What seems to intrigue him the most is that he conducts people, a thought that fills him with a palpable sense of wonder and responsibility. “I was a shy person, music used to be a protection for me,” he says. “But now, as I’ve grown I’ve realized that I’m conducting this music through people and for me connecting to those people makes the music even better. Having a rapport with your musicians is like that sweet spot in connecting with the audience.”
The Dynamism, elegance and fluency of Joseph Young, a model of technique and gesture, was contagious to the Symphony Orchestra of Radiotelevisión Española…A new opportunity, well taken advantage of by the Maestro to hear normal pages, yes, but in a progammatic environment agreed and intertwined..with exemplary, aesthetic and gestual, commendable naturalness, of the podium.
"Joseph Young, current assistant director of the Symphony Orchestra of Atlanta, and that has left A magnificent impression in the Monumental Theater."
"A vibrant reading of the popular symphonic score [Dvorak’s New World Symphony] that demonstrated a great deal of mastery and identification with this music by Joseph Young, showing his perfect knowledge of the work. The rhythmic vigor and vigor of the attacks preponderated in an interpretation that managed to penetrate with great success in the Dvorakian orchestral universe”
Young brilliantly led the symphony through these changes with a deft hand. There’s a lot to keep track of during the piece — interlocking percussion and harp parts must blend perfectly, agile woodwind players have to perform their musical parts with distinction but also blend into the entire orchestra — and Young proved more than capable of perfectly wielding the expanded orchestra.
"Maestro Young paid close attention to dynamics and the music’s lyricism, imparting a kind of gentle mysteriousness to it...This was a breathtaking performance....Given the great skill he showed in this performance, he should soon be a most sought after conductor.”
"Young shined as a conductor during a sampling of excerpts from Prokofiev’s “Romeo and Juliet” orchestral suites."
If Saturday’s “Firebird” excerpt and reports from Spoleto are any indication, Young will be one to watch from interpretive perspective beyond the mere mechanics of the job — especially, one might wager, for works of the 20th and 21st centuries.
06/03/2014 The New York Times Review:
"But a real emotional high point came in that concert [Spoleto Festival USA Orchestra’s program Concerto for Orchestra conducted by Joseph Young] with a highly charged performance of the Adagio by Samuel Barber, a composer who was close to Spoleto’s founder, Gian Carlo Menotti. It tied together many of the festival’s threads — its personal relationships and conflicts as well as its artistic triumphs — and packed a considerable wallop.”
Maestro Young took the bull by the horns, catching every mood and impulse and driving his musicians nearly to their limits, all the while demonstrating his mastery of the complex score. This was orchestral art at its glittering, ebullient best: an event that most of the fortunate audience will never forget. It’s far and away the finest performance of the work I’ve ever heard in concert."