Korean piano star Joyce Yang sets off an explosion of colour in her Sydney recital

All the colours of an orchestra in one piano: That was the grand boast of Korean virtuoso Joyce Yang as she introduced all-Russian Sydney Symphony piano recital.

Steve Moffatt

2 min read

May 22, 2024 - 3:00PM

Wentworth Courier

Korean pianist Joyce Yang played three concerts in Sydney.

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All the colours of an orchestra in one piano: That was the grand boast of Korean virtuoso Joyce Yang as she introduced three excerpts from Igor Stravinsky’s Firebird ballet as part of an all-Russian program for her Sydney Symphony recital concert.

The day before she had given a glittering performance of Grieg’s Piano Concerto with the SSO under German conductor Kevin John Edusei, making his Australian debut.

But for the two hours of this concert it was just her – and the Steinway grand – for a program which featured some extracts from Pyotr Tchaikovsky’s The Seasons, three Sergei Rachmaninov preludes and a powerfully poetic and colourful interpretation of Modest Mussorgsky’s showstopping Pictures At An Exhibition.

Poetry and colour are the keys to Yang’s playing and not surprisingly so as she is one of 5 per cent of people who experience synaesthesia and sees a landscape of hues when she plays music. There is also clarity and control and an accurate technique that all contribute to her big fanbase in Sydney, built up with appearances here since she made her Australian debut as a 24 year old in the 2010 SSO recital series.

She opened the evening with six of the Tchaikovsky miniatures, showcasing her attention to expression and nuance rather than dazzling virtuosity. That was to be shown later in spades in the Rachmaninov and Mussorgsky works. The heartwarming melody of January, which recurs throughout the series, gave way to the fizz and bang of the Carnival (February) with Yang rocking and swaying as the piece drove along with a foot-tapping beat.

The attractive melodies, some similar to those in his much loved ballets, turned to the darker hues of Rachmaninov with two preludes from the Op 32 set, followed by the lovely flowing Chopinesque No. 4 from Op 23.

The multi-hued Three movements from The Firebird, in a piano arrangement by Guido Agosti, brought the first half to a close with the thunderous chords of the Finale after Yang had worked her magic on the monsters in the Infernal Dance of King Kaschkai and the dreamy lullaby Berceuse.

Yang’s handling of the 40-minute Mussorgsky museum tour of paintings by his friend Viktor Hartmann was both muscular and poetic. The lumbering oxcart of Bydlo was slower and louder than usual while the delightful depiction of children playing in the gardens of the Tuileries and the mercurial Ballet of the Unhatched Chickens highlighted her wonderful touch, clever pedal work and tonal accuracy.

The recurring Promenade theme which breaks up each portrait was given a nicely nuanced variety, sometimes strutting proudly, at others limping on a game leg.

The final piece, the Great Gate of Kiev, was extraordinarily powerful with Yang almost exploding from her seat as she pounded out the bell-like chords.

As a refreshing sorbet after the heavy Russian fare, she gave an airy reading of J.S. Bach’s Sheep May Safely Graze from Cantata No. 208.