- 26
- Feb.
- 2025
On February 24, Antonine University inaugurated its 7th season of chamber music with Tony Yike Yang, the youngest laureate of the Chopin International Piano Competition. From the intimate and grandiose poetry of the Polish composer, through the incandescent intensity of Scriabin and the radiant spirit of Mozart, each piece was an impressive demonstration of technical mastery and emotional expression, culminating in a magnificent interpretation of Chopin's Sonata Op. 58, crowned by a heroic encore.
The Church of Our Lady of the Seeds at the Antonine University was bathed in perfect tranquility on February 24. The serenity of the place seemed immutable, until the arrival of Tony Yike Yang, whose presence immediately commanded a concentration that would not ease until the very end of the recital. This concert marked the inauguration of the 7th season of chamber music at Antonine University, led by Father Toufic Maatouk, after a long hiatus due to the circumstances. For this opening, the university chose an exceptional figure: the youngest winner of the Chopin International Piano Competition, who had earned the 5th prize in this prestigious contest in 2015.
Mozartian Spirit
The concert opened with Mozart's Nine Variations on a Theme of “Lison dormait” K. 264, composed in 1778 in Paris and inspired by an air from the comic opera Julie by Nicolas Dezède. From the very first variations, a certain ambiguity was felt. Tony Yike Yang sought to infuse this piece with an emotional depth that paradoxically overshadowed the expected lightness. The pronounced use of the pedal created a foggy sound texture, sometimes weighing down the discourse and blurring the clarity of the melodic line. While some livelier passages, especially variations III, IV, VI and VII, managed to evoke the Mozartian spirit, the overall performance was marked by a quest for a romanticism that struggled to fully integrate with the rigor of classical writing.
This first piece left a mixed impression, a musical desire unmet, which fortunately found its fulfillment in Mozart's Piano Sonata No. 4 in E-flat major, K. 282. The pianist presented the first phrases with a perfect balance between a dreamy softness, a round and floating tone and precise articulation. This cantabile was deeply expressive, inviting emotion without ever being swept away by pathos. Indeed, although the sonata suggests a certain emotional intensity, the pathos is always measured, subtly woven into the lightness of the musical phrases. It was Mozart singing from beginning to end under Yang's fingers, who enhanced every detail. In the final Allegro, he infused a sparkling energy, highlighting the liveliness and fluidity characteristic of Mozart's writing.
Impressive Virtuosity
After this foray into the classical era, the pianist ventured into his favored repertoire: the romantic world of Frédéric Chopin. In Scherzo No. 2 in B-flat minor, Op. 31, Yang demonstrated impressive virtuosity, always in service of musicality. His performance overflowed with wild energy, the effervescent rhythm and dynamic contrasts highlighting, at every moment, the genius of the composer. He could make the instrument roar as well as whisper. However, there was a slight disappointment in some fortissimi that were a bit too forceful, which might have benefitted from being more restrained, especially for an ear accustomed to the finesse of Alfred Cortot or Arthur Rubinstein. Nevertheless, his pianism fits within the lineage of great masters such as Nelson Freire, Martha Argerich and, above all, Grigory Sokolov.
Next came Scherzo No. 3 in C-sharp minor, Op. 39. What makes this piece particularly unique among Chopin's four scherzi is its use of an almost orchestral motif: Chopin creates the illusion of a dialogue between different instrumental sections, particularly through passages where the piano playing mimics orchestral textures and colors. Moreover, the lyrical section, in particular, recalls late romantic influences, such as those of Richard Wagner and Sergei Rachmaninoff. Yang emphasized the dramatic and sometimes uncertain character of the work, especially at the beginning, while adding a touch of humor and lightness, true to the spirit of the term “scherzo” (literally “joke”). Far from the austerity sometimes seen in other pianists, who lack the fluidity and liveliness needed to fully grasp the expressive richness of the piece, Yang successfully highlighted this duality between pianistic virtuosity and orchestral effects, offering a remarkably romantic reading of this complex work. A triumph.
Musical Declaration
After a 10-minute intermission, Tony Yike Yang made a true musical declaration in Fantasy in B minor, Op. 28 by Alexander Scriabin. A breath of soul, both intimate and devastating. This masterpiece of formidable complexity unfolded under his fingers like an emotional whirlwind that shook the listener, leaving a temporal fracture where one clearly distinguishes before and after Scriabin. Perhaps one should allow oneself to be swept away by this ineffable moment, which words can scarcely do justice to, and be content with these few words as a modest attempt to grasp the indescribable. After this incandescent interlude, the Sino-Canadian virtuoso returned to Chopin's world, as a natural continuation, a resumption of soul and breath.
The Polonaise-Fantaisie in A-flat major, Op. 61 (not to be confused with Polonaise No. 6 in A-flat major, Op. 53 known as the “Heroic”) is another gem in this demanding program. One could feel the perfect mastery of the performer, who knew exactly where he wanted to lead his audience. And it was indeed towards Chopin's Piano Sonata No. 3 in B minor, Op. 58 that he sought to guide us, in a fluid yet resolutely marked transition. The highlight of the evening.
Heroic Vigor
His interpretation of this sonata stood out for its technical and emotional power, transforming this major work into a viscerally intense experience. From the opening, Yang captured the energy of the dramatic descending motif, a true call to musical strength, executing it with striking vigor, almost heroic, while letting the depth of each note resonate. The following procession of chords was played with a propulsive fluidity, providing uninterrupted continuity to this building intensity. In the Scherzo, Yang displayed an almost airy lightness, where each note seemed to float. The balance between agility and exuberance was remarkably achieved, and the transition to the more serene middle section, before suddenly returning to B major, was truly stunning.
The Largo, on the other hand, was carried by infinite delicacy. Yang infused it with a serene sensitivity to nocturnal colors. The tenderness of this movement was beautifully contrasted with the flamboyance of the final Presto, ma non tanto. This last section, a true display of virtuosity, was met with radiant bravery. The powerful octaves that opened the Finale were played with remarkable precision and energy, and the final ecstasy was carried by a heroic energy that swept the listener into a whirlwind of emotions. With its triumphant grandeur, this movement could only prepare the listener for an equally heroic encore: the Heroic Polonaise, which stood as the cherry on top, beautifully crowning this musical evening.
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