A musical walk through two centuries of Kentucky history with Helen & Nora radio interview by Laura Atkinson of Cecilia Huerta-Lauf of NouLou Chamber Players and Shirley Harmon of Oxmoor Farm Foundation for LPM 90.5 FM WUOL. July 1, '25. (Helen & Nora, Op. 49)
"Sebastian...was one of our first NouLou members. So he knows my style of playing very well. I said, look, just speak the way you feel with these women's voices and this story, and you know how my playing is. Then he put it beautifully together. He's got that spirit of imagination. He's brilliant, musically, but also, his openness and imaginativeness is perfect for this programming."
Schubert and Chang by Pang Keyang for UNE News. November 17, '22. (Piano Trio 2, Op. 45)
"Sebastian told reporters that he believes that he creates 'the soundtrack to the 21st century', combining traditional techniques with modern aesthetics to create his own unique sound. His musical style is 'passionate, dynamic, meticulously crafted, emotional and technically strong.' "
Dawn of a Revolution by Mike Telin for Cleveland Classical. July 10, '18. (Cryptogenic Infrastructure Fantasy, Op. 37)
"The eight-minute work opens with a grand tutti march, which is quickly interrupted by fast, technical flourishes in the violin, clarinet, and piano. The opening then returns, this time with added sharp, tricky rhythms. As the violin and clarinet fight for the lead, the timpani begins to take over. A slower, Arabic-sounding section features a lovely duet for the violin and clarinet, which gradually builds to a dramatic conclusion. The Cohen Family Quartet played the idiosyncratic piece with superb technical flair, bringing out the wit of each section."
We Live In Between by Annette Skaggs for Arts Louisville. January 31, '18. (Between Heaven & Earth, Op. 38)
"The first movement: “City Face”, with Ms. Sora’s artwork projected above the orchestra, sounds full of hope in the beginning but then gets frenzied leading directly into the second movement: “Apocalypse/Maze 1/Maze 2”. If the title gives anything away it is that the music becomes introspective and resolute after a burst of noise, symbolizing an apocalyptic feel."
Cryptogenic Infrastructure Fantasy: composer Sebastian Chang explains all by Jarrett Hoffman for Cleveland Classical. June 25, '18. (Cryotogenic Infrastructure Fantasy, Op. 37)
" 'When I write a piece, whether it’s for orchestra or chamber ensemble, I want everybody to have a moment in the spotlight,' Sebastian Chang said."
Sebastian Chang Talks About His Symphony - Radio interview by Daniel Gilliam for broadcast on LPM 90.5 FM WUOL. February 12, '15. (Symphony, Op. 34)
Orchestra: Abrams and Chang present new symphony by Bill Doolittle for LEO Weekly. February 4, '15.
"The best came last in the symphony’s fourth movement, with the trombones taking over the show...they brought down the house with a brassy, deep-booming chorus — while the strings chopped up a steel-edged accompaniment. A very interesting combination, reversing usual roles...Here, the strident bowing proved a special visual treat."
Louisville Orchestra Presents World Premiere of Chang Symphony by Daniel Gilliam for LPM 90.5 FM WUOL. February 1, '15.
"Chang’s symphony is charming, with moments of nostalgia hinting at Leonard Bernstein and Bernard Herrmann. Chang seems most comfortable writing lush jazz chords or memorable tunes (I’ve remembered the second movement theme since hearing it once at the first rehearsal in December). He is melodically gifted and wants to say something that is personal in every gesture."
Flaming Youth by Steve Smith for blog post on Night After Night. April 10, '06. (12 Piano Etudes, Op. 10)
"Performing with no score and lights lowered, it was easy to imagine that Chang was freely improvising his six intricate miniatures, which summoned in equal measure impressions of Debussy, Prokofiev, Nancarrow and Keith Jarrett. Listening to his profusion of stream-of-consciousness melodies and counterpoint, you couldn't help but smile along with the performer as he visibly enjoyed his own prowess at tricky fingerings and cross-handed passages."
