She will probably benefit a lot from Vienna's intellectual and emotional depth as time goes by. I honestly look forward to hearing what impact Vienna and Austrian high culture will make on her music in the twenties. For the musician seeking real inspiration for self-improvement, moving to Vienna is a very good choice. Beethoven and Brahms knew it too.
The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
Liebe Wiener! Yuja Wang & Wien??? Buuuuuuuuuuu...! Machen Sie aus Ihrer Stadt, die weltweit für ihre musikalischen Traditionen bekannt ist, keinen Stripclub! Thomas Lehr: "Größenwahn passt in die kleinste Hütte. Kurze Prozesse", Hanser Verlag In seinem neuen Buch "Größenwahn passt in die kleinste Hütte" macht Thomas Lehr kurzen Prozess mit der großen Form: Geschichten und Gedanken - über das Fernsehen, die Tierliebe oder die Monogamie - hat er in Miniaturen gefasst. Wirklich originelle Beobachtungen : "Worauf es ankäme, wären Kunst, Philosophie und Liebe. Bezahlt werden Kitsch,Technik und Prostitution."
Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.
Yuja Wang: "Beethoven hat offenbar viel von Gershwin gelernt..." ?! Ah, amerikanisch-chinesischer Cowboy-Humor! Gershwin ist irgendwo weit weg, im wilden Westen! Dieser Ort ist perfekt für Yuja Wang, ich habe sie bereits auf einem Pferd vorgestellt: Sie ist voll bewaffnet, um gegen die Indianer zu kämpfen, und wie immer in einem Bikinikleid. Es wäre schön, wenn sie für immer dort bleiben würde! Erstaunlich! In einem unglaublich reichen und angeblich kulturellen Land ist die Bevölkerung so nachlässig und vulgär gegenüber klassischer Musik, dem kulturellen Erbe Europas!
@@georgescancan7503 Her dresses are from "Atelier Beate Uhse", a renowed designer for strip club & concert- gowns.....especially made for Yuja! ua-cam.com/video/jUl0ON_fx8Y/v-deo.html
The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
That's great: our Cancan-troll took Yuja's joke literally: "Beethoven learned a lot from Gershwin"....and was so polite to show us all of his infinite stupidity.....This made my day! Thank you so much!!!
< Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?!> Do you mean the stupidity of the authors of this video ?! Or is it American - Chinese, cowboy humor ?! I understand of course that this vulgar "strip club pianist" was created to entertain the audience who are bored with idleness. Of course, humor in this case should be vulgar. I send my congratulations to the "musically educated, graceful" Viennese public. And frankly: I really feel sorry for Beethoven, his great name is shamelessly used to make money!
@Michael Schefold Haha?! If you look at this "theater", which is associated with the name of Beethoven (250), it becomes very sad. Vienna is rapidly transforming itself into an unscrupulous trader from an Asian bazaar that sells the values of its ancestors. This video is a great example - dirty business people make a lot of money from the name "Beethoven". You think that the greatest composers of our planet created the greatest pieces of music so that mediocre pianists sexually entertain the bored crowd?! Remove the vulgar pianists from the stage!!!
I wish to hear Yuja play the Liszt Transcription of Beethoven's Symphony No.7's Allegretto that is so suitably used at the background of this wonderful video.
Yuja & Beethoven??? GERMANY BERLIN - Cultural radio from the rbb (Berlin - Brandenburg) Philharmonie Berlin - Yuja Wang piano recital Rating: * - - - - (one star of five) Works bei Johannes Brahms: Ballads, Op. 10, No. 1 and 2; Robert Schumann: Kreisleriana, op. 16; Ludwig van Beethoven: Piano sonata No. 29 B flat major, op. 106 - "Hammerklavier-Sonate" With Yuja Wang ..... "Apart from the ecores, this evening was an absolute misunderstanding and, unfortunately, one of the worst piano evenings ever." Andreas Göbel, cultural radio 14.06.2016
Listen to Wagner, dear Arturo Alvarez! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuja, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player I am absolutely sure that this video is a wonderful parody of the musical life of Vienna!
