Sofya Gulyak opens 2019-2020 Horowitz Piano Series

Sofya Gulyak

The 2019-2020 Horowitz Piano Series will introduce audiences to a number of ascendant artists, beginning with Sofya Gulyak, who opens the series with a recital on September 18. “This wonderful pianist became noticed through her winning of important competitions, most notably the Leeds International competition in 2009, when she became the first woman ever to take the first prize at this prestigious event,” series Artistic Director Boris Berman said.

Gulyak has appeared in recitals and concerts around the world and has performed as a soloist with such ensembles as the London Philharmonic Orchestra and the St. Petersburg Philharmonic Orchestra, among others. Gulyak’s performances and recital programs have been praised by the international music press. Her eagerly anticipated recital at YSM features a number of fascinating transcriptions. Gulyak’s program opens with Ferruccio Busoni’s virtuosic rendering of Bach’s famous Chaconne from the Violin Partita No. 2 in D minor and closes with Liszt’s transcription of the climactic “Liebestod” from Wagner’s Tristan und Isolde and Ravel’s La Valse, the composer’s own transcription of his orchestral masterpiece. Brahms’ Variations and Fugue on a Theme by Handel, a monumental composition that uses an unassuming movement from a suite by Handel as a point of departure, is also on the program, as is Cesar Franck’s Prélude, Fugue et Variation, a significant triptych dedicated by the composer to his teacher Camille Saint-Saëns.

In March, Alessio Bax and Lucille Chung will present a two-piano and piano four-hands program of music by Debussy, Stravinsky, Poulenc, and Lutosławski. The husband-wife duo has been praised by Gramophone for “[applying] their effortless synchronicity to unlocking the music’s pianistic potential.”

This year’s Horowitz Piano Series also introduces audiences to Boris Slutsky, YSM’s new Visiting Professor in the Practice of Piano, to the Morse Recital Hall stage. A “distinguished artist,” in Berman’s estimation, Slutsky will perform music by Haydn, Schumann, and Chopin in December. Slutsky joins faculty pianists Berman, Robert Blocker, Hung-Kuan Chen, Melvin Chen, and Wei-Yi Yang in presenting recitals during the 2019-2020 season.

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Published September 4, 2019
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Pianist Roberto Prosseda, on making music in the 21st century

Roberto Prosseda

Pianist Roberto Prosseda will perform a program music by Mozart, Mendelssohn, and Schubert on a Feb. 13 Horowitz Piano Series recital. We recently spoke with Mr. Prosseda about modern modes of communication, musical expression, and the repertoire he’ll perform here at Yale.

Q: You’ve found benefits in modern modes of communication and talked about the importance of direct, in-person experience. “Today we tend to live through too many filters: for many people it now comes more naturally to communicate their states of mind and everyday experiences through social networks, rather than by meeting a friend directly in person,” you’ve written. “Live music, both for those who play and those who listen, is an experience of far greater depth, able to open channels of communication that are profound and direct.” Would you talk about how we, as artists and audience members, should use the tools at our disposal and when we should put them down?

A: Tools such as the internet and smartphones are very useful also for musicians, of course. For example, we have the possibility to find rare scores online (also browsing the digital catalogues of several libraries), or to compare several recordings of the same piece using streaming services: they are invaluable resources that past generations could not use. But today there is a concrete risk that we become slaves to our smartphones and lose the ability to keep our concentration and to enjoy “real life”: a coffee with a friend is a much more rewarding experience than a Facebook chat with the same friend. In the same way, a live concert is not comparable with a CD, and a live piano lesson is something completely different from watching a master class on YouTube. To prevent the risk of being addicted to smartphones or social media, I suggest to my students some “digital detox” during practicing sessions, switching off the mobile phone and the computer, as we do when we attend a concert.

Q: Technology has been an area of interest to you. To that end, you conducted an experiment with a robot-pianist called Teo Tronico in which you each performed the same piece of music and studied the resulting performances. What did you learn about your own playing and interpretations in that exploration?

A: The project with the pianist robot, Teo Tronico, was conceived to explain the differences between a real “human” interpretation and a literal reading of the score. Comparing my own playing with the mechanical performances of the robot was a good way for me to become more aware of those differences, and to deepen the research towards the dramaturgic and poetical elements of music—something that a robot is not able to achieve, yet.

