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Digital Subscriptions > The Strad > November 2019 > TURNING OVER A NEW LEAF

TURNING OVER A NEW LEAF

Since her professional debut almost 30 years ago, Sarah Chang has maintained a glittering solo performing and recording career. But, as she tells Charlotte Smith, her more recent desire to take on ‘passion projects’ has led to fulfilling chamber and contemporary collaborations
Sarah Chang gives the world premiere performance of Fil Eisler’s Violin Concerto For J.E. on 27 April 2019 at the University of California’s Royce Hall. The work was commissioned by the American Youth Symphony as part of the Korngold Commission Project and conducted by Carlos Izcaray
ALBERTO SANTILLAN

‘As a young violinist I wanted to play Brahms so much, but this wasn’t allowed until I was more mature. He was like forbidden fruit.’ Sarah Chang is speaking to me at a café down the road from London’s Cadogan Hall on the eve of a rare recital appearance in which she will play sonatas by Bartók, Franck and her beloved Brahms with regular duo pianist Ashley Wass. ‘I learnt the Brahms Concerto when I was around eight or nine, but nobody would programme it, as no one wants to see an eight-year-old playing Brahms! So instead I did a whole bunch of Paganini, Tchaikovsky and Sibelius.’

Listening to the former child prodigy speak so matter-of-factly about performing the great Romantic concertos of the violin repertoire before she hit double figures is both fascinating and a little unsettling: fascinating, because her experience of performing with the New York Philharmonic and Philadelphia Orchestra bears no resemblance to the formative years of the average primary school child; unsettling, because the entirely necessary student–mentor relationship with such musical giants as Isaac Stern and Kurt Masur that characterised her early career might easily have made unfeasible the transition from child star to independently minded adult.

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About The Strad

Sarah Chang discusses her passion projects and we explore the lives of Chicago's early bow makers. Joseph Curtin examines bridges, there's a look at Brazil's classical music and Alisa Weilerstein reveals her Sentimental Work. Plus David Kim on sautillй.