Yuja Wang plays Schönberg's Suite Op. 25, in Verbier
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- Опубліковано 30 вер 2024
- This work, which is a century old, remains difficult for the listener. It is the very first to be written in full dodecaphonic language. The movements are dances (Gavotte, Musette, Gigue) which J.S. Bach often used in his compositions. The homage to Bach is even more present in the last four notes of the work's basic series: B-A-C-H.
To master this work, to understand its structure, but also to express its dancing qualities, Yuja proves to be perfect.
Yuja is so amazing!!! She can do anything!
I love your variety in the works you chose and always sound beautiful and graceful👋👋👋👍
an apple watch on the wrist is not the most healthy to wear during intellectual work, hopefully it was switched off.Fabuklous performance, incredibly clear in its analytics, even for a non specialized audience, she understood totally everything, and particularly I love the contrapunctical way she plays it, in the sense of an immensely refined dialogistic approach.Wow!Bravo dear Yuja
juya e' la musica, non ha limiti
Eusebius et Florestan
I'm glad you fully approve of this one. I find twelve tone music difficult to listen to. As this type of music goes, this would have to be considered an outstanding interpretation. It's pretty daring to program this type of material, as a lot of people don't enjoy it. She is turning it into music, rather than just organized dissonance. It's not a composition I would be interested in learning.
Even Yuja can't make this stuff listenable.
First movement to me is okay, probably cause I like some of the obscure jazz stuff that came later
Che bravura ! Mai ascoltato Schoenberg con tanta disinvoltura, scevro da ieraticità intellettualistiche ! Brava !
@MorganHayes - Composer- pianist... , check, what you've said. ' And as a pianist, I trust you've programed Shoenberg, Webern and even John Cage in one of your performances. However, since I haven't seen your name amongst the many performers on the concert circuit. I'm thinking, management wasn't too open to your suggested proraming of these guys. Even classical music audiences ( lovers ) don't necessarily want to be lectured. Some are curious of course. But it doesn't last very long. It's money, my friend. Program Alban Berg or even Boulez, and watch your audiences dwindle, along with your career.
Certainly 'academic music', which has always existed for those elitists who scorned audience pleasure. But, Schoenberg did expand musical language and expression, whatever the dubious quality of his own individual works...
academic for some, not all
To each ear it's own...
if you think art = pleasure, then you have nothing to do with art
@@garrysmodsketches One must then debate the semantics of what I mean by 'pleasure'. But, certainly, your type of attitude was/is responsible for a great amount of sterile music-making. Art for art's sake can often have nothing to do with the quality of the work
@@bloodgrss True, a lot of sterile music does exist today, but this description cannot possibly be applied to Schoenberg's extremely passionate and inspired piano suite op. 25. If this music is sterile to you, you are just blind to many marvelous things to be found in it. I used to hate this music too, but then I developed my ear to a higher level through ear training, and also just spent some time studying this piece.
I had heard versions of this which seemed to cut it into slices: now we have this, now we move on to that. Then a few years ago I heard Yuja Wang play it in London. What a revelation! Rather than as a demonstration in musicology, she understood it as a unified and satisfying work which genuinely could give pleasure.
Not even Yuja can save Schoenberg from mediocrity.
Quelle aisance et quelle musicalité dans l'interprétation de cette oeuvre dodécaphonique! oui, Yuja Wang est la meilleure.
Very important dynamics were ignored,
Elle déploie tellement de talent, de précision, de grâce, d'espièglerie et d'assurance dans son jeu pétillant que son
plaisir est communicatif ! La toute fin est particulièrement brillante.
❤❤❤👍🏽👍🏽👍🏽👏🏽👏🏽👏🏽Amasing I love it Yuja.
It's time for Yuja to start composing. She is beyond the piano repertoire at this time. Obviously able to play any and everything. Gould would have loved that she easily tackled this work. Though he might not have been agreeable with her interpretation. But, who would know, except him. The twelve tone excursion by Schoenberg and Webern wasn't intended for a consonant listening audience. And I doubt they even cared. Yuja has passed this instrument and works composed for it. Let's see if we have a Mendelssohn ,( of which her facility mirrors his ability at the instrument). Or any one of the so called minor composers after the big three. Or four, being Bach, Beethoven and Brahms. With of course Mozart wedged in between each and every one of them. Include Schubert in the mix as well. And, where's Liszt's concerto no. 2 in A major. Has she played that too??
“The twelve tone excursion by Schoenberg and Webern wasn't intended for a consonant listening audience. ” speak for yourself
Sheer Brilliance,!
I love her playing. I have been hoping for a while that she would play Schoenberg (and Carter Night Fantasies).... wonderful (although, occasionally I felt, too quick...... )
I love yuja's all works. All most every day I listnig she's cds & u tube.
The fact that this can be memorized and played without a score is proof that it is music and not just noise. Of course, Yuja isn't just anybody.
She is using a score on a tablet inside the piano. You can see it at certain angles.
Elle a au moins le mérite de le jouer, pas trop Hammer, s' il vous plaît......
What’s with the wristband?
fausse route