??? The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times By Joshua Barone Feb. 12, 2019 In all seriousness: What can’t Yuja Wang do? This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week. But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski. But there was - more. She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
YUJA CATCH ME TAKE ME DETOX THIS ACROBAT OF THE WELCOME THAT LOVES YOU. I touched on the details, take me away with tenderness I rely on you LOVE. EBO OF THE WHITE WRITER TAKE ME AWAY
Yuja Wang - a product of Chinese education. The goal of this education is the indispensable achievement of the highest results! High results bring a lot of money! This principle works always and everywhere! Yuya Vang is making money! Money for yourself and a huge gang of businessmen who use it as a money making machine! In addition to the piano keyboard, she did not see anything! She has no clue about European culture that gave rise to classical music! The result is a lot of money and questionable interpretations! Her experiments with clothes (on the verge of a strip club) serve that purpose - making money! Her audience ?! Her audience is looking forward to when Yuya will undress completely! It is very sad when the culture falls under the influence of businessmen whose main goal is MONEY !!!
Listen to Wagner, dear Konrad ...! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuja, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player I am absolutely sure that this video is a wonderful parody of the musical life of Vienna!
Liebe Wiener! Yuja Wang & Wien??? Buuuuuuuuuuu...! Machen Sie aus Ihrer Stadt, die weltweit für ihre musikalischen Traditionen bekannt ist, keinen Stripclub! Thomas Lehr: "Größenwahn passt in die kleinste Hütte. Kurze Prozesse", Hanser Verlag In seinem neuen Buch "Größenwahn passt in die kleinste Hütte" macht Thomas Lehr kurzen Prozess mit der großen Form: Geschichten und Gedanken - über das Fernsehen, die Tierliebe oder die Monogamie - hat er in Miniaturen gefasst. Wirklich originelle Beobachtungen : "Worauf es ankäme, wären Kunst, Philosophie und Liebe. Bezahlt werden Kitsch,Technik und Prostitution."
Die sind nicht zu blöd, Humor zu verstehen. Ausserdem schreibt man Gershwin mit "w". So, das war jetzt das letzte Mal, dass ich mich auf dein Niveau herabgelassen habe....
@@michaelschefold3299 Ah, amerikanisch-chinesischer Cowboy-Humor! Gershwin ist irgendwo weit weg, im wilden Westen! Dieser Ort ist perfekt für Yuja Wang, ich habe sie bereits auf einem Pferd vorgestellt: Sie ist voll bewaffnet, um gegen die Indianer zu kämpfen, und wie immer in einem Bikinikleid. Es wäre schön, wenn sie für immer dort bleiben würde! Erstaunlich! In einem unglaublich reichen und angeblich kulturellen Land ist die Bevölkerung so nachlässig und vulgär gegenüber klassischer Musik, dem kulturellen Erbe Europas!
Yuja is absolutely Delightful ❤
not only did I love the content, also the black and white documentary approach, adding up with the atmosphere 🙏🙏🙏
She will probably benefit a lot from Vienna's intellectual and emotional depth as time goes by. I honestly look forward to hearing what impact Vienna and Austrian high culture will make on her music in the twenties. For the musician seeking real inspiration for self-improvement, moving to Vienna is a very good choice. Beethoven and Brahms knew it too.
The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?! Keine Kommentare, lieber Herr Klieber?!
Liebe Wiener! Yuja Wang & Wien??? Buuuuuuuuuuu...! Machen Sie aus Ihrer Stadt, die weltweit für ihre musikalischen Traditionen bekannt ist, keinen Stripclub!
Thomas Lehr: "Größenwahn passt in die kleinste Hütte. Kurze Prozesse", Hanser Verlag In seinem neuen Buch "Größenwahn passt in die kleinste Hütte" macht Thomas Lehr kurzen Prozess mit der großen Form: Geschichten und Gedanken - über das Fernsehen, die Tierliebe oder die Monogamie - hat er in Miniaturen gefasst. Wirklich originelle Beobachtungen : "Worauf es ankäme, wären Kunst, Philosophie und Liebe. Bezahlt werden Kitsch,Technik und Prostitution."
