Tue November 16 | 4:00 PM
Piano Master Class
Watch 2021/22 Eugene Symphony guest artist Joyce Yang work with three talented local piano students, as part of the Laura Avery Visiting Masters Series.
November 16, 2021 4:00 PM
Piano Master Class
On Tuesday, November 16th, come watch 2021/22 Eugene Symphony guest artist Joyce Yang work with three talented local piano students, as part of the Laura Avery Visiting Masters Series.
All master classes are free and open to the public.
Debussy: Deux Arabesques
I. Andantino con moto
Albert Liu, piano
Rachmaninoff: Prelude in G minor, Op. 23, No. 5
Asher McKinnon, piano
Beethoven: Piano Sonata No. 2 in A Major, Op. 2, No. 2
I. Allegro vivace
II. Largo appassionato
Jun Yun, piano
Beginning September 1, 2021, the Hult Center will require proof of vaccination against COVID-19 for entry to all performances and events. Those unable to be fully vaccinated, including children under the age of 12, must have proof of a negative COVID test, taken within 48 hours of performance or event. Masks are also required at all times inside the building. Learn more about the Hult Center’s COVID-19 protocols here.
About Joyce Yang:
Blessed with “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammy-nominated pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity.
She first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takàcs Quartet), and Best Performance of a New Work. In 2006 Yang made her celebrated New York Philharmonic debut alongside Lorin Maazel at Avery Fisher Hall along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea. Yang’s subsequent appearances with the New York Philharmonic have included opening night of the 2008 Leonard Bernstein Festival – an appearance made at the request of Maazel in his final season as music director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.”
In the last decade, Yang has blossomed into an “astonishing artist” (Neue Zürcher Zeitung), showcasing her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians through more than 1,000 debuts and re-engagements. She received the 2010 Avery Fisher Career Grant and earned her first Grammy nomination (Best Chamber Music/Small Ensemble Performance) for her recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich (“One can only sit in misty-eyed amazement at their insightful flair and spontaneity.” – The Strad). She has become a staple of the summer festival circuit with frequent appearances on the programs of the Aspen Summer Music Festival, La Jolla SummerFest and the Seattle Chamber Music Society.
Other notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Deutsches Symphonie-Orchester Berlin, the BBC Philharmonic, as well as the Toronto, Vancouver, Sydney, Melbourne, and New Zealand symphony orchestras. She was also featured in a five-year Rachmaninoff concerto cycle with Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal).
In solo recital, Yang’s innovative program has been praised as “extraordinary” and “kaleidoscopic” (Los Angeles Times). She has performed at New York City’s Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Hall and Zurich’s Tonhalle. In 2018, Musica Viva presented Yang in an extensive recital tour throughout Australia.
As an avid chamber musician, Yang has collaborated with the Takács Quartet for Dvořák – part of Lincoln Center’s Great Performers series – and Schubert’s “Trout” Quintet with members of the Emerson String Quartet at the Mostly Mozart Festival at Lincoln Center. Yang has fostered an enduring partnership with the Alexander String Quartet, which continues in the 2018/2019 season with performances in Davis, Tucson, San Francisco, Dallas, Aliso Viejo, Rockville and Seattle. Following their debut disc of Brahms and Schumann Quintets, their recording of Mozart’s Piano Quartets was released in July 2018 (FoghornClassics). Jerry Dubins of Fanfare Magazine wrote that the renditions were “by far, hands down and feet up, the most amazing performances of Mozart’s two piano quartets that have ever graced these ears.”
Yang’s wide-ranging discography includes the world premiere recording of Michael Torke’s Piano Concerto, created expressly for Yang and commissioned by the Albany Symphony. Yang has also “demonstrated impressive gifts” (New York Times) with the release of Wild Dreams (Avie Records), on which she plays Schumann, Bartók, Hindemith, Rachmaninoff, and arrangements by Earl Wild. She recorded Tchaikovsky’s Piano Concerto No. 1 with Denmark’s Odense Symphony Orchestra that International Record Review called “hugely enjoyable, beautifully shaped … a performance that marks her out as an enormous talent.” Of her 2011 debut album for Avie Records, Collage, featuring works by Scarlatti, Liebermann, Debussy, Currier, and Schumann, Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”
In 2018/2019, Yang has focused on promoting creative ways to introduce classical music to new audiences. She will serve as the Guest Artistic Director for the Laguna Beach Music Festival in California, curating concerts that explore the “art-inspires-art” concept – highlighting the relationship between music and dance while simultaneously curating outreach activities to young students. Yang continues her unique collaboration with the Aspen Santa Fe Ballet with performances of Half/Cut/Split – a “witty, brilliant exploration of Robert Schumann’s Carnaval” (The Santa Fe New Mexican) choreographed by Jorma Elo – a marriage between music and dance to illuminate the ingenuity of Schumann’s musical language. The group will tour in Aspen, Santa Fe, Dallas, Denver, Scottsdale, and New York.
Also in 2018/2019, Yang will share her versatile repertoire, performing solo recitals and performing 12 different piano concertos all throughout North America. Yang will reunite with the New Zealand Symphony Orchestra and Edo De Waart for five concerts in New Zealand, following up a successful 2017 collaboration in which Yang displayed “fabulous lyricism” and “assured technique” (Otago Daily Times).
Born in 1986 in Seoul, South Korea, Yang received her first piano lesson from her aunt at the age of four. She quickly took to the instrument, which she received as a birthday present. Over the next few years won several national piano competitions in her native country. By the age of ten, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, Yang moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, Yangwon the pre-college division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with the Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th Annual William A. Petschek Piano Recital Award.
Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.
The health and safety of Eugene Symphony audience members, musicians, and staff members has been and will always be our top priority. We strongly welcome and encourage patrons who wish to continue wearing masks while attending performances to do so. We want all of our attendees to feel comfortable and accepted in your choice. You take care of you, we'll take care of the music and ensuring that your experience attending a Eugene Symphony concert remains exceptional.
For the most up to date health and safety protocols for our concerts, visit our Eugene Symphony Safety page.
LOCATION: The Studio at The Hult Center