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<title>Alex Yang &#8226; Saturday, May 16, 2026 • 7:30pm</title>
	<meta name="description" content="Hear 2026 Developing Musician Award winner Alex Yang in a powerful solo recital of Bach, Chopin, Beethoven, and Liszt. Choose-what-you-pay." />
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	<meta property="og:title" content="Alex Yang &#8226; Saturday, May 16, 2026 • 7:30pm" />
	<meta property="og:description" content="Winner of the 2026 Cecilia Concerts Developing Musician Award, Halifax pianist Alex Yang brings extraordinary poise, depth, and command to a demanding and wide-ranging solo program. Still only 17, Alex has already earned national and international attention for playing marked by clarity, sensitivity, and strong musical insight. His program brings together the lyric intensity of Schubert’s “Allegretto in C Minor,” D. 915, the emotional range and shifting character of Chopin’s complete “24 Preludes,” Op. 28, the dramatic force and spiritual depth of Beethoven’s “Sonata in C Minor,” Op. 111, and the dazzling virtuosity and colour of Liszt’s “Rhapsodie espagnole.” Alex studies at the Juilliard Pre-College and has already earned major recognition on both sides of the border, including a full fellowship to the Aspen Music Festival and School, first prize in the Juilliard Pre-College Concerto Competition, and selection as the 2026 Debut Atlantic Award for Musical Excellence for a second consecutive year. This choose-what-you-pay concert offers Halifax audiences the chance to hear one of Canada’s most exciting young pianists at a remarkable moment in his artistic development. Season Sponsor: Nice Moves / Red Door Realty." />
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	<meta property="og:site_name" content="Cecilia Concerts | Halifax, Nova Scotia" />
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	<meta property="article:modified_time" content="2026-05-11T21:54:19+00:00" />
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	<meta name="twitter:title" content="Alex Yang &#8226; Saturday, May 16, 2026 • 7:30pm" />
	<meta name="twitter:description" content="Winner of the 2026 Cecilia Concerts Developing Musician Award, Halifax pianist Alex Yang brings extraordinary poise, depth, and command to a demanding and wide-ranging solo program. Still only 17, Alex has already earned national and international attention for playing marked by clarity, sensitivity, and strong musical insight. His program brings together the lyric intensity of Schubert’s “Allegretto in C Minor,” D. 915, the emotional range and shifting character of Chopin’s complete “24 Preludes,” Op. 28, the dramatic force and spiritual depth of Beethoven’s “Sonata in C Minor,” Op. 111, and the dazzling virtuosity and colour of Liszt’s “Rhapsodie espagnole.” Alex studies at the Juilliard Pre-College and has already earned major recognition on both sides of the border, including a full fellowship to the Aspen Music Festival and School, first prize in the Juilliard Pre-College Concerto Competition, and selection as the 2026 Debut Atlantic Award for Musical Excellence for a second consecutive year. This choose-what-you-pay concert offers Halifax audiences the chance to hear one of Canada’s most exciting young pianists at a remarkable moment in his artistic development. Season Sponsor: Nice Moves / Red Door Realty." />
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.home_blog article .tcol-md-12.postcontent p, .home_blog article .tcol-sm-12.postcontent p {
    text-align: justify;
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.home div#kad-blog-grid {
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.panel.panel-default .panel-body {
   font-size: 14px;
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@media (max-width: 768px){
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}

@media (max-width: 767px){
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.woocommerce span.onsale, span.onsale {
background: #eb2429;
}

dt.tm-final-totals {
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}

.product .kad-light-gallery .product_image {
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.product_item .add_to_cart_button {
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}

.product_item a.button {
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div.product .product_meta {
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div.product .product_label .kad_required {
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div.product p.stock {
display:none;
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.footerclass a:hover {
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.mc4wp-form input[type="submit"] {
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.product_item.hidetheaction:hover .kad_add_to_cart {
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@media (max-width: 767px){
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}

/* Site wide topar*/
.topclass {
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.admin-bar .topclass {
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#kad-banner {
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#containerfooter .menu li a {
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h1.product_title.entry-title {
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h1.product_title.entry-title {
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.cart_totals p small {
display: none;
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.product_header, .pricebox, div.product .product_meta {
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/* Remove padding from front of images */
[class*=wp-image] {
padding: 0px;
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.button, .kad-btn {
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.stb .stb-close {
font-size: 30px;
color: #ffffff;
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.sf-menu a {
padding: 10px 0px 10px 30px;
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/* Site wide footer adjustment */
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/* Button Shape */
input[type=submit] {
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.topbarmenu ul li a:hover {
color: #ffffff;
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.topbarmenu ul li a {
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.topbarmenu ul li a {
font-size: 15px;
font-family: open sans !important;
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.page-header {
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.footercredits p, .footernav ul li a {
font-size: 14px;
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.footerclass a:hover {
color: #ffffff;
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.boxed #wrapper.container {
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box-shadow: none !important;
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.single-article .post .entry-title {
display:none;
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.home_blog .hometitle {
display:none;
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.single-article article {
margin-top: 0;
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.single-article aside {
margin-top: 0;
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.single-article .post header {
display: none;
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.footernav ul li a {
color: #ffffff;
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.footercredits p {
color: #ffffff !important;
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.sm-kad-btn {
font-size: 15px;
line-height: 15px;
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jQuery(document).ready(function ($) {
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/* Center tabs and reset default floats */
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.custom-tabs ul.nav.nav-tabs.sc_tabs li {
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/* General button style */
.custom-tabs ul.nav.nav-tabs.sc_tabs li a {
  display: inline-block;
  padding: 10px 18px;
  color: #fff !important;
  border-radius: 4px;
  text-decoration: none;
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}

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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(1) a {
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(1) a:hover,
.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(1).active a {
