The opening of 2019 Bravo! Vail Festival was beset by last minute programming changes and inclement weather, however, it was Huang in Mozart’s Fourth Violin Concerto who provided the stand out performance of the evening. Recipient of an 2015 Avery Fisher Career Grant and a 2017 Lincoln Center Award for Emerging Artists, Huang drew an unfailingly attractive, golden and resonant tone from his 1742 ‘Wieniawski’ Guarneri ‘del Gesu’. His more expansive bowing and romantic vibrato, in contrast to the sparseness and delicacy preferred by his orchestral collaborators, served as an effective distinction between solo and chamber palettes, particularly on his lower strings. If the first movement was confident and secure, the second and third transcended technical concerns to produce phrases of uninterrupted lyricism (now changes? What bow changes?) and effortlessly bubbling spiccato. It was only when I joined the festival team on the stage for a champagne toast following the performance that I realized how cold it had been for all the musicians, despite the organizers’ best efforts to provide some warmth, making Huang’s achievement all the more remarkable.

Since their previous joint appearance in concert 108 in the Foundation for Chinese Performing Arts series, esteemed collaborators pianist Helen Huang and violinist Paul Huang (no family relationship) have had five years to accumulate honors studding a deep patina of mastery. Winner of the Young Concert Artist Auditions in 2011, Paul has played with such major institutions as the Mariinsky Orchestra under Gergiev to generally ecstatic reviews. Helen’s bio describes accomplishments in solo and chamber repertoire plus concerto gigs with Berlin and New York phils and the like. Despite these individual credentials under spotlight, Helen and Paul gave plenty of rewarding evidence of their teammate stature last night at Jordan Hall in concert 129 of Cathy Chan’s estimable 30-year-old series.

The way violinist Paul Huang played it and JoAnn Falletta conducted it was as if I’d never heard it before. It’s a group hug, no doubt about it. But this Taiwan-born 20-something has a sound that you are not going to forget.

Even though it’s early in the season, but I think that in June, when we look back and take stock of the year, this weekend's concert will emerge as one of the highlights. And what really put the concert over the top is Taiwan-born violinist Paul Huang playing Samuel Barber's Violin Concerto [...] The orchestra string players, paying him the ultimate compliment, began beating on their stands with their bows. Huang began applauding them and Falletta. Everyone was cheering and celebrating.

The contrast could hardly have been greater with the ensuing work, Samuel Barber’s Violin Concerto, which brought the night’s second inspiring debut from soloist Paul Huang.

Paul Huang, a hypersensitive soloist in his late 20s, and Stenz provided the evening’s balm: Samuel Barber’s Violin Concerto, an audience favorite that regularly keeps more challenging American concerti (by, say, William Schuman or Roger Sessions) off concert programs. This listener does not recall any performance of the Barber, live or recorded, with greater flexibility and inwardness. The first two movements proved tender in the extreme. The presto finale was tossed off lightly, without mood-shattering angularity or trenchancy.

On April 27, violinist Paul Huang kicked off a very busy stretch with a Kennedy Center recital with pianist Orion Weiss. The program included Dvorak, Prokofiev, Brahms, and Conrad Tao’s new Threads of Contact.

In May, Huang has Camerata Pacifica concerts at the Colburn School, a two-day visit to the Shaker village of Pleasant Hill in Kentucky, with the Lincoln Center Chamber Music Society in June, and a recital with Wu Han at the Music@Menlo Festival in July. After the Bridgehampton Festival in July, and Jan Vogler‘s Moritzburg Chamber Music Festival & Academy in August, Huang will make his Lucerne Festival debut with Weiss on September 4.

Amidst it all, on June 3, Huang will play Bruch’s Scottish Fantasy with Lior Shambadal conducting the Berliner Symphoniker.

Amid the plethora of performers and ensembles today focused on contemporary music, more traditionally minded concert musicians, as well, are trying to find a better balance between old and new. One is Paul Huang, a violinist whose wide-ranging and consistently compelling recital for Washington Performing Arts at the Terrace Theater on Friday night included a world premiere by Conrad Tao.

Every day I feel like I learn something new from this violin," said violinist Paul Huang, who has been playing the instrument since it was loaned to him in 2012 by the Stradivari Society of Chicago. Huang, 27, will play the instrument on Friday in a recital at the Kennedy Center's Terrace Theater in Washington, D.C. with pianist Orion Weiss and pianist/composer Conrad Tao.

Paul Huang is so busy performing as a guest violinist with orchestras and in chamber ensembles around the world that he spends little time in his New York apartment. But when he does, he enjoys entertaining.

When I read in the pre-concert publicity that Paul Huang has been called the next Joshua Bell, I was surprised, but when he played Prokofiev’s first sonata, with its broad and varied expressive range and its considerable technical demands on the player, I understood why. 

No one will think of guest soloist Paul Huang, who performed with the Knoxville Symphony Orchestra at the Tennessee Theatre Thursday night as just another showman with a great violin. Huang did nothing, except play Beethoven’s 1806 Concerto for Violin and Orchestra in D Major, Op. 61 gorgeously. Huang, 27, is much more a statesman of the concert stage than a showoff. He also plays with a sense of poetry few people possess at that age.

Violinist Paul Huang, joined by fine faculty pianist Dmitri Shteinberg, delivered a powerful and sublime performance of César Franck’s 1886 Sonata in A Major. While Shteinberg’s performance was expert but a bit reserved, Huang played with a depth seldom heard in contemporary violinists, let alone one who is 27 years old.

During the Mozart, in his Omaha debut, 27-year-old Taiwanese-American violinist Paul Huang was triumphant. The audience was in awe as Huang explored each melody and cadenza on his instrument.

With a stoic demeanor, Huang quickly proved himself one of today’s finest young violinists; within minutes of taking the stage, he secured himself a spot beside virtuosos Itzhak Perlman and Joshua Bell.

It’s not hard to see why the violinist Paul Huang walked away with an Avery Fisher Career Grant last year. Huang, who played a recital with pianist Jessica Xylina Osborne at the Phillips Collection on Sunday, possesses a big, luscious tone, spot-on intonation and a technique that makes the most punishing string phrases feel as natural as breathing. It’s the perfect sound to lavish on 19th-century violin literature.

The star violinist Midori was originally supposed to play William Walton's Violin Concerto this week with the DSO, but she had to withdraw for medical reasons. She was replaced Thursday by fast-rising young Taiwanese-American violinist Paul Huang, who has already received a 2015 Avery Fisher Career Grant.

Violinist Paul Huang has graciously stepped in for Midori to appear with the DSO performing the Sibelius Violin Concerto

Pianist Michael Brown, violinists Paul Huang, Kristin Lee and Simone Porter and violist Matthew Lipman have each been awarded an Avery Fisher Career Grant, which consists of $25,000 for career needs.

Although he was carded at Roots the Restaurant immediately after his Paramount recital Saturday, 24-year-old violinist Paul Huang had qualities few virtuosi his age have — refinement and elegance, as well as passion and virtuosity.