“...More recently in ISO history, it's been rewarding to appreciate the position of Su-Han Yang as associate conductor. He not only managed the eccentricities of the concerto and Schnittke's "Moz-Art a la Haydn," both with unconventional stage layouts (for which Yang rendered appropriate kudos to the four-man crew under the management of Kit Williams), but also brought Mozart fully into the picture with his conducting insights in the Symphony No. 36 in C major, K. 425 ("Linz")...”
by Jay Harvey
November 2, 2024
Jay Harvey Upstage
“...Yang's clear, imaginative and well-defined stick technique drew from his colleagues a fine performance of Rachmaninoff's 1936 farewell to the symphonic form...This is a perky piece, with the composer more confident in displaying a variety of color. Broad vistas of the sort that lead concertgoers to cherish Rachmaninoff were quite solidly presented in the finale. There are gratifying touches of humor, including Haydnesque pauses just before the final chords. Along the way, there's some imaginative writing for percussion, and among the solos, those by Peter Vickery, sitting in the concertmaster's chair this weekend, had a particularly glossy finish to them. All of this added up Friday to a display of Yang's commitment to this score, which he had credibly imparted to the orchestra...”
by Jay Harvey
April 6, 2024
Jay Harvey Upstage
「…指揮家楊書涵帶領樂團高低聲部交織時，音樂相當有活力且豐富，段落間的速度變化銜接得到好處…終曲樂章NSO在指揮楊書涵的帶領下，得以呈現光輝且燦爛卻又不出框架的演奏。」
徐韻豐
March 22, 2022
「…不得不提到他指揮棒下的樂團音色，實在是近來NSO最美的一回。木管組及弦樂皆有非常美好的調和，甚至偶爾能聽見跨樂器組時無縫接續音色的絕活，而這即使是國外前線樂團也非時時做到的。聽眾也能感受到，這些艷美的聲響都不是愚昧的聲光刺激，而是和音樂的進行有所融貫扶持的…」
顏采騰
March 25, 2021
“…The real protagonist of the concert, however, was the conductor, as he stepped on the podium throughout the evening, interpreting the profile of each production. Su-Han Yang professional: Conducts with precise and informative gestures, his gestures testify to his thorough knowledge of the pieces. It controls me in detail, it has a sense of color, moods, characters. Its most important feature is its validity, which can be described not only by telling you what you do, but also by drawing attention to what you avoid: for example, you do not organize shows, apply 'visual elements' that for conductors, they offer an easy way to the heart of the audience. Whether or not he will be a significant individual, the future tells us that the experience of a single concert is not enough to predict that. At the concert, I felt he had the lowest affinity for Kodaly's Peacock variations, he conducted the contemporary concerto accurately and sensitively, and the two play pieces, Stravinsky's Firebird Suite and Richard Strauss's Till Eulenspiegel, were most helpful, create high-volume productions. The Radio Orchestra played throughout the evening in a cheerful and condescending manner, but its performance was not without some less polished details.”
December 3, 2019
“…on July 20th, Sinfonia Iuventus was conducted by Su-Han Yang - a nearly thirty-year-old conductor from Taiwan, last year's winner of the Fitelberg Competition - and it was one of the most interesting and best concerts of this year's festival. We heard Elgar's Polonia and Paderewski's Symphony in B minor "Polonia". Both works were performed with piety and great commitment, but Su-Han Yang created a real artistic creation by interpreting Paderewski's Symphony. The extensive work, sometimes incoherent in terms of construction, captured under his baton an interesting and consistent dramatic course, magnificent colours and expression. The conductor got acquainted with Paderewski's score on the occasion of the festival. As he said, he was delighted with this music and is ready to promote it all over the world. So the festival fulfilled its task in this case.”