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.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(2) a:hover,
.custom-tabs ul.nav.nav-tabs.sc_tabs li:nth-child(2).active a {
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}

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}
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@media (min-width: 768px) {
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    justify-content: center !important;
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    flex-wrap: nowrap;
    gap: 20px;
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  .custom-tabs ul.nav.nav-tabs.sc_tabs li {
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    flex: 0 0 280px;   /* fixed equal width – tweak if needed */
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    display: block !important;
    width: 100% !important;
    text-align: center;
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/* Extra strong Firefox-safe override */
ul.nav.nav-tabs.sc_tabs[style],
ul.nav.nav-tabs.sc_tabs {
  display: flex !important;
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  flex-wrap: wrap !important;
  gap: 12px !important;
  list-style: none !important;
  padding: 0 !important;
  margin: 0 auto !important;
}

body ul.nav.nav-tabs.sc_tabs,
body .custom-tabs ul.nav.nav-tabs.sc_tabs {
  display: flex !important;
  justify-content: center !important;
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  margin: 0 auto !important;
}
body ul.nav.nav-tabs.sc_tabs li a {
  display: block !important;
  width: 100% !important;
  text-align: center !important;
}		</style>
		<style type="text/css" title="dynamic-css" class="options-output">header #logo a.brand,.logofont{font-family:Roboto;line-height:1px;font-weight:400;font-style:normal;color:#ffffff;font-size:1px;}.kad_tagline{font-family:Roboto;line-height:1px;font-weight:400;font-style:normal;color:#ffffff;font-size:1px;}.product_item .product_details h5{font-family:Roboto;line-height:18px;font-weight:700;font-style:normal;color:#353535;font-size:15px;}h1{font-family:Roboto;line-height:32px;font-weight:700;font-style:normal;font-size:25px;}h2{font-family:Roboto;line-height:40px;font-weight:700;font-style:normal;font-size:32px;}h3{font-family:Roboto;line-height:34px;font-weight:700;font-style:normal;font-size:25px;}h4{font-family:Roboto;line-height:30px;font-weight:400;font-style:normal;color:#3f3f3f;font-size:24px;}h5{font-family:Roboto;line-height:13px;font-weight:400;font-style:normal;color:#0c0c0c;font-size:11px;}body{font-family:Roboto;line-height:20px;font-weight:400;font-style:normal;font-size:15px;}#nav-main ul.sf-menu a, .nav-main ul.sf-menu a{font-family:Roboto;line-height:15px;font-weight:400;font-style:normal;color:#ffffff;font-size:17px;}#nav-second ul.sf-menu a{font-family:Roboto;line-height:20px;font-weight:500;font-style:normal;color:#ffffff;font-size:18px;}#nav-main ul.sf-menu ul li a, #nav-second ul.sf-menu ul li a, .nav-main ul.sf-menu ul li a{line-height:17px;font-size:15px;}#nav-main ul.sf-menu ul li a:hover, #nav-main ul.sf-menu ul li a:focus, #nav-second ul.sf-menu ul li a:hover, #nav-second ul.sf-menu ul li a:focus, .nav-main ul.sf-menu ul li a:hover, .nav-main ul.sf-menu ul li a:focus{color:#d6552d;}.kad-nav-inner .kad-mnav, .kad-mobile-nav .kad-nav-inner li a,.nav-trigger-case{font-family:Roboto;line-height:18px;font-weight:normal;font-style:normal;color:#ffffff;font-size:16px;}</style><link rel='stylesheet' id='wc-stripe-blocks-checkout-style-css' href='https://www.ceciliaconcerts.ca/wp-content/plugins/woocommerce-gateway-stripe/build/upe-blocks.css?ver=f2371901e73cb7e29721' type='text/css' media='all' />

</head>
<body class="wp-singular product-template-default single single-product postid-40244 wp-embed-responsive wp-theme-virtue_premium theme-virtue_premium siteorigin-panels siteorigin-panels-before-js woocommerce woocommerce-page woocommerce-no-js kwt-woo-builder-product kt-turnoff-lightbox notsticky virtue-skin-default wide pianist-alex-yang" data-smooth-scrolling="0" data-smooth-scrolling-hide="0" data-jsselect="1" data-product-tab-scroll="0" data-animate="1" data-sticky="0" >
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		<div class="row">
			<div class="col-md-6 clearfix kad-header-left">
				<div id="logo" class="logocase">
					<a class="brand logofont" href="https://www.ceciliaconcerts.ca/" title="Cecilia Concerts | Halifax, Nova Scotia">
													<div id="thelogo">
								<div class="kt-intrinsic-container kt-intrinsic-container-center" style="max-width:480px"><div class="kt-intrinsic" style="padding-bottom:25.208333333333%;"><img src="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-480x121.png" width="480" height="121" srcset="https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-480x121.png 480w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-300x76.png 300w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE-768x194.png 768w, https://www.ceciliaconcerts.ca/wp-content/uploads/2025/08/Cecilia-Concerts-Halifax-Nova-Scotia-Logo-960x214-MOBILE.png 848w" sizes="(max-width: 480px) 100vw, 480px" class="kad-standard-logo" alt="Cecilia Concerts logo in large white serif text on a black background. To the right of the logo is a black-and-white logo for Season Sponsor “Nice Moves Real Estate | Jules Chamberlain.ca”" ></div></div>							</div>
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						<div class="col-md-6 kad-header-right">
							<nav id="nav-main" class="clearfix">
					<ul id="menu-main-menu-1" class="sf-menu"><li  class=" sf-dropdown menu-item-has-children menu-item-21558 menu-item menu-home"><a href="https://www.ceciliaconcerts.ca/"><span>Home</span></a>
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</li>
<li  class=" menu-item-7825 menu-item menu-about"><a href="https://ceciliaconcerts.ca/about/"><span>About</span></a></li>
<li  class=" sf-dropdown menu-item-has-children menu-item-5430 menu-item menu-programs"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Programs</span></a>
<ul class="sub-menu sf-dropdown-menu dropdown">
	<li  class=" menu-item-15651 menu-item menu-upcoming-concerts"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Upcoming Concerts</span></a></li>
	<li  class=" menu-item-25033 menu-item menu-composer-in-residence"><a href="https://www.ceciliaconcerts.ca/composer-in-residence/"><span>Composer-in-Residence</span></a></li>
	<li  class=" menu-item-38650 menu-item menu-developing-musician-award"><a href="https://www.ceciliaconcerts.ca/developing-musician-award/"><span>Developing Musician Award</span></a></li>
	<li  class=" menu-item-17480 menu-item menu-musician-in-residence"><a href="https://www.ceciliaconcerts.ca/musician-in-residence/"><span>Musician-in-Residence</span></a></li>
	<li  class=" menu-item-24976 menu-item menu-sensory-accessible-concerts"><a href="https://www.ceciliaconcerts.ca/sensory-accessible-concerts/"><span>Sensory-Accessible Concerts</span></a></li>
	<li  class=" menu-item-15653 menu-item menu-tickets-subscriptions"><a href="https://www.ceciliaconcerts.ca/tickets/"><span>Tickets &#038; Subscriptions</span></a></li>
</ul>
</li>
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	<div class="container mobile-header-container" style="height:80px">
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							<button class="mh-nav-trigger-case collapsed" data-toggle="collapse" rel="nofollow" title="Menu" aria-label="Menu" data-target=".mh-mobile_menu_collapse" style="line-height:80px;">
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<ul class="sub-menu sf-dropdown-menu dropdown">
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	<li  class=" menu-item-13039 menu-item menu-checkout"><a href="https://www.ceciliaconcerts.ca/checkout/"><span>Checkout</span></a></li>
</ul>
</li>
<li  class=" menu-item-7825 menu-item menu-about"><a href="https://ceciliaconcerts.ca/about/"><span>About</span></a></li>
<li  class=" sf-dropdown menu-item-has-children menu-item-5430 menu-item menu-programs"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Programs</span></a>
<ul class="sub-menu sf-dropdown-menu dropdown">
	<li  class=" menu-item-15651 menu-item menu-upcoming-concerts"><a href="https://www.ceciliaconcerts.ca/concerts/"><span>Upcoming Concerts</span></a></li>
	<li  class=" menu-item-25033 menu-item menu-composer-in-residence"><a href="https://www.ceciliaconcerts.ca/composer-in-residence/"><span>Composer-in-Residence</span></a></li>
	<li  class=" menu-item-38650 menu-item menu-developing-musician-award"><a href="https://www.ceciliaconcerts.ca/developing-musician-award/"><span>Developing Musician Award</span></a></li>
