Events & Tickets
Dazzling pianist Joyce Yang takes the New World Center stage for the first time to perform Ludwig van Beethoven’s Second Concerto. The work combines the best of all Classical worlds—Beethoven’s charm and surprises inspired by Haydn and Mozart. It took Witold Lutosławski four years to write his Concerto for Orchestra, a virtuosic showpiece for the entire ensemble led by Minnesota Orchestra Music Director Osmo Vänskä. Embracing nostalgia for his hometown, Zoltán Kodály encapsulated Hungarian folk traditions and gypsy influences in Dances of Galánta, culminating in a dizzying finale.
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Knight Foundation and New World Symphony: Reimagining Classical Music in the Digital Age.
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WALLCAST® Concert Sponsors
WALLCAST® concerts are made possible with support from Hitachi, Knight Foundation, Sarah Arison and Thomas Wilhelm, Chanin and Adam Carlin, Susan D. Kronick and Edward Manno Shumsky, Will Osborne and Karen Bechtel, and William Strong. Knight Foundation and New World Symphony: Reimagining Classical Music in the Digital Age.
Approx. Duration: 15 minutes
Dances of Galánta
Ludwig van Beethoven
Approx. Duration: 28 minutes
Concerto No. 2 in B-flat major for Piano and Orchestra, Op. 19
Allegro con brio
Rondo: Molto allegro
Approx. Duration: 28 minutes
Concerto for Orchestra
Capriccio notturno e arioso
Passacaglia, toccata e corale
Osmo Vänskä, conductor
Music Director of the Minnesota Orchestra for 15 years, Osmo Vänskä has led the Orchestra on five major European tours, as well as an historic trip to Cuba in 2015, at the invitation of the Cuban Ministry of Culture— the first visit by an American orchestra since the two countries announced steps to re-establish diplomatic relations. In 2018 he returned with the Orchestra to the BBC Proms before embarking on a five-city tour to South Africa as part of the world-wide celebration of Nelson Mandela’s Centenary. The tour, which marked the first by an American orchestra to the country, drew together South African and American performers featuring musical expressions of peace, freedom and reconciliation.
Other key highlights of his tenure with the Minnesota Orchestra include 17 album recordings (winning a Grammy Award in 2014 for Best Orchestral Performance for their second Sibelius album and being nominated in 2018 with the recording of Mahler’s Symphony No. 5), initiating and conducting the annual Future Classics concert, and various educational and outreach projects in Minneapolis and other cities.
In great demand as a guest conductor, Mr. Vänskä’s 2018-19 season includes re-invitations to the Chicago and New World symphonies and Seoul Philharmonic, and a return to China to work with Shanghai Symphony, and the China, Hangzhou and Hong Kong philharmonic orchestras. In Europe he makes one of his regular appearances with Helsinki Philharmonic and conducts the Deutsches Symphonie-Orchester Berlin, Netherlands Radio Philharmonic, London Philharmonic and Iceland Symphony orchestras.
A distinguished recording artist, primarily for the BIS label, Mr. Vänskä’s most recent recordings are of Mahler Symphonies Nos. 5 and 6, with the Minnesota Orchestra, followed by Symphonies Nos. 2 and 1, continuing the cycle dedicated to the composer. With Minnesota he has recorded the complete Beethoven and Sibelius symphony cycles, also for BIS, to rave international reviews, while recordings of Beethoven’s piano concertos with Yevgeny Sudbin have also garnered worldwide praise, including Grammy and Gramophone Award nominations.
Mr. Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon Competition. He began his career as a clarinetist, occupying, amongst others, the co-principal chair of the Helsinki Philharmonic Orchestra. In recent years he has enjoyed a return to the instrument, including regular chamber music performances and a 2012 recording of Kalevi Aho’s chamber works.
Mr. Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters Award and the 2010 Ditson Award from Columbia University. He holds honorary doctorates from the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year. In 2013 he received the Annual Award from the German Record Critics' Award Association for his involvement in BIS’s recordings of the complete works by Sibelius.
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.
Recognized as "an entrepreneur bringing innovation to classical music" (Forbes), Chad Goodman leads an active and diverse conducting career.
The Conducting Fellow of the New World Symphony, Mr. Goodman will work closely with Artistic Director Michael Tilson Thomas and take the podium on 13 programs during the 2019-20 Season. Since 2018 he has served as an Assistant Conductor to the San Francisco Symphony, assisting Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Pablo Heras-Casado, Simone Young and James Gaffigan, among others.
As Founder and Artistic Director of Elevate Ensemble, Mr. Goodman’s “courageous” and “ambitious” (San Francisco Classical Voice) vision for concert programming resulted in the pairing of music from Bay Area composers with underappreciated gems of the 20th and 21st centuries. Under his leadership, Elevate Ensemble established a Composer-in-Residence program, served as Ensemble-in-Residence at San Francisco State University, and commissioned 15 works from Bay Area composers.
Mr. Goodman has previously served as Music Director of the Contra Costa Chamber Orchestra and Assistant Conductor of the Peninsula Symphony. He has been a Conducting Fellow at the Atlantic Music Festival, a cover conductor for the San Francisco Ballet and has collaborated with composer Mason Bates on his electronica-classical music project, Mercury Soul.
A driving force in the new music scene, Mr. Goodman has conducted the premieres of more than 50 works. In addition to his performing career, he has taught young musicians the business and entrepreneurial skills needed to successfully navigate the world as a working musician in his workshop “You Just Earned a Music Degree. Now What?”
Mr. Goodman holds a bachelor of music degree from the Eastman School of Music and a master of music degree from San Francisco State University. His mentors include Michael Tilson Thomas, Alasdair Neale, Cyrus Ginwala and Martin Seggelke.