Overwhelmed by the goldenness :-) You've become my favourite pianist Yuja ~ personality and talent ~ and a panacea for lock down. Thank you !
Yuja, you are the fairy tale not Vienna and we will see this in the future.
I can´t stop listening to her....
Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.
Yuja Wang: "Beethoven hat offenbar viel von Gershwin gelernt..." ?! Ah, amerikanisch-chinesischer Cowboy-Humor! Gershwin ist irgendwo weit weg, im wilden Westen! Dieser Ort ist perfekt für Yuja Wang, ich habe sie bereits auf einem Pferd vorgestellt: Sie ist voll bewaffnet, um gegen die Indianer zu kämpfen, und wie immer in einem Bikinikleid. Es wäre schön, wenn sie für immer dort bleiben würde! Erstaunlich! In einem unglaublich reichen und angeblich kulturellen Land ist die Bevölkerung so nachlässig und vulgär gegenüber klassischer Musik, dem kulturellen Erbe Europas!
@@georgescancan7503
Her dresses are from "Atelier Beate Uhse", a renowed designer for strip club & concert- gowns.....especially made for Yuja! ua-cam.com/video/jUl0ON_fx8Y/v-deo.html
I find in her words exactly how I have always felt about this great city and its history.
The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
That's great: our Cancan-troll took Yuja's joke literally: "Beethoven learned a lot from Gershwin"....and was so polite to show us all of his infinite stupidity.....This made my day! Thank you so much!!!
< Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?!> Do you mean the stupidity of the authors of this video ?! Or is it American - Chinese, cowboy humor ?! I understand of course that this vulgar "strip club pianist" was created to entertain the audience who are bored with idleness. Of course, humor in this case should be vulgar. I send my congratulations to the "musically educated, graceful" Viennese public. And frankly: I really feel sorry for Beethoven, his great name is shamelessly used to make money!
@@georgescancan7503hahaha
@Michael Schefold Haha?! If you look at this "theater", which is associated with the name of Beethoven (250), it becomes very sad. Vienna is rapidly transforming itself into an unscrupulous trader from an Asian bazaar that sells the values of its ancestors. This video is a great example - dirty business people make a lot of money from the name "Beethoven".
You think that the greatest composers of our planet created the greatest pieces of music so that mediocre pianists sexually entertain the bored crowd?! Remove the vulgar pianists from the stage!!!
She is SO wonderfull!!
I wish to hear Yuja play the Liszt Transcription of Beethoven's Symphony No.7's Allegretto that is so suitably used at the background of this wonderful video.
Yuja & Beethoven??? GERMANY BERLIN - Cultural radio from the rbb (Berlin - Brandenburg)
Philharmonie Berlin - Yuja Wang piano recital
Rating: * - - - - (one star of five)
Works bei Johannes Brahms: Ballads, Op. 10, No. 1 and 2; Robert
Schumann: Kreisleriana, op. 16; Ludwig van Beethoven: Piano sonata No.
29 B flat major, op. 106 - "Hammerklavier-Sonate"
With Yuja Wang
.....
"Apart from the ecores, this evening was an absolute misunderstanding
and, unfortunately, one of the worst piano evenings ever."
Andreas Göbel, cultural radio
14.06.2016
I love you Yuja, you play with your own body and mind, when I hear you play and see the passion in you mouth and your beauty, I fall in love again.
We await your presence in Los Angeles. Be so kind. 2021.
Isn't she just gorgeous, very much her own person, a ray of bright sunlight in a world that is so mixed up.
Can somebody name the peace of music used in the beginning of the video, I would like to know, thank you
Beethoven symphony no.7 2nd mov
The classic music start in italy not in wien
La apoteosis de la danza, el revolucionario Beethoven y Yuja Wang, una gran combinación. Se agradece que lo hayan subtitulado al español latino.