	<li  class=" menu-item-17480 menu-item menu-musician-in-residence"><a href="https://www.ceciliaconcerts.ca/musician-in-residence/"><span>Musician-in-Residence</span></a></li>
	<li  class=" menu-item-24976 menu-item menu-sensory-accessible-concerts"><a href="https://www.ceciliaconcerts.ca/sensory-accessible-concerts/"><span>Sensory-Accessible Concerts</span></a></li>
	<li  class=" menu-item-15653 menu-item menu-tickets-subscriptions"><a href="https://www.ceciliaconcerts.ca/tickets/"><span>Tickets &#038; Subscriptions</span></a></li>
</ul>
</li>
<li  class=" sf-dropdown menu-item-has-children menu-item-20232 menu-item menu-donate"><a href="https://www.ceciliaconcerts.ca/donate-now/"><span>Donate</span></a>
<ul class="sub-menu sf-dropdown-menu dropdown">
	<li  class=" menu-item-33670 menu-item menu-donate-now"><a href="https://www.ceciliaconcerts.ca/donate-now/"><span>Donate Now</span></a></li>
	<li  class=" menu-item-5704 menu-item menu-donation-options"><a title="Menu Item Donate" href="https://www.ceciliaconcerts.ca/donations/"><span>Donation Options</span></a></li>
</ul>
</li>
<li  class=" menu-item-5381 menu-item menu-contact"><a href="https://www.ceciliaconcerts.ca/contact/"><span>Contact</span></a></li>
</ul>		</div>
		</div>
			</div>   
		</div>
	 
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<ul class="nav nav-tabs sc_tabs"><li class="active"><a href="#sctab5880" rel="nofollow">ABOUT-EN</a></li>
<li class=""><a href="#sctab5881" rel="nofollow">PROGRAM-EN</a></li>
<li class=""><a href="#sctab5882" rel="nofollow">À PROPOS-FR</a></li>
<li class=""><a href="#sctab5883" rel="nofollow">PROGRAMME-FR</a></li></ul> <div class="tab-content postclass"><div class="tab-pane clearfix active" id="sctab5880">
<h1><strong>Pianist Alex Yang</strong></h1>
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<h5><strong>			<i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SATURDAY, MAY 16, 2026 • 7:30PM</strong></h5>
<h5><strong>			<i class="icon-location " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
<h5><strong>			<i class="icon-globe " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				HALIFAX, NOVA SCOTIA</strong></h5>
<h5><strong>			<i class="icon-accessibility2 " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				WHEELCHAIR ACCESSIBLE</strong></h5>
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<h4>About this Concert</h4>
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<p>Winner of the 2026 Cecilia Concerts<a href="https://www.ceciliaconcerts.ca/developing-musician-award/"> Developing Musician Award</a>, Halifax pianist Alex Yang brings extraordinary poise, depth, and command to a demanding and wide-ranging solo program. Still only 17, Alex has already earned national and international attention for playing marked by clarity, sensitivity, and strong musical insight. His program brings together the lyric intensity of Schubert’s “Allegretto in C Minor,” D. 915, the emotional range and shifting character of Chopin’s complete “24 Preludes,” Op. 28, the dramatic force and spiritual depth of Beethoven’s “Sonata in C Minor,” Op. 111, and the dazzling virtuosity and colour of Liszt’s “Rhapsodie espagnole.” Alex studies at the Juilliard Pre-College and has already earned major recognition on both sides of the border, including a full fellowship to the Aspen Music Festival and School, first prize in the Juilliard Pre-College Concerto Competition, and selection as the 2026 Debut Atlantic Award for Musical Excellence for a second consecutive year. This choose-what-you-pay concert offers Halifax audiences the chance to hear one of Canada’s most exciting young pianists at a remarkable moment in his artistic development. Season Sponsor:<span class="gmail-Apple-converted-space"> <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Nice Moves / Red Door Realty</a>.</span><i></i></div>
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<h5 style="text-align: justify;"><strong>			<i class="icon-users " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				ARTISTS</strong>: Alex Yang, piano</h5>
<h5><strong>			<i class="icon-music " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SPECIAL PRESENTATION CONCERT</strong></h5>
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<h4>About the Program</h4>
<h4><strong> </strong></h4>
<p style="font-weight: 400;"><strong>Franz Schubert </strong>(1797-1828)</p>
<p style="font-weight: 400;"><strong>Allegretto in C Minor, D.915</strong></p>
<p style="font-weight: 400; text-align: justify;"><strong> </strong>Franz Schubert wrote his <em>Allegretto in C minor</em> for a friend who was about to leave Vienna for a diplomatic posting in Venice.  It was, in a way, a farewell gift. It was composed in a single day, April 26, 1827, exactly one month after the death of Ludwig van Beethoven, one of Schubert’s musical heroes.  This two-fold loss likely accounts for the general air of melancholy that pervades the piece.</p>
<p style="font-weight: 400; text-align: justify;">Besides the melancholy, Alex Yang notes that there are many moments of surprise, with changes  in the tonality and harmony. The emotional tone is ambiguous; moments of warmth and intimacy are interspersed with moments of desolation. Sudden rests punctuated with dramatic chords convey a sense of disquiet. Still, Schubert’s melodic gifts are on clear display throughout.</p>
<p style="font-weight: 400; text-align: justify;">The timing of the composition, and the selection of the key of C Minor both point to the likelihood that the piece was, if not directly a tribute to Beethoven, at least a recollection of him. At any rate, the <em>Allegretto</em> makes an apt “prelude” to the Beethoven <em>Sonata in C Minor.</em></p>
<p style="font-weight: 400;"><em>.</em></p>
<p style="font-weight: 400;"><strong>Ludwig van Beethoven </strong>(1770-1827)</p>
<p style="font-weight: 400;"><strong>Sonata in C Minor, Op. 111</strong></p>
<p style="font-weight: 400; padding-left: 40px;"><em>I. Maestoso – Allegro con brio ed appassionato<br />
</em><em>II. Arietta: Adagio molto semplice e cantabile</em></p>
<p style="font-weight: 400; text-align: justify;">Alex Yang refers to Beethoven’s <em>Sonata in C Minor </em>as “my dream piece”.  For him, it is “one of the greatest things ever written”. The two movements of the sonata “are polar opposites – the first movement is infernal, the second, celestial,” and it is in the second movement that he finds a deep connection. In fact, Alex sees the structure of the piece reflecting the full cycle of the twenty-four hour day.  The first movement conveys the darkness of a night filled with anguish, the darkness of nightmares and the gloom of the underworld. It ends with a tone of restlessness. The second movement is all daylight. The rhythm and dynamics intensify as the music moves through the day, expressing an intense passion for life and all its experiences. The trills in the upper register elevate the tone from the earthly to the celestial, and as evening approaches, the expression remains positive. In spite of oncoming darkness, there is, not angst, not triumph, but a calm and peaceful sense of gratitude. Alex’s views appear to be in accord with those of another pianist, Alfred Brendel who commented on the second movement of the <em>Sonata in C Minor  </em>that "what is to be expressed here is distilled experience" and "perhaps nowhere else in piano literature does mystical experience feel so immediately close at hand".  Alex referred to the story that Beethoven, when asked why he composed only two movements rather than the standard structure of three, or even four, movements, replied, “I didn’t have time.” After chuckling at Beethoven’s response, Alex pointed out that after the second movement, the piece was complete and that anything added would have been extraneous – when you have gone from the infernal to the celestial, where else is there to go?</p>
<p style="font-weight: 400; text-align: justify;"><strong> </strong></p>
<p style="font-weight: 400;"><strong>Frederic Chopin </strong>(1810-1849)</p>
<p style="font-weight: 400;"><strong>24 Preludes, opus 28</strong></p>