Q: You’ve written, “A cold and calculated performance in which the only aim is to avoid mistakes will prove much more ‘wrong’ than a spontaneous, profound and not faultless performance.” In what ways do you apply this lesson to your own practice and playing and how do you communicate this idea to students who might aspire to a kind of “performance perfection”?

A: The above mentioned robotic performances should never be a model for us, but nevertheless there are students who think that “perfection” consists in just playing the right notes, literally respecting what is written in the score. From my point of view, the priority in making music is the intensity, depth, and sincerity of our musical expression. “Reading the score” also means knowing all the historical conventions, the meaning of each gesture corresponding to the indications written in the score. A wrong note played with the “right expression” is much better than a right note played with a wrong expression. But, while the score indicates the right notes in an incontrovertible way, the “right expression” is something that also relates to our own sensitivity, culture, and even creativity. And the same sign on the score (a staccato dot, or a slur) can have different meanings according to the context. When we perform a composition, we are at the same time film directors, actors, and photographers. It is fundamental to be aware of states of mind, expressive attitudes, dramaturgy, and rhetoric. Often, during lessons, I like to talk about the “depth of field” between the theme and the accompaniment, about the “focus” of a given melodic contour, of the temporal and spatial distance of the themes. The piano is, in fact, also a time machine, as it can “set” a theme in the present, the past, or the future, also defining the context in which it appears (reality, dream, memory, hope, illusion).

Q: Many of your projects have included an interdisciplinary element. Have these been informed by your curiosities, a desire to offer audiences something unique, or both?

A: When Franz Liszt, about 180 years ago, invented the format of the “piano recital,” this was a great innovation, breaking the traditional schemes and improving the connections between artist and audience. But I am quite sure that if Liszt were performing today, he would not give a piano recital in the way we are used to. The piano recital still works perfectly for audiences who are used to listening to classical music (and I still give about 30 piano recitals per year for those audiences), but there are alternative ways to present classical music in live formats, which fit better for other kinds of audiences. As a performing artist, I feel a responsibility to deliver a social and cultural service also to “the rest of the world.” There are millions of people who use Facebook and YouTube but will never enter a classical music auditorium if first we don’t help them “taste” and discover the intensity of a live classical music concert. Using multimedia formats or video teasers online can be an effective way to reach a wider audience and to give them the tools to understand and enjoy classical music.

Q: What is it about Mendelssohn’s music that’s been of particular interest to you?

A: I’ve always felt a close affinity with Mendelssohn’s lyricism. His music expresses a very wide range of moods, always keeping a perfect balance between complexity and freedom. I very much like Mendelssohn’s ability to write complex musical textures, never losing his unique linearity and rhythmical energy that are trademarks of his style. Then, I have always felt a special attraction for the “musical discoveries”: the piano repertoire still presents many unknown masterworks, and Mendelssohn’s piano output is, incredibly, lesser known than the one of Schubert, Schumann, or Chopin. For this reason, about 20 years ago I started researching Mendelssohn’s rare and unpublished pieces and got more and more enthusiastic about his music. After my first two CDs dedicated to Mendelssohn’s unpublished piano works were released, I started performing and recording the rest of his piano production, as even some published works are still quite unknown to the public and are seldom recorded. In the meantime, more unpublished manuscripts came to light, and in 2009 Breitkopf & Härtel published the new Mendelssohn Thematic Catalogue (MWV) by Ralf Wehner, which is now the reference for any Mendelssohn scholar. In recent years I’ve gradually completed recordings of Mendelssohn’s piano works, now released by Decca in a 10-CD box set. Soon after the release, I learned about a new discovery: a “Kleine Fuge,” MWV U 96, which was found among the papers of Mrs. Henriette Voigt (dated September 18, 1833). Of course, I recorded it as well, and it was digitally released worldwide on February 1.

Q: The program you’ll perform here at Yale features repertoire that was written over a 50-year period, roughly. What did this period yield in terms of innovations in the piano repertoire and the instrument itself? What do you hear of the period and the region in this particular repertoire? 