by Anna Woźniakowska
Ruch Muzyczny, No. 8/9 (2018): 74–75
“…Su-HanYang, with a stirring performance of the Brahms Fourth Symphony, its impact all the more impressive for sounding fresh and vital, despite repeated hearings during the competition. Yang, still only 28, conducts with an infectious energy and lots of movement, but always to clearly musical ends. For a work that can sound overly intellectual and ruminative, this was a Brahms Four of energy, colour and imagination – a rousing end to a colourful week in Katowice.”
by Gavin Dixon
November 18, 2017
theartsdesk.com
“He started to play right away, like most contestants, reacting in justified moments, here and there. He is 28 years old, and he still has the charm of a youth. A very interesting young man: vibrant, reacting spontaneously, relaxed, smiling, brilliant. His conducting of the overture was excellent; when he was approaching the end, I couldn’t imagine there wouldn’t be any applause (which had never happened here in the middle of the performance). And I was right, the audience reacted spontaneously to his performance with true applause. Right after that he started to work on “The Force of Destiny”. He gave the orchestra different minor, but precise tasks, which were implemented immediately. When he was humming some melody to the band, he was singing precisely in tune, which doesn’t happen too often here – such a basic thing, and still an exception… Briskly and decisively, he went on to “Haffner” Symphony and soon he played the entire first movement. He was understandable and legible the entire time, in his gestures, statements, movements, and on top of that he was very down-to-earth and diligent, still remaining a sensitive musician, an artist. The orchestra played very beautifully and grandly for him. He is so cheerful, so full of personal charm, and most importantly, these properties translate into the quality of his work and into an intriguing form of the music he creates. You must admit, it is a wonderful symbiosis!”
by Adam Rozlach
Review for the 1st Stage of the 10th Fitelberg Competition
Morning Session on November 21, 2017
“An incredibly sensitive, well-mannered, charming young man. Everything began very beautifully, nearly right from the start – this sensual music by Maestro Szymanowski must have become particularly close to the conductor’s sensitivity. One thing that his rendition lacked was perhaps a more balanced proportion between the violin and the orchestra (in this difficult oeuvre in this respect). He comes from Taiwan, but was trained also in Europe. He has an incredible joy and authenticity of reaction, features typical for a very young man, open to the world. He is a type of a very emotional conductor, who does not leave anybody impartial towards what he does. We worked excellently in the symphony, finding many interesting ideas, parts nicely modelled by him, implemented immediately by the orchestra musicians. He has nice, broad arm movements, he is able to increase the tension, obtaining interesting colours. He conducted the second movement with elegance and refinement. The finale was impressive, confident, and full of bravado.”
by Adam Rozlach
Review for the 2nd Stage of the 10th Fitelberg Competition
Morning Session on November 23, 2017
“My favourite! I appreciate his passion and determination, his manners, and his incredible cheerful conducting competence. He began with Szymanowski, so close to him, where, however, he had problems with controlling the sound balance (I couldn’t hear the piano at all). But apart from that the first movement was played with confidence, effectively and together – the soloist impressed us with his bravado right away. It was nice to hear them play the slow movement, where the conductor was modelling the expression from his own perspective. There were deficiencies, there were instant interruptions, corrections, and the remaining part of the movement was perfect in terms of narration and expression. The last movement went smoothly too – it was balanced and attractive. The introduction in Bartók’s Concerto started with entering totally different matter, but it was controlled quickly and successfully. Su-Han knew perfectly well what to do with it, and there was much to be done. The Taiwanese conductor proposed a serious, but still musical, play in the difficult Intermezzo interrotto, but it needs to be added here that the soloists of the Silesian Philharmonic (oboist, flutist, and clarinettist) were “playing with” music here, too. And traditionally, all the fun was suddenly interrupted by the chairman of the Jury, who ordered to move on to the fifth movement. The finale! The conductors seemed to know all the secrets of this movements like the palm of his hand. There are many difficult spots there, but he was managing perfectly well. He was excellently prepared to the Competition, he conducted at the same high level throughout all three stages. It was definitely the most colourful and interesting personality!”
by Adam Rozlach
Review for the 3rd Stage of the 10th Fitelberg Competition
Morning Session on November 24, 2017