<p style="font-weight: 400; text-align: justify;">Apparently Chopin had a copy of Bach’s <em>Well Tempered Clavier</em> with him when he travelled to Majorca with George Sand and her children to escape the damp Paris winter in 1838-39. Bach’s work is a set of twenty-four preludes and fugues written in a complete cycle of major and minor keys. Chopin’s set of twenty-four preludes, which he completed that winter, also contains a complete cycle of all major and minor keys.  However, in Bach’s work, each prelude is an introduction to a second piece, the fugue. When asked what Chopin’s preludes introduced, Alex Yang replied that each prelude was an introduction to the next one. He said that the set was like a novel, or rather a series of novels, like the Harry Potter series.  Each one can stand on its own; however each subsequent prelude is enhanced by the previous one and the entire sequence becomes richer, more substantial and more intense as a result of what has come before it. “They complement each other so wonderfully.” Overall, while there are abrupt shifts in mood and moments of optimism, the “novel” created by the Preludes is a tragedy.</p>
<p style="font-weight: 400; text-align: justify;">In Alex’s view, the <em>24 Preludes</em> are very well planned and they convey a tremendous range of emotion. The twenty-four are structured as four sets of six. The first group are relatively calm although there is an immediate sense that something is amiss. The second set (from 7 to 12) contain a wild agitation and drive; “they are totally out there”, he says. The third set (13 to 18) trend “even more to a feeling of instability”.  The final set intensifies the drama until the twenty-fourth prelude ends dramatically with notes in the very bottom register. “It ends with a nail being driven into the coffin”, marking a complete end to the entire cycle. “It is a culmination as well as a prelude.”</p>
<p style="font-weight: 400;"><strong> </strong></p>
<p style="font-weight: 400;"><strong>Franz Liszt </strong>(1811-1886)</p>
<p style="font-weight: 400;"><strong>Rhapsodie Espagnole, S. 254</strong></p>
<p style="font-weight: 400; text-align: justify;">Franz Liszt’s reputation as a pianistic rock star developed from his fifteen year career as a touring virtuoso in the 1830s and 1840s. During this period he travelled throughout Europe.  Included in these travels was an extended period spent in Spain and Portugal during 1844–45. Composed in 1858, more than a decade after he abandoned touring to devote his energies to composition, <em>Rhapsodie espagnole</em> is derived from Liszt’s Iberian experience. At the heart of the <em>Rhapsodie</em>are two popular Iberian dance tunes, “La Folia” and “Jota Aragonesa”.  The character of the <em>Rhapsodie espagnole</em> is quite different from that of its Hungarian counterparts – instead of Hungarian boisterousness and deep melancholy, one encounters Spanish grace and elegance.</p>
<p style="font-weight: 400; text-align: justify;">While Alex Yang agreed that some listeners find some of Liszt’s pieces too self-consciously virtuosic, he says that this is not the case here. This is a more mature Liszt who has “total control over every variation”. Liszt captured the distinctive Spanish flair, and even when he sets off fireworks of representative rhythms and tone colours with a highly virtuosic presto finale,  it is in service of the music.  Alex says that he finds the  <em>Rhapsodie espagnole </em>one of Liszt’s most charismatic pieces: “The sound wraps you in a big bear hug”.</p>
<p class="p1" style="text-align: justify;"><em>Program notes by Larry Bent, based on an interview with Alex Yang in late April. </em><em>We thank Alex for his time, his thoughtful insights, and his inspiration. The strength of these notes reflects his intelligence, clarity, and deep love for the music.</em></p>
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<h4>About the Artist</h4>
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<p>&nbsp;</p>
<p><strong>Alex Yang</strong>, piano</p>
<p class="p1" style="text-align: justify;">Recognized as one of Canada’s most compelling emerging artists, Alex Yang studies at the Juilliard Pre-College with Yoheved Kaplinsky, and has previously studied with Emanuel Ax, Michael Berkovsky, and Lynn Stodola. In 2025, he was awarded a full fellowship to the Aspen Music Festival and School. He also distinguished himself at Angela Hewitt’s Trasimeno Music Festival Masterclasses in Italy, where he was praised for his “remarkable clarity and sense of line” and “remarkable sensitivity.”</p>
<p class="p1" style="text-align: justify;">Alex recently won the Juilliard Pre-College Concerto Competition and will perform Beethoven’s “Emperor” Concerto at Lincoln Center in February 2026. His many accolades include prizes at the Kaufman International Piano Competition, Grand Prize at the Federation of Canadian Music Festivals National Competition, and finalist standing at the Canadian Chopin Competition, Senior Division. He has also been featured on CBC Music’s “30 Hot Canadian Classical Musicians Under 30.”</p>
<p class="p1" style="text-align: justify;">Alex is the winner of Cecilia Concerts’ 2026 Developing Musician Award. He was selected by a jury of leading Canadian classical musicians and educators, including flautist Marina Piccinini, violinist Jonathan Crow,, pianist and vocal coach Michael McMahon, pianist Silvie Cheng, as well as jazz trumpeter Abbey Frias. He is also the recipient of the 2026 Debut Atlantic Award for Musical Excellence, marking his second consecutive win following his 2025 award.</p>
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<h3>Pianiste Alex Yang</h3>
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<h5><strong>			<i class="icon-calendar " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				SAMEDI 16 MAI 2026 • </strong><strong>19h30</strong></h5>
<h5><strong>			<i class="icon-location " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				STAGE AT ST. ANDREWS • 6036 COBURG RD</strong></h5>
<h5><strong>			<i class="icon-globe " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				HALIFAX, NOUVELLE-ÉCOSSE</strong></h5>
<h5><strong>			<i class="icon-accessibility2 " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				ACCESSIBLE EN FAUTEUIL ROULANT</strong></h5>
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<h4>À propos de ce concert</h4>
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<p class="p1" style="text-align: justify;">Lauréat du <a href="https://www.ceciliaconcerts.ca/developing-musician-award/">Prix Développer un musicien</a> 2026 de Cecilia Concerts, le pianiste haligonien Alex Yang impressionne par son calme, sa profondeur musicale et sa maîtrise dans un programme solo exigeant et riche en contrastes. À seulement 17 ans, Alex attire déjà l’attention à l’échelle nationale et internationale grâce à un jeu empreint de clarté, de sensibilité et d’une grande intelligence musicale. Son programme réunit l’intensité lyrique de l’« Allegretto en do mineur », D. 915 de Schubert, toute la richesse émotionnelle et les multiples visages des « 24 Préludes », op. 28 de Chopin, la force dramatique et la profondeur spirituelle de la « Sonate en do mineur », op. 111 de Beethoven, ainsi que la virtuosité éclatante et les couleurs de la « Rhapsodie espagnole » de Liszt. Alex étudie actuellement au programme préuniversitaire de la Juilliard School et a déjà reçu d’importantes distinctions des deux côtés de la frontière, dont une bourse complète pour l’Aspen Music Festival and School, le premier prix du Concours de concerto préuniversitaire de Juilliard, ainsi que le Prix d’excellence musicale Debut Atlantic 2026 pour une deuxième année consécutive. Ce concert choisissez votre prix offre au public haligonien l’occasion d’entendre l’un des jeunes pianistes les plus prometteurs du Canada à un moment marquant de son parcours artistique. Sponsor de la saison :<span class="gmail-Apple-converted-space"> <a href="https://www.reddoorrealty.ca/our-realtors/jules-chamberlain/" target="_blank" rel="noopener">Nice Moves / Red Door Realty</a>.</span></p>
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<h5 style="text-align: justify;"><strong>			<i class="icon-users " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				</strong><strong>ARTISTES </strong>: Alex Yang, piano</h5>
<h5><strong>			<i class="icon-music " style="font-size:14px; display:inline-block; color:#0a0a0a; 			"></i>
				CONCERT DE PRÉSENTATION SPÉCIALE</strong></h5>
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<h4>À propos du programme</h4>
<p>&nbsp;</p>
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<p class="p1"><strong>Franz Schubert</strong> (1797-1828)</p>
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<p class="p1"><strong>Allegretto en do mineur, D. 915</strong></p>
