MusicOn+ InterArts Festival presents Taige Wang in Review
Taige Wang, piano
The Blanc, New York, NY
October 3rd, 2026
New York audiences are quite spoiled, having the chance to hear first-hand some of the most talented young artists in the world, and it is often (too) easy to become jaded and overlook substantial achievements which start to seem “the norm.” Sometimes performances that would conquer audiences elsewhere get a bit lost in the “middle ground” of the towering New York musical season. This was not the case with pianist Taige Wang’s superb recital this afternoon at The Blanc, which opened the current season of the MusicOn+ InterArts Festival.
At only 16 years old, Mr. Wang is already a captivating presence and a formidable talent. Before he even walked on stage, he introduced himself as a pianist and composer via a video projected behind the opened lid of the piano. Though unusual, this was a very effective and original start to this event, and yet I’m not sure entirely necessary because once the pianist started speaking to the audience, he came through as such a charming and likable presence that I felt we got all the information that was needed. He introduced each piece, giving us some background about the composers and their writing styles, as well as information about the history and inspiration for each of the works performed. When Mr. Wang mentioned that (unlike what was printed in the program) there will be no intermission to this concert, I was alarmed that we may be in for a long and ponderous afternoon, but as soon as he started playing I realized that nobody in the house would be bored.
First in the program were two keyboard Sonatas by Scarlatti (K. 491 in D major, and K. 455 in G major) played with crystal-clear sound, supple phrasing and beautiful shades of color. Occasionally, there was some struggle with repeated double notes, which was surprising considering that Mr. Wang is a Juilliard-trained young artist, studying with competition juries mainstay Veda Kaplinsky.
Next, we got a very musical interpretation of Granados’ La Maya y el Ruiseñor, perhaps a little labored and lacking the simplicity which a more mature artist can bring to this heartfelt music. However, the seeds of greatness are definitely rooted in Taige Wang’s soil and, with proper guidance and relentless soul-searching, they will produce an exceptional harvest. Mr. Wang has impressive control of dynamics and a wonderful spontaneity which breaks through every musical gesture.
Liszt’s Reminiscences de Norma followed; the opening played with great authority and nobility, enveloping the small space in a gorgeous cape of sound, without ever sounding forced or harsh. The singing tone that the pianist elicited from his instrument could give a run for their money to some of the most formidable singers of present and past. Mr. Wang never allowed the many flourishes introduced by Liszt to get in the way of the melodic beauty of Bellini’s themes.
The second half of the program was dedicated to new (or relatively newer) music, and first came a piece for tenor and piano by Yiming Wu, in which Mr. Wang was joined by tenor James Kil. Atmospheric and lyrical, with shades of Rachmaninov and Ravel, this work offered both artists a chance to showcase a wide range of skills and emotions. I wasn’t able to understand the words, which may be a reason why Mr. Kil’s interpretation came through rather matter-of-fact, no match for the expansive and fluid support provided by Mr. Wang.
Trois Nouvelles, based on three short stories, are the work of Taige Wang himself who first recounted each story (beautifully) and then invited his friends to join him on stage. They were violinist Chanhee Jin, clarinetist Michael Sun, and bassoonist Felix Zhou. Perhaps because of the winning way in which Mr. Wang introduced the source material, one could literally see (and hear) every event translated into sound. At 16, it is obviously too soon to talk about an “individual” style, and yet Mr. Wang’s pieces don’t sound derivative. They have a very personal heartbeat and use an already sophisticated arsenal of compositional tools. Particularly the second tableau – inspired by the story of a young girl who lives on a planet where the Sun shines only once every seven years, for just one hour – displayed a mastery in handling ideas and a gift for subtle voicing which are hard to find even in the work of more experienced composers. All four players were fully invested in telling these stories – not a single note sounded indifferent.
In a fitting finale to the recital, Mr. Wang was joined by fellow pianist Andrew Huang in a four-hand version of Gershwin’s Rhapsody in Blue (also arranged by Taige Wang!). Well, the first thing I can say is these young men had fun! This arrangement retained about eight minutes of material from the original version, but sounded perfectly tailored for the two young artists and for the space in which it was performed. Here, much as in the Granados piece, time – and experience – will add another coat of polish, more flavor and less Lisztian rage; I do hope, though, that both pianists will never lose an ounce of their enthusiasm, joy and playfulness!
I was fortunate to be seated next to the other performers and therefore able to observe the genuine excitement with which they listened and supported their friends on stage! Moments like this are a balm for the soul, and reason to believe that Classical Music can still stir up great passion and interest among the youngest of us!