A: Those 50 years have probably been the most intense ones in the history of piano. Between 1785 and 1835, in fact, composers such as Haydn, Mozart, Clementi, Beethoven, Schubert, Mendelssohn, Schumann, Chopin, and Liszt gave their contributions to the evolution of the piano and its repertoire. The instrument had a very fast and radical evolution: the keyboard range expanded from five octaves to seven octaves and more; the action also underwent drastic developments, as did the sound production, thanks to the increased tension of the strings and the different materials used for the hammers and the other parts of the instrument. The piano language evolved in a parallel way, as composers themselves pushed piano makers to experiment with new models, and at the same time the possibilities offered by the newly built pianos inspired the composers to innovate their own ways to write for piano. For my recital, I chose the three composers to whom I’ve dedicated most of my studies: Mozart, Mendelssohn, and Schubert. The recital will open with two of the most revolutionary piano works written by Mozart: the Fantasia K. 475 and the Sonata K. 457 in C minor, published together as a diptych in 1785. Here, Mozart is very radical in using chromatic harmonies and experimenting with deep contrasts, which make this music incredibly dramatic and modern. After the Mozart I will continue with two of Mendelssohn’s masterworks: the Fantasia Op. 28 and the Rondo Capriccioso, along with some of my favorite Lieder ohne Worte. The concert will end with Schubert’s Four Impromptus Op. 90, written in the last year of his life (1828). The No. 1 in C minor has several elements in common with Mozart’s Fantasia K. 475. It will be interesting to compare the way Schubert uses similar harmonic and rhythmical patterns to reach completely new poetic results.

Roberto Prosseda will perform music by Mozart, Mendelssohn, and Schubert on Wednesday, February 13, in Morse Recital Hall. 

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ROBERTO PROSSEDA

Published February 4, 2019
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Wei-Yi Yang to perform all-Schumann program

Wei-Yi Yang

On Wednesday, Nov. 7, faculty pianist Wei-Yi Yang ’95MM ’96AD ’99MMA ’04DMA will perform an all-Schumann program that includes the composer’s Kinderszenen, Kreisleriana, and Fantasie in C major. We spoke with Yang about the repertoire and his approach thereto.

Q: What is your connection to Schumann’s music? What about his piano writing resonates with you and why (if that can be articulated)? How and why did you choose these three works?

A: I always have a special place in my heart for Schumann’s music. Right now, my heart is saturated with it. Schumann’s obsessive, at times possessed, ways of expressing his emotions never fail to amaze me. I find it helpful to approach the heart of his music by approximating the obsession that drove him. I return repeatedly to his lieder and movements from his chamber music to mine his creative energy — though it was the piano that served as the extension of his soul in his earlier period. Inspired by his forlorn love for Clara and the difficult circumstances surrounding their forced separation, these opuses are Schumann’s ultimate love letters to her. Deciphering such personal and intimate pieces requires a certain psychological projection; it is uneasy study and work, but personally, I find a certain voyeuristic pleasure in this effort.

Q: What do these pieces require of you, physically (technically), mentally, and emotionally?

A: So much of this music is spurred by fragility, obsession, and whimsy, but at its heart lies one of the most challenging interpretive aspects: it is the portrayal of loneliness. In handling the many varied moments of heightened intensity, the succession of moods requires enormous imagination and sound resources. Often, I remind myself in practice: the hands need to move, but the ears need to move faster.

Q: These pieces were written during the same period. What do they tell us about Schumann’s life and work at that point? This music is informed by E.T.A. Hoffman’s Kreisler, inspired by the work of Beethoven, dedicated to Liszt and Chopin, and reflective of Schumann’s feelings for Clara. What do they require from an audience?

A: Schumann had a voracious appetite when it came to his attention to literature. In many ways, this repertoire represents his diary or love letters to Clara in musical form; I would further liken these pieces to three types of literary manifestation: if Kinderszenen were a collection of haiku miniatures, then Kreisleriana would be a novella rooted in violent schizophrenia, while the Fantasie represents an arching epic. Shifting between desires, fears, resignation, make-believe triumph, and longing, these are deeply personal works that cover enormous emotional terrain and can only be defined, and united, by conflicts between dreams and reality and mood swings. As a performer, I find it necessary to feel open and vulnerable, and let all guards down; as for the listeners, I would recommend the same.

The Horowitz Piano Series presents faculty pianist Wei-Yi Yang in an all-Schumann program that includes the composer’s Kinderszenen, Op. 15, Kreisleriana, Op. 16, and Fantasie in C major, Op. 17.

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Published November 2, 2018
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Concert to showcase former students of Boris Berman

Boris Berman

On Wednesday, April 4, several former students of faculty pianist and Horowitz Piano Series Artistic Director Boris Berman will perform a concert that celebrates his 70th birthday, which takes place the day before, and the work Berman has done at YSM since joining the School’s faculty in 1984.

“We have so many wonderful alums among the graduates of the piano department,” Berman said. The challenge in putting this concert together was identifying which alumni would perform. He decided to build a program around recent graduates who have had success at international competitions.