<p class="p1" style="text-align: justify;">Franz Schubert a composé son Allegretto en do mineur pour un ami qui s’apprêtait à quitter Vienne afin d’occuper un poste diplomatique à Venise. C’était, en quelque sorte, un cadeau d’adieu. L’œuvre a été composée en une seule journée, le 26 avril 1827, exactement un mois après la mort de Ludwig van Beethoven, l’un des héros musicaux de Schubert. Cette double perte explique sans doute l’atmosphère générale de mélancolie qui traverse la pièce.</p>
<p class="p1" style="text-align: justify;">Au-delà de cette mélancolie, Alex Yang souligne les nombreux moments de surprise, avec des changements de tonalité et d’harmonie. Le climat émotionnel demeure ambigu : des passages empreints de chaleur et d’intimité alternent avec des moments de désolation. Des silences soudains, ponctués d’accords dramatiques, créent un sentiment d’inquiétude. Malgré tout, le don mélodique de Schubert se révèle clairement tout au long de l’œuvre.</p>
<p class="p1" style="text-align: justify;">Le moment de la composition, ainsi que le choix de la tonalité de do mineur, laissent croire que cette pièce était, sinon un hommage direct à Beethoven, du moins une évocation de sa mémoire. Quoi qu’il en soit, l’Allegretto constitue un « prélude » tout indiqué à la Sonate en do mineur de Beethoven.</p>
<p>&nbsp;</p>
<p class="p1"><strong>Ludwig van Beethoven</strong> (1770-1827)</p>
<p class="p1"><strong>Sonate en do mineur, op. 111</strong></p>
<p class="p1" style="padding-left: 40px;"><em>I. Maestoso – Allegro con brio ed appassionato</em><br />
<em>II. Arietta : Adagio molto semplice e cantabile</em></p>
<p class="p1" style="text-align: justify;">Alex Yang décrit la Sonate en do mineur de Beethoven comme « la pièce de mes rêves ». Pour lui, il s’agit de « l’une des plus grandes choses jamais écrites ». Les deux mouvements de la sonate « sont des pôles opposés : le premier mouvement est infernal, le second, céleste », et c’est dans le deuxième mouvement qu’il trouve une résonance profonde.</p>
<p class="p1" style="text-align: justify;">Alex voit même dans la structure de l’œuvre le reflet d’un cycle complet de vingt-quatre heures. Le premier mouvement évoque l’obscurité d’une nuit remplie d’angoisse, la noirceur des cauchemars et les ténèbres du monde souterrain. Il se termine dans un climat d’agitation. Le second mouvement est tout entier baigné de lumière. Le rythme et les nuances s’intensifient à mesure que la musique avance dans la journée, exprimant une passion profonde pour la vie et pour toutes ses expériences. Les trilles dans le registre aigu élèvent le climat de la terre vers le céleste et, lorsque le soir approche, l’expression demeure positive. Malgré l’obscurité qui s’annonce, il n’y a ni angoisse ni triomphe, mais plutôt un sentiment calme et paisible de gratitude.</p>
<p class="p1" style="text-align: justify;">La lecture d’Alex rejoint celle d’un autre pianiste, Alfred Brendel, qui a écrit à propos du deuxième mouvement de la Sonate en do mineur que « ce qui doit être exprimé ici est une expérience distillée » et que « peut-être nulle part ailleurs dans la littérature pour piano l’expérience mystique ne semble aussi immédiatement à portée de main ».</p>
<p class="p1" style="text-align: justify;">Alex a aussi évoqué l’histoire selon laquelle Beethoven, à qui l’on demandait pourquoi il n’avait composé que deux mouvements plutôt que la structure habituelle de trois, voire quatre mouvements, aurait répondu : « Je n’avais pas le temps. » Après avoir ri de cette réponse, Alex a souligné qu’après le deuxième mouvement, l’œuvre était complète, et que tout ajout aurait été superflu. Lorsqu’on est passé de l’infernal au céleste, où peut-on encore aller?</p>
<p>&nbsp;</p>
<p class="p1"><strong>Frédéric Chopin</strong> (1810-1849)</p>
<p class="p1"><strong>24 Préludes, op. 28</strong></p>
<p class="p1" style="text-align: justify;">Il semble que Chopin avait avec lui un exemplaire du Clavier bien tempéré de Bach lorsqu’il s’est rendu à Majorque avec George Sand et ses enfants pour échapper à l’hiver humide de Paris en 1838-1839. L’œuvre de Bach est un ensemble de vingt-quatre préludes et fugues écrits selon un cycle complet de tonalités majeures et mineures. L’ensemble des vingt-quatre préludes de Chopin, achevé au cours de cet hiver, contient lui aussi un cycle complet de toutes les tonalités majeures et mineures.</p>
<p class="p1" style="text-align: justify;">Dans l’œuvre de Bach, chaque prélude sert toutefois d’introduction à une seconde pièce, la fugue. Lorsqu’on lui a demandé à quoi les préludes de Chopin servaient d’introduction, Alex Yang a répondu que chaque prélude introduisait le suivant. Il a comparé l’ensemble à un roman, ou plutôt à une série de romans, comme la série Harry Potter. Chaque prélude peut exister par lui-même, mais chacun enrichit le suivant, et l’ensemble devient plus riche, plus substantiel et plus intense grâce à ce qui l’a précédé. « Ils se complètent si merveilleusement. » Dans l’ensemble, malgré des changements brusques de climat et des moments d’optimisme, le « roman » créé par les Préludes est une tragédie.</p>
<p class="p1" style="text-align: justify;">Selon Alex, les 24 Préludes sont très soigneusement construits et expriment une gamme immense d’émotions. Les vingt-quatre pièces sont structurées en quatre groupes de six. Le premier groupe est relativement calme, même si l’on sent dès le départ que quelque chose ne va pas. Le deuxième groupe, des préludes 7 à 12, contient une agitation et une énergie sauvages. « Ils sont complètement déchaînés », dit-il. Le troisième groupe, des préludes 13 à 18, tend « encore davantage vers un sentiment d’instabilité ». Le dernier groupe intensifie le drame jusqu’au vingt-quatrième prélude, qui se termine de façon saisissante par des notes dans le registre le plus grave. « Cela se termine comme un clou enfoncé dans le cercueil », marquant la fin complète de tout le cycle. « C’est à la fois un aboutissement et un prélude. »</p>
<p>&nbsp;</p>
<p class="p1"><strong>Franz Liszt</strong> (1811-1886)</p>
<p class="p1"><strong>Rhapsodie espagnole, S. 254</strong></p>
<p class="p1" style="text-align: justify;">La réputation de Franz Liszt comme véritable vedette du piano s’est construite au cours de ses quinze années de carrière comme virtuose en tournée, dans les années 1830 et 1840. Durant cette période, il a voyagé à travers l’Europe. Ses déplacements l’ont notamment mené en Espagne et au Portugal, où il a séjourné longuement en 1844-1845. Composée en 1858, plus de dix ans après qu’il eut abandonné les tournées pour consacrer son énergie à la composition, la Rhapsodie espagnole prend racine dans l’expérience ibérique de Liszt.</p>
<p class="p1" style="text-align: justify;">Au cœur de la Rhapsodie se trouvent deux airs de danse ibériques populaires, « La Folia » et « Jota Aragonesa ». Le caractère de la Rhapsodie espagnole diffère beaucoup de celui de ses rhapsodies hongroises : au lieu de l’exubérance hongroise et de la profonde mélancolie, on y trouve la grâce et l’élégance espagnoles.</p>
<p class="p1" style="text-align: justify;">Alex Yang reconnaît que certains auditeurs trouvent certaines œuvres de Liszt trop consciemment virtuoses, mais il affirme que ce n’est pas le cas ici. Il s’agit d’un Liszt plus mûr, qui exerce un « contrôle total sur chaque variation ». Liszt y saisit le caractère espagnol distinctif et, même lorsqu’il déploie un feu d’artifice de rythmes et de couleurs sonores dans un finale presto hautement virtuose, tout demeure au service de la musique. Alex dit considérer la Rhapsodie espagnole comme l’une des œuvres les plus charismatiques de Liszt : « Le son vous enveloppe comme un gros câlin. »</p>
<p class="p1" style="text-align: justify;"><em>Notes de programme de Larry Bent, fondées sur une entrevue avec Alex Yang réalisée à la fin avril. Nous remercions Alex pour son temps, ses réflexions éclairantes et son inspiration. La force de ces notes reflète son intelligence, sa clarté et son amour profond de la musique.</em></p>
<div class="hrule clearfix" style=" height:1px"></div>
<h4>À propos de l’artiste</h4>
<p>&nbsp;</p>
<p><strong>Alex Yang</strong>, piano</p>
<p style="text-align: justify;">Reconnu comme l’un des jeunes artistes les plus captivants au Canada, Alex Yang étudie au programme préuniversitaire de la Juilliard School auprès de Yoheved Kaplinsky. Il a aussi étudié avec Emanuel Ax, Michael Berkovsky et Lynn Stodola. En 2025, il a reçu une bourse complète pour participer à l’Aspen Music Festival and School. Il s’est également distingué aux classes de maître du Trasimeno Music Festival d’Angela Hewitt, en Italie, où l’on a salué sa « clarté remarquable et son sens de la ligne » ainsi que sa « sensibilité remarquable ».</p>
