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Wayne Weng

“Bold, vibrant, and immensely musical," and has a “delicacy amounting to almost reverence through gossamer touch" (Wiltshire Gazette & Herald). His “ability to modulate the piano’s sound coupled with his great ear easily gave him an edge” (Sioux City Journal) to capture the first prize at the 2013 Iowa Piano Competition.

Videos

Photos

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Sample Programs

Parallels and Paradoxes

 

SCHUBERT/LISZT Der Müller und der Bach 
LENNON-McCARTNEY Blackbird 
LISZT Vallée d'Obermann 
PAGE-PLANT Stairway to Heaven 
GODOWSKY Alt Wien 
RAVEL La Valse 
Intermission 
RADIOHEAD Exit Music (For A Film) 
ALBENIZ Tango from España 
DEUBSSY La puerta del Vino 
BRAHMS Romance in F major, op. 118, no. 5 
GERSHWIN I Loves You Porgy 
GERSHWIN Rhapsody in Blue 

In Response to Schubert

 

IN RESPONSE TO SCHUBERT 
SCHUBERT Selections from Valses nobles and Valses sentimentales
RAVEL Valses nobles et sentimentales 
SCHUBERT Three Piano Pieces, D. 946 
Intermission 
SCHUBERT Impromptu in C minor, D. 899, No. 1 
WIDMANN Idyll and Abyss: Six Schubert Reminiscences 
POULENC Improvisation No. 12 “Hommage à Schubert” 
RAVEL La Valse

After a Reading

With readings of related texts interspersed throughout the program 


SCHUMANN Papillons, op. 2 
PROKOFIEV Selections from Romeo and Juliet, op. 75 
LISZT Après une Lecture du Dante 
Intermission 
LISZT Vallée d'Obermann 
DEBUSSY “Les sons et les parfums tourment dans l’air du soir” 
DEBUSSY Hommage à S. Pickwick Esq. P.P.M.P.C. 
DEBUSSY Ce qu’a vu le Vent d’Ouest 
DEBUSSY La fille aux cheveux de lin 
LISZT Mephisto Waltz No. 1, “The Dance in the Village Inn” 

Swan Songs


MOZART Adagio in B minor, K. 540 
BRAHMS Six Piano Pieces, Op. 118 
CHOPIN Polonaise-Fantasie in A-flat major, Op. 61 
Intermission 
SCHUBERT Sonata in B-flat major, D. 960

Concerti

BARTOK                                              

Concerto No. 1, Sz. 83

Concerto for Two Pianos, Percussion, and Orchestra

 

BEETHOVEN                                      

Concerto No. 2 in B-flat major, Op. 19

Concerto No. 3 in C minor, Op. 37

Concerto No. 4 in G major, op. 58

Concerto No. 5 in E-flat major, Op. 73 “Emperor”

Fantasy for Piano, Chorus, and Orchestra in C minor, Op. 80

 

BRAHMS                                             

Concerto No. 1 in D minor, Op. 15

 

GERSHWIN                                         

Rhapsody in Blue

 

LISZT                                                     

Concerto No. 1 in E-flat major

Totentanz

Hungarian Fantasy

 

MOZART                                             

Concerto No. 12 in A major, K. 414

Concerto No. 23 in A major, K. 488

Concerto No. 24 in C minor, K. 491

Concerto No. 25 in C major, K. 503

Concerto No. 27 in B-flat major, K. 595

 

PROKOFIEV                                        

Concerto No. 3 in C major, Op. 26

 

RACHMANINOFF                             

Concerto No. 2 in C minor, Op. 18

 

SCHUMANN                                      

Concerto in A minor, Op. 54

 

TCHAIKOVSKY                                   

Concerto No. 1 in B-flat minor, Op. 23

Wayne Weng
 

Piano

Pianist Wayne Weng’s playing has been described as “vibrant and immensely musical,” and as having “delicacy amounting to almost reverence [...] through gossamer touch” (Wiltshire Gazette & Herald).  His “ability to modulate the piano’s sound [...] coupled with his great ear easily gave him an edge” (Sioux City Journal) to win the first prize at the 2013 Iowa Piano Competition.  He was also a prizewinner at the Washington International Competition for Piano, where his performance in the final round “raised the excitement level of the afternoon several notches.” (The Washington Post).

As a soloist as well as a collaborator, Wayne Weng has performed in Canada, the United States, England, Italy, France, Holland, Belgium, Austria, Serbia, Egypt, Hong Kong and Taiwan.  Venues include the Kennedy Center in Washington, D.C., Chicago Cultural Center, Bösendorfer Hall at the Mozarthaus in Vienna, Sala dei Notari and Teatro Pavone in Perugia, the Palace of Fontainebleau, the Fitzwilliam Museum at the Cambridge University, Bargemusic in New York, the National Music Museum in South Dakota, the 92nd St. Y in New York, Steinway Hall in New York, the Brooklyn Public Library, the 100 Club in London, the Brahms Museum in Mürzzuschlag, the Polish Consulate in New York, the Bulgarian Consulate in New York, Cairo Opera House, Taiwan Economic and Cultural Office in New York, the Chan Centre in Vancouver, the Orpheum Theatre in Vancouver, and the British Columbia Governor House, among others.  His performances have been featured on radio stations such as WFMT Chicago, WQXR New York, CBC Radio and Seattle King FM.  As a member of the Phoenix Ensemble, his first commercial recording was released in 2017 to critical acclaim.

He has performed concerti with the Vancouver Symphony Orchestra, Sioux City Symphony Orchestra, Vancouver Metropolitan Orchestra, Yonkers Philharmonic Orchestra, West Coast Symphony, Philharmonic Orchestra of University of Alicante, Victoria Symphony Orchestra, Orchestra Seattle, and the Avanti Orchestra.

Wayne Weng’s musical interests and skills extend beyond classical music.  An avid improviser, he frequently offers music from the American Songbook to the Beatles to Radiohead as encores.

In addition to performing, he devotes much of his time nurturing young students.  Many of his students have won national competitions, performed with orchestras, and appeared at venues such as the Weill Hall at Carnegie Hall.  He serves as the Chair of Piano Department at the Lindeblad School of Music in New Jersey, and has served on the faculty of Music Fest Perugia.  He has adjudicated at the Festival on the Lake and the North Shore Music Festival in British Columbia, the International Chopin Youth Competition in Houston, the Leschetizky Association Concerto Competition, and Connecticut State Music Teachers Association Competition.

 

He holds degrees from the Eastman School of Music (Bachelor of Music and Performer’s Certificate), Mannes College of Music (Master of Music), Guildhall School of Music and Drama (Master of Music with distinction), and Yale University (Artist Diploma).  He has been awarded grants from The Solti Foundation and British Columbia Arts Council.  His teachers include Donna Fishwick, Sasha Starcevich, Natalya Antonova, Pavlina Dokovska, Joan Havill, Peter Frankl, and Ursula Oppens.  Currently, he is a doctoral candidate at the City University of New York’s Graduate Center, where he is writing his dissertation on the Mutability of the Score, in which he examines the history and value of score alteration in performance. 

For more information and videos of his performances, please visit his website: www.wayneweng.com and follow him on Facebook: facebook.com/waynewengpiano.

Bio