The program will feature sisters Esther Park ’12AD ’13MMA ’17DMA and Sun-A Park ’16AD ’17MMA, performing together as Duo Amadeae; Ronaldo Rolim ’20DMA; Henry Kramer ’13AD ’19DMA; and Larry Weng ’14MMA ’19DMA and Yevgeny Yontov ’14MM ’20DMA, performing as part of the icarus Quartet, which also includes percussionists Jeff Stern ’16AD and Matthew Keown ’16MM ’20DMA. Berman asked each pianist to propose several pieces of repertoire, then “tried to make a varied program of different styles.” The program will feature works by Schubert, Mendelssohn, Chopin, Albéniz, Ravel, and Bartók.

Duo Amadeae won first prize at the Chicago International Duo Piano Competition in 2016. Rolim won Astral Artists’ 2017 national auditions. Kramer earned second prize at the 2016 Queen Elisabeth Competition, of which Weng was named a laureate. And Yontov was a finalist at the 15th Arthur Rubinstein International Piano Master Competition.

While the April 4 program showcases Berman’s students, he is quick to celebrate the collaborative nature of YSM’s piano department. When pianists arrive at YSM to study, they can expect to cross paths with all piano faculty members. “We have a department in which we truly enjoy being together,” Berman said. “Very often, I send my students to play for my colleagues.” Two of those colleagues, Wei-Yi Yang and Deputy Dean Melvin Chen, are Berman’s former students. The primary criteria Berman and his piano faculty colleagues use in selecting pianists for admission is artistic individuality. “We are in the position to select people who are both very engaged intellectually and also wonderful artists,” he said of the students who enroll at the School of Music. “It is not by accident that every year we have applicants from the best schools.”

Esther Park enrolled at YSM and joined Berman’s studio after earning an undergraduate and graduate degree from The Juilliard School and then studying at the Hochschule für Musik und Theater Hannover. “He respected the background that I came from,” she said. “He knew exactly what I needed.” Talking with Berman about music, Park said, is “like speaking with Yoda.”

The piano department at YSM is unique, Park said, because of the faculty members’ relationships. When she was working on music by Schubert or Schumann, Berman would encourage Park to play for Peter Frankl. In turn, pianists from other faculty members’ studios play certain repertoire — Prokofiev, for example — for Berman. Park takes that approach at East Tennessee State University, where she is an assistant professor of piano.

Kramer, who is an assistant teaching professor at the University of Missouri–Kansas City Conservatory of Music and Dance, also spoke about the collaborative environment at YSM. “We all would play for each other and help disseminate ideas that had come to us through Prof. Berman,” Kramer said. “The overall environment at YSM is very intense and expecting the highest caliber of music-making, but at the same time you feel that the fabric of the faculty, students, and administration weaves together to create this wonderful network of support propelling you to achieve your own personal best results. I am honored to have the opportunity to celebrate my school and my professor during this concert.”

Berman points out that he, in turn, learns plenty from his students. Sometimes a student’s performance will remain “a reference for me,” he said, explaining that he will find himself “convinced,” after hearing a particular interpretation.

“It’s a fascinating field,” he said, “and it is a great privilege to work with so many talented people.”

On Wednesday, April 4, alumni who studied with faculty pianist and Horowitz Piano Series Artistic Director Boris Berman return from international successes to perform at the School of Music.

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Published April 2, 2018
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YSM Dean Robert Blocker to perform with colleagues, Yale Philharmonia

Robert Blocker

Faculty pianist and YSM Dean Robert Blocker

If there is one composer whose music has always resonated deeply with School of Music Dean Robert Blocker, it is Mozart. “From my earliest memories I loved Mozart,” Blocker said. As a young musician, he said, “there was something magical about the sound.”

On Wednesday, March 7, Blocker will share his love of Mozart’s music with the Horowitz Piano Series audience in a concert featuring members of the School’s piano faculty — including recently retired professor Peter Frankl — and members of the Yale Philharmonia, led by YSM lecturer-in-music and New Haven Symphony Orchestra Music Director William Boughton.

The all-Mozart program, a study in collaboration, to be sure, will begin with a performance, with faculty pianists Boris Berman and Wei-Yi Yang, of Carl Czerny’s piano-six-hands arrangement of the Overture to Le nozze di Figaro. Blocker will then be joined by members of the Yale Philharmonia for a performance of Piano Concerto No. 23 in A major, K. 488.

