the San Francisco audience as visceral and sustained a standing ovation as I've heard in response to a concerto. And it was deserved.
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Joyce Yang is more than a young pianist who can dazzle with sheer technique. What makes her special is what she does with the music. Sunday in the tent she tackled one of the most popular and familiar concertos in the literature, Tchaikovsky's Piano Concerto No. 1, and created moment after moment that surprised a listener with a bit of extra musical insight.
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