<p style="text-align: justify;">Alex a récemment remporté le Concours de concerto du programme préuniversitaire de la Juilliard School et interprétera le Concerto « Empereur » de Beethoven au Lincoln Center en février 2026. Parmi ses nombreuses distinctions figurent des prix au Kaufman International Piano Competition, le Grand prix du Concours national de la Fédération canadienne des festivals de musique et une place de finaliste au Concours Chopin canadien, division sénior. Il a aussi figuré dans la liste « 30 Hot Canadian Classical Musicians Under 30 » de CBC Music.</p>
<p style="text-align: justify;">Alex est le lauréat du Developing Musician Award 2026 de Cecilia Concerts. Il a été choisi par un jury composé de grands musiciens et pédagogues canadiens, dont la flûtiste Marina Piccinini, le violoniste Jonathan Crow, le pianiste et coach vocal Michael McMahon, la pianiste Silvie Cheng, ainsi que la trompettiste jazz Abbey Frias. Il est également le récipiendaire du Debut Atlantic Award for Musical Excellence 2026, ce qui marque une deuxième victoire consécutive après son prix reçu en 2025.</p>
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        <script type="application/ld+json">{"@context":"https://schema.org/","@type":"Product","@id":"https://www.ceciliaconcerts.ca/concert/pianist-alex-yang/#product","name":"Alex Yang","url":"https://www.ceciliaconcerts.ca/concert/pianist-alex-yang/","description":"CHOOSE-WHAT-YOU-PAY/CHOISISSEZ VOTRE TARIF\n\t\t\t\n\t\t\t\tELECTRONIC TICKETS/BILLETS \u00c9LECTRONIQUES\n\nBuy Tickets / Acheter des billets\nThis is a choose-what-you-pay concert. Please enter the ticket price that works best for you. / Il s\u2019agit d\u2019un concert \u00e0 contribution libre. Veuillez entrer le prix du billet qui vous convient le mieux.In stock\n\n\t\n\t\n\t\t \n\t\n\t\t\n\t\tEnter Your Price Per Ticket: ( &amp;#036; )\n\n\t\t\n\t\t\n\n\t\t\n\t\t\t\n\n\t\n\n\n\t\t\n\n\t\t\n\t\tAlex Yang quantity\n\t\n\t\n\n\t\tSELECT QTY &amp;amp; CLICK HERE\n\n\t\t\t\n\n\t\n\nABOUT-EN\nPROGRAM-EN\n\u00c0 PROPOS-FR\nPROGRAMME-FR \nPianist Alex Yang\n\n\n\t\t\t\n\t\t\t\tSATURDAY, MAY 16, 2026 \u2022 7:30PM\n\t\t\t\n\t\t\t\tSTAGE AT ST. ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tHALIFAX, NOVA SCOTIA\n\t\t\t\n\t\t\t\tWHEELCHAIR ACCESSIBLE\n\n\nAbout this Concert\n\n\n\n\nWinner of the 2026 Cecilia Concerts Developing Musician Award, Halifax pianist Alex Yang brings extraordinary poise, depth, and command to a demanding and wide-ranging solo program. Still only 17, Alex has already earned national and international attention for playing marked by clarity, sensitivity, and strong musical insight. His program brings together the lyric intensity of Schubert\u2019s \u201cAllegretto in C Minor,\u201d D. 915, the emotional range and shifting character of Chopin\u2019s complete \u201c24 Preludes,\u201d Op. 28, the dramatic force and spiritual depth of Beethoven\u2019s \u201cSonata in C Minor,\u201d Op. 111, and the dazzling virtuosity and colour of Liszt\u2019s \u201cRhapsodie espagnole.\u201d Alex studies at the Juilliard Pre-College and has already earned major recognition on both sides of the border, including a full fellowship to the Aspen Music Festival and School, first prize in the Juilliard Pre-College Concerto Competition, and selection as the 2026 Debut Atlantic Award for Musical Excellence for a second consecutive year. This choose-what-you-pay concert offers Halifax audiences the chance to hear one of Canada\u2019s most exciting young pianists at a remarkable moment in his artistic development. Season Sponsor: Nice Moves / Red Door Realty.\n\n\n\t\t\t\n\t\t\t\tARTISTS: Alex Yang, piano\n\t\t\t\n\t\t\t\tSPECIAL PRESENTATION CONCERT\n\n\nAbout the Program\n\u00a0\nFranz Schubert (1797-1828)\nAllegretto in C Minor, D.915\n\u00a0Franz Schubert wrote his Allegretto in C minor for a friend who was about to leave Vienna for a diplomatic posting in Venice.\u00a0 It was, in a way, a farewell gift. It was composed in a single day, April 26, 1827, exactly one month after the death of Ludwig van Beethoven, one of Schubert\u2019s musical heroes.\u00a0 This two-fold loss likely accounts for the general air of melancholy that pervades the piece.\nBesides the melancholy, Alex Yang notes that there are many moments of surprise, with changes\u00a0 in the tonality and harmony. The emotional tone is ambiguous; moments of warmth and intimacy are interspersed with moments of desolation. Sudden rests punctuated with dramatic chords convey a sense of disquiet. Still, Schubert\u2019s melodic gifts are on clear display throughout.\nThe timing of the composition, and the selection of the key of C Minor both point to the likelihood that the piece was, if not directly a tribute to Beethoven, at least a recollection of him. At any rate, the Allegretto makes an apt \u201cprelude\u201d to the Beethoven Sonata in C Minor.\n.\nLudwig van Beethoven (1770-1827)\nSonata in C Minor, Op. 111\nI. Maestoso \u2013 Allegro con brio ed appassionato\nII. Arietta: Adagio molto semplice e cantabile\n\nAlex Yang refers to Beethoven\u2019s Sonata in C Minor as \u201cmy dream piece\u201d.\u00a0 For him, it is \u201cone of the greatest things ever written\u201d. The two movements of the sonata \u201care polar opposites \u2013 the first movement is infernal, the second, celestial,\u201d and it is in the second movement that he finds a deep connection. In fact, Alex sees the structure of the piece reflecting the full cycle of the twenty-four hour day.\u00a0 The first movement conveys the darkness of a night filled with anguish, the darkness of nightmares and the gloom of the underworld. It ends with a tone of restlessness. The second movement is all daylight. The rhythm and dynamics intensify as the music moves through the day, expressing an intense passion for life and all its experiences. The trills in the upper register elevate the tone from the earthly to the celestial, and as evening approaches, the expression remains positive. In spite of oncoming darkness, there is, not angst, not triumph, but a calm and peaceful sense of gratitude. Alex\u2019s views appear to be in accord with those of another pianist, Alfred Brendel who commented on the second movement of the Sonata in C Minor\u00a0 that \"what is to be expressed here is distilled experience\" and \"perhaps nowhere else in piano literature does mystical experience feel so immediately close at hand\".\u00a0 Alex referred to the story that Beethoven, when asked why he composed only two movements rather than the standard structure of three, or even four, movements, replied, \u201cI didn\u2019t have time.\u201d After chuckling at Beethoven\u2019s response, Alex pointed out that after the second movement, the piece was complete and that anything added would have been extraneous \u2013 when you have gone from the infernal to the celestial, where else is there to go?\n\u00a0\nFrederic Chopin (1810-1849)\n24 Preludes, opus 28\nApparently Chopin had a copy of Bach\u2019s Well Tempered Clavier with him when he travelled to Majorca with George Sand and her children to escape the damp Paris winter in 1838-39. Bach\u2019s work is a set of twenty-four preludes and fugues written in a complete cycle of major and minor keys. Chopin\u2019s set of twenty-four preludes, which he completed that winter, also contains a complete cycle of all major and minor keys.\u00a0 However, in Bach\u2019s work, each prelude is an introduction to a second piece, the fugue. When asked what Chopin\u2019s preludes introduced, Alex Yang replied that each prelude was an introduction to the next one. He said that the set was like a novel, or rather a series of novels, like the Harry Potter series.\u00a0 Each one can stand on its own; however each subsequent prelude is enhanced by the previous one and the entire sequence becomes richer, more substantial and more intense as a result of what has come before it. \u201cThey complement each other so wonderfully.\u201d Overall, while there are abrupt shifts in mood and moments of optimism, the \u201cnovel\u201d created by the Preludes is a tragedy.\nIn Alex\u2019s view, the 24 Preludes are very well planned and they convey a tremendous range of emotion. The twenty-four are structured as four sets of six. The first group are relatively calm although there is an immediate sense that something is amiss. The second set (from 7 to 12) contain a wild agitation and drive; \u201cthey are totally out there\u201d, he says. The third set (13 to 18) trend \u201ceven more to a feeling of instability\u201d.