aizai016 Review: A120, In Mo Yang Makes His New York Recital Debut- The New York Times Fhe New York Gimes — htip:/nyti.ms/1T5whxo MUSIC | MUSIC REVIEW Review: At 20, In Mo Yang Makes His New York Recital Debut By ANTHONY TOMMASINI APRIL. 27, 2016 Many young violinists with the talent and discipline for a promising career lack only one thing: a truly fine instrument. There is a limited supply of superb violins, and they tend to be terribly expensive. ‘The South Korean violinist In Mo Yang, 20, a student at the New England Conservatory, is fortunate to have a coveted Stradivarius on loan through an anonymous donor. On Tuesday at Weill Recital Hall, in his New York recital debut, presented by Concert Artists Guild, Mr. Yang proved himself most deserving of this fine instrument in an impressive program with the accomplished pianist Adam Golka. They opened with Biber’s Sonata No. 1 in D minor, “The Annunciation,” one of that Baroque composer's short “Rosary Sonatas,” inspired by the 15 mysteries of the rosary. In the first movement, a long, wayward melodic line unfolds slowly, each phrase elaborately embellished. Mr. Yang brought improvisatory freedom to these bursts of bp two nytimes.com/201610428/artsimusictoview-at-20-r-mo-yang-makos-his-new-york-roctal-debut im ref=collocton%2Fspotghtcolocont42Flasical-music-oviews 1aizai016 Review: A120, In Mo Yang Makes His New York Recital Debut- The New York Times virtuosic passagework, while maintaining cool assurance. The rich sound he drew from his violin had lovely bloom during sustained passages and lean, silvery colorings during fleet ones. He then gave the premiere performance of David Hertzberg’s “Daphne Unbound,” a 10-minute work for solo violin commissioned (by Concert Artists Guild in conjunction with the BMI Foundation) for Mr. Yang's debut. Mr. Hertzberg, a young composer on the rise who has had several premieres in New York of late, wrote in a program note that this piece was inspired by myths and fairy tales of “natural transfiguration.” It begins mysteriously, as the violin plays cosmic-sounding harmonics that float high and low, like spectral arpeggios. Soon, tones swell and lines coalesce into a searching soliloquy. The piece gradually becomes agitated, though somehow tl hhift seems the expression of intensity that had been stirring from the start. Mr. Yang played with rhapsodic allure and wondrous colors. Mr. Yang introduced his next work, Schumann's seldom-heard Sonata No. 3 in A minor, completed just before the composer's suicide attempt in 1854. Some find this piece strange, the music of a man suffering a mental collapse. Mr. Yang spoke of i full of beauties and, with the vibrant playing of Mr. Golka, made a compelling case for it. The first movement was especially fascinating, full of stops and starts and contrapuntal complexities. The two ended with an exciting, fearless account of Beethoven's formidable “Kreutzer” Sonata, Even during, bursts of abandon, Mr. Yang played with robust sound on his splendid violin. ‘A version of this review appears in print on April 28, 2016, on page C6 of the New York edition with the headline: When You Lend a 20-Year-Old a Stradivarius, © 2016 The New York Times Company bp two nytimes.com/201610428/artsimusictoview-at-20-r-mo-yang-makos-his-new-york-roctal-debut im ref=collocton%2Fspotghtcolocont42Flasical-music-oviews