Violinist Yang In-mo on freedom found in collaboration

Korea Herald

10-06-2025

Korean violinist reflects on his evolving artistry ahead of two concerts with Orchestre de la Suisse Romande under Jonathan Nott
In his 20s, Korean violinist Yang In-mo made his mark with high-profile wins — from the Paganini Competition in 2015 to the Sibelius Competition in 2022. Back then, most of his time was spent in solitude, immersed in rigorous practice.
More recently, however, the 29-year-old's career has entered a new phase of collaboration. Performing with orchestras around the world, he is having one of his busiest seasons yet, having played 16 concertos, including several contemporary premieres.
'In my 20s, most of my time was spent alone, practicing,' Yang said. 'Now, almost every week I collaborate with a different orchestra. That exchange is my greatest teacher now.'
'Building strong relationships with them, exploring more repertoire together, and deepening our musical connection — I think that's the greatest privilege of the career I have now," Yang said.
As he prepares to perform the Sibelius and Mendelssohn violin concertos with the Orchestre de la Suisse Romande in Korea in July, Yang reflects on a season of transformation — not just in repertoire, but in mindset.
'This was only the second time I have played with the OSR, but it felt like reconnecting with old friends. Some orchestras are distant, but OSR was open and warm. It allowed me to be completely free,' he said during a recent online interview.
Yang joined the OSR on stage in Switzerland on May 8 for Sibelius' Violin Concerto. Reflecting on the performance afterward, the conductor remarked, 'Inmo is, of course, an exceptionally talented violinist but more importantly, he's a truly great musician. We were both smiling as the concerto came to a close.'
That sense of freedom has become central to Yang's current musical philosophy. Having performed Sibelius' Violin Concerto nearly 20 times since winning the 2022 Sibelius Competition, his approach to the work has matured through both repetition and cultural immersion.
'Working with Finnish orchestras and musicians has changed how I view the piece,' Yang said. 'In Finland, I realized drama doesn't only come from human emotion. Nature has its own intensity. Silence, stillness, sudden shifts — these are part of the Finnish sensibility and Sibelius reflects that.'
Instead of focusing solely on rhythmic clarity, as many conductors do with Sibelius' complex phrasing, OSR conductor Jonathan Nott encouraged Yang to shape long, lyrical lines. 'It was the first time I felt a conductor guide Sibelius horizontally rather than vertically,' Yang notes. 'At one point, he even sang the phrase to show me his vision. That's rare.'
"He's a very musical, lyrical and horizontal conductor, someone who communicates his intentions clearly to the orchestra members, and he's also someone who truly respects and supports the soloist," he said.
Yang's evolving relationship with music is not limited to Sibelius. For the upcoming July performance in Korea, he is also returning to Mendelssohn's Violin Concerto — a piece he last performed as a child. While often labeled as 'nice' or familiar, Yang is determined to explore its deeper, even radical layers.
'Mendelssohn's music can sound overly polite if you play it safe. But there's fire and risk beneath the surface, especially in the final movement. His tempo markings are absurdly fast," the Berlin-based violinist said, adding, "While living in Germany, I've come to see the works of German composers with fresh eyes, and in the case of Mendelssohn, beneath all the refinement, I sense something adventurous simmering underneath. I thought maybe it was time to try interpreting that in my own way, especially while performing in Korea.'
For all his international engagements, Korea remains the most emotionally charged stage for him.
'I owe everything to my Korean fans,' he said. 'There was no one person who pulled me up — it was the support of people who believed in me after the competitions. When I play in Korea, I feel a responsibility to show them my best self.'
Orchestre de la Suisse Romande, under the baton of Jonathan Nott, will present two distinct programs on July 5 and 6 at Lotte Concert Hall in Seoul. On July 5, the orchestra will perform Debussy's "Prelude a l'apres-midi d'un faune" (Prelude to the Afternoon of a Faun) and Stravinsky's "Petrushka," with Yang joining as the soloist for Sibelius' Violin Concerto.
On July 6, audiences can look forward to the Asian premiere of William Blank's "Morphosis for 42 instruments" alongside Stravinsky's "The Rite of Spring" and Mendelssohn's Violin Concerto, with Yang once again as soloist.
Ticket prices range from 50,000 won ($36.80) to 270,000 won.
Meanwhile, OSR will embark on its Asia tour on July 3 in Beijing at the National Center for the Performing Arts before coming to Seoul. It will then head to Japan from July 8 to 13, touring five cities including Tokyo and Kyoto.
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