\u00a0 The final set intensifies the drama until the twenty-fourth prelude ends dramatically with notes in the very bottom register. \u201cIt ends with a nail being driven into the coffin\u201d, marking a complete end to the entire cycle. \u201cIt is a culmination as well as a prelude.\u201d\n\u00a0\nFranz Liszt (1811-1886)\nRhapsodie Espagnole, S. 254\nFranz Liszt\u2019s reputation as a pianistic rock star developed from his fifteen year career as a touring virtuoso in the 1830s and 1840s. During this period he travelled throughout Europe.\u00a0 Included in these travels was an extended period spent in Spain and Portugal during 1844\u201345. Composed in 1858, more than a decade after he abandoned touring to devote his energies to composition, Rhapsodie espagnole is derived from Liszt\u2019s Iberian experience. At the heart of the Rhapsodieare two popular Iberian dance tunes, \u201cLa Folia\u201d and \u201cJota Aragonesa\u201d.\u00a0 The character of the Rhapsodie espagnole is quite different from that of its Hungarian counterparts \u2013 instead of Hungarian boisterousness and deep melancholy, one encounters Spanish grace and elegance.\nWhile Alex Yang agreed that some listeners find some of Liszt\u2019s pieces too self-consciously virtuosic, he says that this is not the case here. This is a more mature Liszt who has \u201ctotal control over every variation\u201d. Liszt captured the distinctive Spanish flair, and even when he sets off fireworks of representative rhythms and tone colours with a highly virtuosic presto finale,\u00a0 it is in service of the music.\u00a0 Alex says that he finds the\u00a0 Rhapsodie espagnole one of Liszt\u2019s most charismatic pieces: \u201cThe sound wraps you in a big bear hug\u201d.\nProgram notes by Larry Bent, based on an interview with Alex Yang in late April. We thank Alex for his time, his thoughtful insights, and his inspiration. The strength of these notes reflects his intelligence, clarity, and deep love for the music.\n\n\n\n\nAbout the Artist\n\n\n&amp;nbsp;\n\nAlex Yang, piano\nRecognized as one of Canada\u2019s most compelling emerging artists, Alex Yang studies at the Juilliard Pre-College with Yoheved Kaplinsky, and has previously studied with Emanuel Ax, Michael Berkovsky, and Lynn Stodola. In 2025, he was awarded a full fellowship to the Aspen Music Festival and School. He also distinguished himself at Angela Hewitt\u2019s Trasimeno Music Festival Masterclasses in Italy, where he was praised for his \u201cremarkable clarity and sense of line\u201d and \u201cremarkable sensitivity.\u201d\nAlex recently won the Juilliard Pre-College Concerto Competition and will perform Beethoven\u2019s \u201cEmperor\u201d Concerto at Lincoln Center in February 2026. His many accolades include prizes at the Kaufman International Piano Competition, Grand Prize at the Federation of Canadian Music Festivals National Competition, and finalist standing at the Canadian Chopin Competition, Senior Division. He has also been featured on CBC Music\u2019s \u201c30 Hot Canadian Classical Musicians Under 30.\u201d\nAlex is the winner of Cecilia Concerts\u2019 2026 Developing Musician Award. He was selected by a jury of leading Canadian classical musicians and educators, including flautist Marina Piccinini, violinist Jonathan Crow,, pianist and vocal coach Michael McMahon, pianist Silvie Cheng, as well as jazz trumpeter Abbey Frias. He is also the recipient of the 2026 Debut Atlantic Award for Musical Excellence, marking his second consecutive win following his 2025 award.\n\n\n\nPianiste Alex Yang\n\n\n\t\t\t\n\t\t\t\tSAMEDI 16 MAI 2026 \u2022 19h30\n\t\t\t\n\t\t\t\tSTAGE AT ST. ANDREWS \u2022 6036 COBURG RD\n\t\t\t\n\t\t\t\tHALIFAX, NOUVELLE-\u00c9COSSE\n\t\t\t\n\t\t\t\tACCESSIBLE EN FAUTEUIL ROULANT\n\n\n\n\u00c0 propos de ce concert\n\n\nLaur\u00e9at du Prix D\u00e9velopper un musicien 2026 de Cecilia Concerts, le pianiste haligonien Alex Yang impressionne par son calme, sa profondeur musicale et sa ma\u00eetrise dans un programme solo exigeant et riche en contrastes. \u00c0 seulement 17 ans, Alex attire d\u00e9j\u00e0 l\u2019attention \u00e0 l\u2019\u00e9chelle nationale et internationale gr\u00e2ce \u00e0 un jeu empreint de clart\u00e9, de sensibilit\u00e9 et d\u2019une grande intelligence musicale. Son programme r\u00e9unit l\u2019intensit\u00e9 lyrique de l\u2019\u00ab Allegretto en do mineur \u00bb, D. 915 de Schubert, toute la richesse \u00e9motionnelle et les multiples visages des \u00ab 24 Pr\u00e9ludes \u00bb, op. 28 de Chopin, la force dramatique et la profondeur spirituelle de la \u00ab Sonate en do mineur \u00bb, op. 111 de Beethoven, ainsi que la virtuosit\u00e9 \u00e9clatante et les couleurs de la \u00ab Rhapsodie espagnole \u00bb de Liszt. Alex \u00e9tudie actuellement au programme pr\u00e9universitaire de la Juilliard School et a d\u00e9j\u00e0 re\u00e7u d\u2019importantes distinctions des deux c\u00f4t\u00e9s de la fronti\u00e8re, dont une bourse compl\u00e8te pour l\u2019Aspen Music Festival and School, le premier prix du Concours de concerto pr\u00e9universitaire de Juilliard, ainsi que le Prix d\u2019excellence musicale Debut Atlantic 2026 pour une deuxi\u00e8me ann\u00e9e cons\u00e9cutive. Ce concert choisissez votre prix offre au public haligonien l\u2019occasion d\u2019entendre l\u2019un des jeunes pianistes les plus prometteurs du Canada \u00e0 un moment marquant de son parcours artistique. Sponsor de la saison : Nice Moves / Red Door Realty.\n\n\n\n\t\t\t\n\t\t\t\tARTISTES : Alex Yang, piano\n\t\t\t\n\t\t\t\tCONCERT DE PR\u00c9SENTATION SP\u00c9CIALE\n\n\n\u00c0 propos du programme\n&amp;nbsp;\n\nFranz Schubert (1797-1828)\n\n\nAllegretto en do mineur, D. 915\nFranz Schubert a compos\u00e9 son Allegretto en do mineur pour un ami qui s\u2019appr\u00eatait \u00e0 quitter Vienne afin d\u2019occuper un poste diplomatique \u00e0 Venise. C\u2019\u00e9tait, en quelque sorte, un cadeau d\u2019adieu. L\u2019\u0153uvre a \u00e9t\u00e9 compos\u00e9e en une seule journ\u00e9e, le 26 avril 1827, exactement un mois apr\u00e8s la mort de Ludwig van Beethoven, l\u2019un des h\u00e9ros musicaux de Schubert. Cette double perte explique sans doute l\u2019atmosph\u00e8re g\u00e9n\u00e9rale de m\u00e9lancolie qui traverse la pi\u00e8ce.\nAu-del\u00e0 de cette m\u00e9lancolie, Alex Yang souligne les nombreux moments de surprise, avec des changements de tonalit\u00e9 et d\u2019harmonie. Le climat \u00e9motionnel demeure ambigu : des passages empreints de chaleur et d\u2019intimit\u00e9 alternent avec des moments de d\u00e9solation. Des silences soudains, ponctu\u00e9s d\u2019accords dramatiques, cr\u00e9ent un sentiment d\u2019inqui\u00e9tude. Malgr\u00e9 tout, le don m\u00e9lodique de Schubert se r\u00e9v\u00e8le clairement tout au long de l\u2019\u0153uvre.\nLe moment de la composition, ainsi que le choix de la tonalit\u00e9 de do mineur, laissent croire que cette pi\u00e8ce \u00e9tait, sinon un hommage direct \u00e0 Beethoven, du moins une \u00e9vocation de sa m\u00e9moire. Quoi qu\u2019il en soit, l\u2019Allegretto constitue un \u00ab pr\u00e9lude \u00bb tout indiqu\u00e9 \u00e0 la Sonate en do mineur de Beethoven.\n\n&amp;nbsp;\nLudwig van Beethoven (1770-1827)\nSonate en do mineur, op. 111\nI. Maestoso \u2013 Allegro con brio ed appassionato\nII. Arietta : Adagio molto semplice e cantabile\n\nAlex Yang d\u00e9crit la Sonate en do mineur de Beethoven comme \u00ab la pi\u00e8ce de mes r\u00eaves \u00bb. Pour lui, il s\u2019agit de \u00ab l\u2019une des plus grandes choses jamais \u00e9crites \u00bb. Les deux mouvements de la sonate \u00ab sont des p\u00f4les oppos\u00e9s : le premier mouvement est infernal, le second, c\u00e9leste \u00bb, et c\u2019est dans le deuxi\u00e8me mouvement qu\u2019il trouve une r\u00e9sonance profonde.\nAlex voit m\u00eame dans la structure de l\u2019\u0153uvre le reflet d\u2019un cycle complet de vingt-quatre heures. Le premier mouvement \u00e9voque l\u2019obscurit\u00e9 d\u2019une nuit remplie d\u2019angoisse, la noirceur des cauchemars et les t\u00e9n\u00e8bres du monde souterrain. Il se termine dans un climat d\u2019agitation. Le second mouvement est tout entier baign\u00e9 de lumi\u00e8re. Le rythme et les nuances s\u2019intensifient \u00e0 mesure que la musique avance dans la journ\u00e9e, exprimant une passion profonde pour la vie et pour toutes ses exp\u00e9riences. Les trilles dans le registre aigu \u00e9l\u00e8vent le climat de la terre vers le c\u00e9leste et, lorsque le soir approche, l\u2019expression demeure positive. Malgr\u00e9 l\u2019obscurit\u00e9 qui s\u2019annonce, il n\u2019y a ni angoisse ni triomphe, mais plut\u00f4t un sentiment calme et paisible de gratitude.\nLa lecture d\u2019Alex rejoint celle d\u2019un autre pianiste, Alfred Brendel, qui a \u00e9crit \u00e0 propos du deuxi\u00e8me mouvement de la Sonate en do mineur que \u00ab ce qui doit \u00eatre exprim\u00e9 ici est une exp\u00e9rience distill\u00e9e \u00bb et que \u00ab peut-\u00eatre nulle part ailleurs dans la litt\u00e9rature pour piano l\u2019exp\u00e9rience mystique ne semble aussi imm\u00e9diatement \u00e0 port\u00e9e de main \u00bb.\nAlex a aussi \u00e9voqu\u00e9 l\u2019histoire selon laquelle Beethoven, \u00e0 qui l\u2019on demandait pourquoi il n\u2019avait compos\u00e9 que deux mouvements plut\u00f4t que la structure habituelle de trois, voire quatre mouvements, aurait r\u00e9pondu : \u00ab Je n\u2019avais pas le temps. \u00bb Apr\u00e8s avoir ri de cette r\u00e9ponse, Alex a soulign\u00e9 qu\u2019apr\u00e8s le deuxi\u00e8me mouvement, l\u2019\u0153uvre \u00e9tait compl\u00e8te, et que tout ajout aurait \u00e9t\u00e9 superflu. Lorsqu\u2019on est pass\u00e9 de l\u2019infernal au c\u00e9leste, o\u00f9 peut-on encore aller?\n\n&amp;nbsp;\nFr\u00e9d\u00e9ric Chopin (1810-1849)\n24 Pr\u00e9ludes, op. 28\nIl semble que Chopin avait avec lui un exemplaire du Clavier bien temp\u00e9r\u00e9 de Bach lorsqu\u2019il s\u2019est rendu \u00e0 Majorque avec George Sand et ses enfants pour \u00e9chapper \u00e0 l\u2019hiver humide de Paris en 1838-1839. L\u2019\u0153uvre de Bach est un ensemble de vingt-quatre pr\u00e9ludes et fugues \u00e9crits selon un cycle complet de tonalit\u00e9s majeures et mineures. L\u2019ensemble des vingt-quatre pr\u00e9ludes de Chopin, achev\u00e9 au cours de cet hiver, contient lui aussi un cycle complet de toutes les tonalit\u00e9s majeures et mineures.\nDans l\u2019\u0153uvre de Bach, chaque pr\u00e9lude sert toutefois d\u2019introduction \u00e0 une seconde pi\u00e8ce, la fugue. Lorsqu\u2019on lui a demand\u00e9 \u00e0 quoi les pr\u00e9ludes de Chopin servaient d\u2019introduction, Alex Yang a r\u00e9pondu que chaque pr\u00e9lude introduisait le suivant. Il a compar\u00e9 l\u2019ensemble \u00e0 un roman, ou plut\u00f4t \u00e0 une s\u00e9rie de romans, comme la s\u00e9rie Harry Potter. Chaque pr\u00e9lude peut exister par lui-m\u00eame, mais chacun enrichit le suivant, et l\u2019ensemble devient plus riche, plus substantiel et plus intense gr\u00e2ce \u00e0 ce qui l\u2019a pr\u00e9c\u00e9d\u00e9. \u00ab Ils se compl\u00e8tent si merveilleusement. \u00bb Dans l\u2019ensemble, malgr\u00e9 des changements brusques de climat et des moments d\u2019optimisme, le \u00ab roman \u00bb cr\u00e9\u00e9 par les Pr\u00e9ludes est une trag\u00e9die.\nSelon Alex, les 24 Pr\u00e9ludes sont tr\u00e8s soigneusement construits et expriment une gamme immense d\u2019\u00e9motions. Les vingt-quatre pi\u00e8ces sont structur\u00e9es en quatre groupes de six. Le premier groupe est relativement calme, m\u00eame si l\u2019on sent d\u00e8s le d\u00e9part que quelque chose ne va pas. Le deuxi\u00e8me groupe, des pr\u00e9ludes 7 \u00e0 12, contient une agitation et une \u00e9nergie sauvages. \u00ab Ils sont compl\u00e8tement d\u00e9cha\u00een\u00e9s \u00bb, dit-il. Le troisi\u00e8me groupe, des pr\u00e9ludes 13 \u00e0 18, tend \u00ab encore davantage vers un sentiment d\u2019instabilit\u00e9 \u00bb. Le dernier groupe intensifie le drame jusqu\u2019au vingt-quatri\u00e8me pr\u00e9lude, qui se termine de fa\u00e7on saisissante par des notes dans le registre le plus grave. \u00ab Cela se termine comme un clou enfonc\u00e9 dans le cercueil \u00bb, marquant la fin compl\u00e8te de tout le cycle. \u00ab C\u2019est \u00e0 la fois un aboutissement et un pr\u00e9lude. \u00bb\n\n&amp;nbsp;\nFranz Liszt (1811-1886)\nRhapsodie espagnole, S. 254\nLa r\u00e9putation de Franz Liszt comme v\u00e9ritable vedette du piano s\u2019est construite au cours de ses quinze ann\u00e9es de carri\u00e8re comme virtuose en tourn\u00e9e, dans les ann\u00e9es 1830 et 1840. Durant cette p\u00e9riode, il a voyag\u00e9 \u00e0 travers l\u2019Europe. Ses d\u00e9placements l\u2019ont notamment men\u00e9 en Espagne et au Portugal, o\u00f9 il a s\u00e9journ\u00e9 longuement en 1844-1845. Compos\u00e9e en 1858, plus de dix ans apr\u00e8s qu\u2019il eut abandonn\u00e9 les tourn\u00e9es pour consacrer son \u00e9nergie \u00e0 la composition, la Rhapsodie espagnole prend racine dans l\u2019exp\u00e9rience ib\u00e9rique de Liszt.\nAu c\u0153ur de la Rhapsodie se trouvent deux airs de danse ib\u00e9riques populaires, \u00ab La Folia \u00bb et \u00ab Jota Aragonesa \u00bb. Le caract\u00e8re de la Rhapsodie espagnole diff\u00e8re beaucoup de celui de ses rhapsodies hongroises : au lieu de l\u2019exub\u00e9rance hongroise et de la profonde m\u00e9lancolie, on y trouve la gr\u00e2ce et l\u2019\u00e9l\u00e9gance espagnoles.\nAlex Yang reconna\u00eet que certains auditeurs trouvent certaines \u0153uvres de Liszt trop consciemment virtuoses, mais il affirme que ce n\u2019est pas le cas ici. Il s\u2019agit d\u2019un Liszt plus m\u00fbr, qui exerce un \u00ab contr\u00f4le total sur chaque variation \u00bb. Liszt y saisit le caract\u00e8re espagnol distinctif et, m\u00eame lorsqu\u2019il d\u00e9ploie un feu d\u2019artifice de rythmes et de couleurs sonores dans un finale presto hautement virtuose, tout demeure au service de la musique. Alex dit consid\u00e9rer la Rhapsodie espagnole comme l\u2019une des \u0153uvres les plus charismatiques de Liszt : \u00ab Le son vous enveloppe comme un gros c\u00e2lin. \u00bb\nNotes de programme de Larry Bent, fond\u00e9es sur une entrevue avec Alex Yang r\u00e9alis\u00e9e \u00e0 la fin avril. Nous remercions Alex pour son temps, ses r\u00e9flexions \u00e9clairantes et son inspiration. La force de ces notes refl\u00e8te son intelligence, sa clart\u00e9 et son amour profond de la musique.\n\n\n\u00c0 propos de l\u2019artiste\n&amp;nbsp;\n\nAlex Yang, piano\nReconnu comme l\u2019un des jeunes artistes les plus captivants au Canada, Alex Yang \u00e9tudie au programme pr\u00e9universitaire de la Juilliard School aupr\u00e8s de Yoheved Kaplinsky. Il a aussi \u00e9tudi\u00e9 avec Emanuel Ax, Michael Berkovsky et Lynn Stodola. En 2025, il a re\u00e7u une bourse compl\u00e8te pour participer \u00e0 l\u2019Aspen Music Festival and School. Il s\u2019est \u00e9galement distingu\u00e9 aux classes de ma\u00eetre du Trasimeno Music Festival d\u2019Angela Hewitt, en Italie, o\u00f9 l\u2019on a salu\u00e9 sa \u00ab clart\u00e9 remarquable et son sens de la ligne \u00bb ainsi que sa \u00ab sensibilit\u00e9 remarquable \u00bb.\nAlex a r\u00e9cemment remport\u00e9 le Concours de concerto du programme pr\u00e9universitaire de la Juilliard School et interpr\u00e9tera le Concerto \u00ab Empereur \u00bb de Beethoven au Lincoln Center en f\u00e9vrier 2026. Parmi ses nombreuses distinctions figurent des prix au Kaufman International Piano Competition, le Grand prix du Concours national de la F\u00e9d\u00e9ration canadienne des festivals de musique et une place de finaliste au Concours Chopin canadien, division s\u00e9nior. Il a aussi figur\u00e9 dans la liste \u00ab 30 Hot Canadian Classical Musicians Under 30 \u00bb de CBC Music.\nAlex est le laur\u00e9at du Developing Musician Award 2026 de Cecilia Concerts. Il a \u00e9t\u00e9 choisi par un jury compos\u00e9 de grands musiciens et p\u00e9dagogues canadiens, dont la fl\u00fbtiste Marina Piccinini, le violoniste Jonathan Crow, le pianiste et coach vocal Michael McMahon, la pianiste Silvie Cheng, ainsi que la trompettiste jazz Abbey Frias. Il est \u00e9galement le r\u00e9cipiendaire du Debut Atlantic Award for Musical Excellence 2026, ce qui marque une deuxi\u00e8me victoire cons\u00e9cutive apr\u00e8s son prix re\u00e7u en 2025.","image":"https://www.ceciliaconcerts.ca/wp-content/uploads/2025/06/Cecilia-Concerts-Classical-Music-Halifax-Nova-Scotia-Alex-Yang.jpg","sku":40244,"offers":[{"@type":"Offer","priceSpecification":[{"@type":"UnitPriceSpecification","price":"0.00","priceCurrency":"CAD","valueAddedTaxIncluded":false,"validThrough":"2027-12-31"}],"priceValidUntil":"2027-12-31","availability":"https://schema.org/InStock","url":"https://www.ceciliaconcerts.ca/concert/pianist-alex-yang/","seller":{"@type":"Organization","name":"Cecilia Concerts | Halifax, Nova Scotia","url":"https://www.ceciliaconcerts.ca"}}]}</script><style media="all" id="siteorigin-panels-layouts-footer">/* Layout 40244 */ #pgc-40244-0-0 { width:40.0263%;width:calc(40.0263% - ( 0.59973718222505 * 30px ) ) } #pgc-40244-0-1 { 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