Blocker has played K. 488 more than any other concerto. “I truly love that piece,” he said. “I learned it with my first and only piano teacher before I went to college. I always learn new things in the piece.”

While the Sonata for Piano Four-Hands in B-flat major, K.358/186c, which he will perform with faculty pianist and School of Music Deputy Dean Melvin Chen, is new repertoire for Blocker. The Concerto No. 10 for Two Pianos in E-flat major, K. 365/316a, which he will perform with Frankl and the Philharmonia, is one that holds special significance.

“When Peter Frankl celebrated his 70th birthday” in 2005, Blocker said, “he invited me to play the Double Concerto with him.” For this occasion, he said, “it just seems like the most wonderful thing to do — create a program and have Peter be part of that.”

The concert, for Blocker, is a celebration of the education he receives every day at YSM. “Colleagues have given me the kind of musical fabric that makes every day better than it deserves to be. The best thing about this job,” he said, “is learning from students and faculty. I don’t even pretend to know what they know. That’s the joy in this.” As he sees it, the March 7 program offers a chance to have all involved “touching the hem of Mozart’s coat.” It is also an opportunity for Blocker to share with an audience the music that for him remains “a musical compass.”

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Published March 5, 2018
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Faculty pianist Wei-Yi Yang discusses his Nov. 29 Horowitz Piano Series recital program

Wei-Yi Yang

On Nov. 29, faculty pianist Wei-Yi Yang will perform a Horowitz Piano Series recital featuring Schubert’s demanding and lively “Gasteiner” Sonata. The program will also showcase music by Bach and two composers whose work he inspired, Schumann and Liszt.

Talking about the pieces that will begin the concert — Liszt’s Prelude after J.S. Bach, Weinen, Klagen, Sorgen, Zagen, and selections from Schumann’s Four Fugues, Op. 72 — Yang said, “These two important composers of the Romantic period followed in Bach’s footsteps in the works selected here. Although some might associate Bach’s works and methods with precise craftsmanship and mathematical intrigue, here the two Romantics inherited the Baroque master’s obsession and passion in developing motifs and subjects, and grew the smallest musical seedlings into magnificent forests.

“It is striking to hear how two of the greatest Romantic composers used chromaticism and harmonic turns in the mid-1800s, lush and wayward they may be, which at times seem perfectly aligned with Baroque sensibilities,” Yang said. Their work in these pieces, he said, “encapsulates the timelessness of Bach’s vision and influence.”

Yang further explained that “Bach at his core is about the elements of song, dance, and, most of the time, a combination of both. The partitas are cosmopolitan collections of different dance movements that go straight to the heart of Baroque style in elegance and eloquence. Schubert is also always about the song (Lieder) and the dance, although in dance he is singularly obsessed with the Ländler style, which can be felt in the center movements of the D-major Sonata.”

The “Gasteiner,” Yang said, “is unusually sunny and optimistic for Schubert, although it is not without nostalgia and tenderness, while the composer spins out an unusual, virtuosic keyboard style combined with orchestral and quartet sonority and the omnipresent singing lyricism that is deeply embedded in his DNA.”

Asked about the significance of the program being centered on the key of D, Yang said, “I must confess that hearing a tonal thread is very important to me when I listen to and conceive the details of a program.”

 What’s important to him in the end is that “the audience will see and hear the prismatic aspects in music that I strive to unlock, whether it’s about tonal relationships, stylistic influences, or genre crossing.”

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Published November 21, 2017
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YSM faculty pianist Peter Frankl to retire after 30 years, having inspired generations

Peter Frankl

By Lucile Bruce

Peter Frankl will retire at the end of this semester, concluding his remarkable 30 year career at the Yale School of Music, where he has touched the minds — and more important, the hearts — of hundreds of students.A virtuoso performer and beloved teacher, Frankl was born in Budapest, Hungary, in 1935, into a musical family. His parents were semi-professional musicians who played piano at home. They took their son to many concerts and he remembers hearing “many great artists like Klemperer, Bernstein, and my idol, the pianist Annie Fischer.”

Frankl began playing the piano at age 5. “It has been my passion in life ever since,” he said.