Listen to Wagner, dear Arturo Alvarez!
Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuja, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player I am absolutely sure that this video is a wonderful parody of the musical life of Vienna!
You can not walk the streets of Vienna and not hear the music, even if it it's only in your head.
???
The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be
The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times
By Joshua Barone
Feb. 12, 2019
In all seriousness: What can’t Yuja Wang do?
This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week.
But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski.
But there was - more.
She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
YUJA CATCH ME TAKE ME DETOX THIS ACROBAT OF THE WELCOME THAT LOVES YOU. I touched on the details, take me away with tenderness I rely on you
LOVE. EBO OF THE WHITE WRITER TAKE ME AWAY
1809 2019 l endurance du possible kx 🎼👍loxol rester à l ecoute 🎲🎲🎲🎲🎲🎲🎲 Perfectosun👏🐰📡📡🎈🐴👜👜🐺📞🍦🍦👢👠?💋
See u
What a wonderful young woman and musician.
Yuja Wang - a product of Chinese education. The goal of this education is the indispensable achievement of the highest results! High results bring a lot of money! This principle works always and everywhere! Yuya Vang is making money! Money for yourself and a huge gang of businessmen who use it as a money making machine! In addition to the piano keyboard, she did not see anything! She has no clue about European culture that gave rise to classical music! The result is a lot of money and questionable interpretations! Her experiments with clothes (on the verge of a strip club) serve that purpose - making money! Her audience ?! Her audience is looking forward to when Yuya will undress completely! It is very sad when the culture falls under the influence of businessmen whose main goal is MONEY !!!
Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?! Keine Kommentare, liebe Wiener?!
Listen to Wagner, dear Konrad ...!
Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuja, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player I am absolutely sure that this video is a wonderful parody of the musical life of Vienna!
Liebe Wiener! Yuja Wang & Wien??? Buuuuuuuuuuu...! Machen Sie aus Ihrer Stadt, die weltweit für ihre musikalischen Traditionen bekannt ist, keinen Stripclub!
Thomas Lehr: "Größenwahn passt in die kleinste Hütte. Kurze Prozesse", Hanser Verlag In seinem neuen Buch "Größenwahn passt in die kleinste Hütte" macht Thomas Lehr kurzen Prozess mit der großen Form: Geschichten und Gedanken - über das Fernsehen, die Tierliebe oder die Monogamie - hat er in Miniaturen gefasst. Wirklich originelle Beobachtungen : "Worauf es ankäme, wären Kunst, Philosophie und Liebe. Bezahlt werden Kitsch,Technik und Prostitution."
dont think its a good choice to film these videos in black and white. it looks a bit depressing. Vienna is great though.
Miss Wang looks very tired in this video.
As are your comments.
dear all , what is the background music, i know very well but at the moment I cannot recall what piece is it...thanks
Beethoven Symphony no.7 second movement
@@michaelschefold3299
Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?! Keine Kommentare, lieber Herr Schefold?!
Yuja Wang: "Beethoven hat offenbar viel von Gershvin gelernt..." ?! Keine Kommentare, liebe Wiener?!
Die sind nicht zu blöd, Humor zu verstehen. Ausserdem schreibt man Gershwin mit "w".
So, das war jetzt das letzte Mal, dass ich mich auf dein Niveau herabgelassen habe....
@@michaelschefold3299 Ah, amerikanisch-chinesischer Cowboy-Humor! Gershwin ist irgendwo weit weg, im wilden Westen! Dieser Ort ist perfekt für Yuja Wang, ich habe sie bereits auf einem Pferd vorgestellt: Sie ist voll bewaffnet, um gegen die Indianer zu kämpfen, und wie immer in einem Bikinikleid. Es wäre schön, wenn sie für immer dort bleiben würde! Erstaunlich! In einem unglaublich reichen und angeblich kulturellen Land ist die Bevölkerung so nachlässig und vulgär gegenüber klassischer Musik, dem kulturellen Erbe Europas!
She was clearly joking!