© 2018 by Li-Chun Chen   Photo:  ©Wojciech Mateusiak

Press

“…Su-Han Yang created a real artistic creation by interpreting Paderewski's Symphony. The extensive work, sometimes incoherent in terms of construction, captured under his baton an interesting and consistent dramatic course, magnificent colours and expression…”

 

“…on July 20th, Sinfonia Iuventus was conducted by Su-Han Yang - a nearly thirty-year-old conductor from Taiwan, last year's winner of the Fitelberg Competition - and it was one of the most interesting and best concerts of this year's festival. We heard Elgar's Polonia and Paderewski's Symphony in B minor "Polonia". Both works were performed with piety and great commitment, but Su-Han Yang created a real artistic creation by interpreting Paderewski's Symphony. The extensive work, sometimes incoherent in terms of construction, captured under his baton an interesting and consistent dramatic course, magnificent colours and expression. The conductor got acquainted with Paderewski's score on the occasion of the festival. As he said, he was delighted with this music and is ready to promote it all over the world. So the festival fulfilled its task in this case.”

by Anna Woźniakowska

Ruch Muzyczny, No. 8/9 (2018): 74–75

“…Yang, still only 28, conducts with an infectious energy and lots of movement, but always to clearly musical ends…”

“…Su-HanYang, with a stirring performance of the Brahms Fourth Symphony, its impact all the more impressive for sounding fresh and vital, despite repeated hearings during the competition. Yang, still only 28, conducts with an infectious energy and lots of movement, but always to clearly musical ends. For a work that can sound overly intellectual and ruminative, this was a Brahms Four of energy, colour and imagination – a rousing end to a colourful week in Katowice.”

by Gavin Dixon 
November 18, 2017

theartsdesk.com

“…He is so cheerful, so full of personal charm, and most importantly, these properties translate into the quality of his work and into an intriguing form of the music he creates…”

“He started to play right away, like most contestants, reacting in justified moments, here and there. He is 28 years old, and he still has the charm of a youth. A very interesting young man: vibrant, reacting spontaneously, relaxed, smiling, brilliant. His conducting of the overture was excellent; when he was approaching the end, I couldn’t imagine there wouldn’t be any applause (which had never happened here in the middle of the performance). And I was right, the audience reacted spontaneously to his performance with true applause. Right after that he started to work on “The Force of Destiny”. He gave the orchestra different minor, but precise tasks, which were implemented immediately. When he was humming some melody to the band, he was singing precisely in tune, which doesn’t happen too often here – such a basic thing, and still an exception… Briskly and decisively, he went on to “Haffner” Symphony and soon he played the entire first movement. He was understandable and legible the entire time, in his gestures, statements, movements, and on top of that he was very down-to-earth and diligent, still remaining a sensitive musician, an artist. The orchestra played very beautifully and grandly for him. He is so cheerful, so full of personal charm, and most importantly, these properties translate into the quality of his work and into an intriguing form of the music he creates. You must admit, it is a wonderful symbiosis!”

by Adam Rozlach 

Comment of the 1st Stage of the 10th Fitelberg Competition

Morning Session on November 21, 2017 

 

“…He has an incredible joy and authenticity of reaction…He is a type of a very emotional conductor, who does not leave anybody impartial towards what he does…”

“An incredibly sensitive, well-mannered, charming young man. Everything began very beautifully, nearly right from the start – this sensual music by Maestro Szymanowski must have become particularly close to the conductor’s sensitivity. One thing that his rendition lacked was perhaps a more balanced proportion between the violin and the orchestra (in this difficult oeuvre in this respect). He comes from Taiwan, but was trained also in Europe. He has an incredible joy and authenticity of reaction, features typical for a very young man, open to the world. He is a type of a very emotional conductor, who does not leave anybody impartial towards what he does. We worked excellently in the symphony, finding many interesting ideas, parts nicely modelled by him, implemented immediately by the orchestra musicians. He has nice, broad arm movements, he is able to increase the tension, obtaining interesting colours. He conducted the second movement with elegance and refinement. The finale was impressive, confident, and full of bravado.”

by Adam Rozlach 

Comment of the 2nd Stage of the 10th Fitelberg Competition

Morning Session on November 23, 2017

“…He was excellently prepared to the Competition, he conducted at the same high level throughout all three stages. It was definitely the most colourful and interesting personality!”

“My favourite! I appreciate his passion and determination, his manners, and his incredible cheerful conducting competence. He began with Szymanowski, so close to him, where, however, he had problems with controlling the sound balance (I couldn’t hear the piano at all). But apart from that the first movement was played with confidence, effectively and together – the soloist impressed us with his bravado right away. It was nice to hear them play the slow movement, where the conductor was modelling the expression from his own perspective. There were deficiencies, there were instant interruptions, corrections, and the remaining part of the movement was perfect in terms of narration and expression. The last movement went smoothly too – it was balanced and attractive. The introduction in Bartók’s Concerto started with entering totally different matter, but it was controlled quickly and successfully. Su-Han knew perfectly well what to do with it, and there was much to be done. The Taiwanese conductor proposed a serious, but still musical, play in the difficult Intermezzo interrotto, but it needs to be added here that the soloists of the Silesian Philharmonic (oboist, flutist, and clarinettist) were “playing with” music here, too. And traditionally, all the fun was suddenly interrupted by the chairman of the Jury, who ordered to move on to the fifth movement. The finale! The conductors seemed to know all the secrets of this movements like the palm of his hand. There are many difficult spots there, but he was managing perfectly well. He was excellently prepared to the Competition, he conducted at the same high level throughout all three stages. It was definitely the most colourful and interesting personality!”

by Adam Rozlach 

Comment of the 3rd Stage of the 10th Fitelberg Competition

Morning Session on November 24, 2017