He made his London debut in 1962 and his New York debut with the Cleveland Orchestra under George Szell in 1967. Since then, he has played on the world’s top stages with the most celebrated orchestras and eminent conductors, including Abbado, Boulez, Davis, Haitink, Maazel, Masur, Muti, and Solti. His world tours have taken him to Japan, Korea, Australia, New Zealand, and South Africa. He has appeared more than 20 times at London’s BBC Proms and at many major festivals. Inspired as a young musician by the legendary Leó Weiner, his chamber music teacher, Frankl is also a well- known chamber music performer. For years, the Frankl-Pauk- Kirshbaum Trio traveled the world, and Frankl’s many chamber music partners include the world’s most renowned artists.

It was Boris Berman, professor of piano and coordinator of the piano department at YSM, who invited Frankl to come to Yale, first in 1987 as a visiting teaching artist.

Until that time, Frankl’s occupation was mainly concertizing; he rarely taught, even master classes. “It never occurred to me to teach on a regular basis,” he said. “However, Yale’s reputation attracted me greatly and I decided to give it a try.”

He harbored a deeper reason, however, for teaching. “By then I was 52 years old,” he explained. “I had the impression that the young generation of pianists were more interested in reaching technical perfection than in involving themselves in the emotional and spiritual meaning of what each composer wanted to express in their works.

“Somehow I started feeling responsible towards the future of music-making,” he continued. “Instead of grumbling about this, I wanted to do something positive.”

He thoroughly enjoyed the atmosphere at YSM, including the School’s “relatively intimate size.” As two esteemed piano faculty members were approaching retirement, Yale offered to extend Frankl’s appointment. He gladly accepted.  MORE

Published November 6, 2017
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Wei-Yi Yang and Sarita Kwok release a new duo album on Genuin

interchangePiano faculty member Wei-Yi Yang ’95 MM, ’96 AD, ’99 MMA, ’04 DMA and violinist Sarita Kwok ’05 MMA, ’06 AD, ’09 DMA have released their first album together on the German record label Genuin.

The recording, titled Interchange: Violin and Piano Duos of the 20th Century, features works by Janacek, Prokofiev, Ravel, and Stravinsky. The album was released on Jan. 29, 2016, and is described as:

“a balancing act that both young musicians pull off splendidly, connecting long musical lines and palpably enjoying relentless rhythmic repetitions. They provide for moments of stillness as well as veritable fireworks. So it comes as no surprise that both musicians have drawn international acclaim – competition juries and the press have not stopped singing their praises! We experience first-hand the moment the lights go out and the musicians intone the first notes of Ravel’s seductive blues…”

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Published February 29, 2016
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Violist Ettore Causa, pianist Wei-Yi Yang perform Feb. 12 with violinist Julie Eskar

Ettore Causa, Wei-Yi Yang, and Julie Eskar

Ettore Causa, Wei-Yi Yang, and Julie Eskar

The Yale School of Music’s Faculty Artist Series presents a recital featuring violist Ettore Causa and pianist Wei-Yi Yang, along with guest violinist Julie Eskar, on Friday, February 12 at 7:30 pm. The concert will include music by Mendelssohn, Nielsen, Penderecki, Fauré, and Bruch.

The program opens with two sonatas: Felix Mendelssohn’s Sonata for Viola and Piano in C minor, MWV Q14, and Carl Nielsen’s Sonata for Violin and Piano No. 2, Op. 35. The two string players will team up for Krzysztof Penderecki’s Ciaccone for Violin and Viola.

Causa will perform his own arrangement of Gabriel Fauré’s Elegie, Op. 24, originally written for cello and orchestra. All three musicians will come together to close the concert with four selections from Max Bruch’s Pieces for Violin, Viola, and Piano, Op. 83. MORE

Published February 9, 2016
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Wei-Yi Yang performs Chopin, Schubert, Prokofiev Nov. 11

Wei-Yi YangThe Horowitz Piano Series at the Yale School of Music presents pianist Wei-Yi Yang in recital on Wednesday, November 11 at 7:30 pm. Yang, a faculty member at the School of Music, will perform works for solo piano by Chopin, Prokofiev, and Schubert.

The program opens with Chopin‘s Nocturne Op. 9, No. 1 in B-flat minor. Since being published in 1832, Chopin’s Opus 9 nocturnes have been some of the most popular works written for piano, often heard on television and film as well as in the concert hall.

This will be followed by Prokofiev‘s Sonata No. 8 in B-flat major, Op. 84. This work was composed in the period following the 1941 German invasion of Russia, when Russia briefly loosened restrictions on compositional styles. This allowed Prokofiev to compose in a more personal way; but this sonata, along with several other works from this period, was banned from performance in Russia soon after the war. MORE

Published October 23, 2015
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