JULIETTE KANG plays BARBER w/THE PHILADELPHIA ORCHESTRA:
"But she also made her presence known in the Barber Violin Concerto, successfully leaving a personal imprint while accommodating the wishes and views of Juliette Kang, the orchestra’s first associate concertmaster, who was soloist. Kang did a fine job. The violinist projected personality beautifully — not a given when the orchestra plucks a soloist from its ranks — and she was impressive in the fleeting last movement. She was especially good when she pushed the intensity of the first movement."
-The Philadelphia Inquirer, Feb. 14, 2022
"As soloist, associate concertmaster JULIETTE KANG brought all the qualities for which she is valued in the [Philadelphia] orchestra – none more so than the enveloping richness of her tone. She and Kim handled the shifts in Barber’s writing with practiced ease, making the shift from the refined Allegro to the histrionic Andante seem a natural progression. (Kim also drew out Alpine undertones in the second movement – a Straussian influence perhaps?) The perpetual-motion finale was played with appropriate abandon, with Kang’s solo line always maintaining the dominant hand. Within the orchestra, Kang had an ideal partner in principal oboe Philippe Tondre, whose lean, transparent tone made a superb counterpoint in the second movement’s opening bars." -Bachtrack, Feb. 14, 2022
Bruch's Scottish Fantasy with Yannick Nézet-Séguin and the Philadelphia Orchestra:
FIRST PRIZEWINNER IN BOTH THE MENUHIN AND INDIANAPOLIS COMPETITIONS
FIRST ASSOCIATE CONCERTMASTER OF THE PHILADELPHIA ORCHESTRA
"Authority is in short supply in Bruch’s Scottish Fantasy, a violin concerto in all but name that’s based on Scottish folk songs and sounds twee at best, cheap at worst. I’d even venture to say that the folk music, particularly in the final movement, stymied the composer’s creativity. At least that’s the impression I’ve had from performances by high-personality star violinists. But the orchestra’s first associate concertmaster, Juliette Kang, didn’t try to make the piece sound more imposing than it is, and did so with a rock-solid technique and beautiful tone that consistently projected sincere emotionalism. She made the piece real. I didn’t know that was possible. Her encore, a movement of Paul Hindemith’s Sonata for Violin Solo Op. 31 No. 2, was even more poetically played."
-David Stearns, The Philadelphia Inquirer
"Live" recording of the Mendelssohn Concerto: