To those saying she plays with no feeling: Yes, she does. Before I read the comments, I was actually thinking how well she portrays the different characters' emotions - the boy is frantic and frightened, the Erlkönig is sweet and captivating, and the father is increasingly worried. If you mean the ostinato pattern has no emotion - of course it wouldn't. It's a horse running at top speed, which she emulates perfectly. The lyrics are perfectly easy to "hear" in this version: if you know them.
@@lightningbolt4419I feel like there are many interpretations. One is that the child is very sick and is hallucinating, about to die. The other is that the Erlkönig is there, but the father is pretending not to see him to comfort the child. In both cases, the father will be very, very worried. If the erlkönig wasn't there, he'd be worried for his hallucinating sick kid, and if it was real, then he'd be worried for obvious reasons.
This performance is just outstanding! The desperation and tragedy of the musical story is etched powerfully into the listeners mind - really exceptional playing and interpretation.
There's some rude comments in here, I don't get it. This is amazing performance! I never heard the Liszt version before, it's amazing and I thought she brought out the three different characters very well and the desperation of the father. So people writing, no expression, what are you talking about?
Just got here from music class, jesus this girl is insaane. Also , you can tell how much she's prepared for this, her fucking forearm is bigger than her bicep/tricep.
This is exactly the right interpretation. The father is frantic to save his son from the dreaded Erlkonig and races his horse carrying his son with him to try and escape the coming fate, but he is too late and finds his son is dead.
Yes - I don't get the 'too fast' criticisms. It's a high Romantic Liszt piano piece - a miniature symphonic poem for virtuoso pianist (imagine it played by Alkan!), no longer the early Romantic Schubert song it started out being.
Best performance of this piece that I've ever heard. This kind of effortless virtuosity and wonderful musicality hasn't been seen since the young Argerich.
Wow. I'm seriously impressed. Not only by he amazing speed, but by the way Yuja Wang makes Liszt sound natural. Most of Liszt's piano transformations sound like he just wanted to piss pianists off by making he pieces ridiculously difficult to play and listen to. Seldom have I come across pianists like her who make use of their talent and practice not only to play the piece as fast as possible, but to play it like I think it was meant to be played: as a song with the piano being the singer.
TaYuK0, you could not feel the emotion not the pianist. Try to listen carefully and it is a good classical music lesson to you. Well dynamic and sensitive touch from right hand at the beginning even in the extremely fast and difficulty movement, together with the EMOTIONAL beautiful melody flooding. I am not sure if you play piano because You have mentioned other pianist is better. Try yourself just a few bars only the right hand, if you could do the same you will be a excellent pianist, or listen Kissing played the same piece. Kissing has beautiful sound but the right hand is not the same level as Yuja Wang.
Well as a person who has played this piece (not at professional level but meh) , I can agree that it is very difficult to play it this fast - however I still don't think the right hand is as good as you claim it to be. The piece doesn't need to be this fast - about 140 is good enough. The articulation in the right hand is stagnant and messy - you should be able to hear the staccato and each individual notes rather than just a sustained blur, which is something that kissin does better. Those right hand runs when the child is screaming in this version aren't very good, you can't hear the notes individually and she hits wrong notes fairly frequently. Additionally, more changes in rubato and articulation should be able to help differentiate the characters from one another better, or make the child sound more and more panicked between his entries as he grows more fearful of the erlking, rather than the same each time. I have great respect for her interpretation - maybe it's the recording idk - but I think that there are other pianists who do this better, kissin being one of them.
I don't see how there are so many negative opinions claiming lack of musicality in this piece. Every time the kid sings it gets ever so frantic; every time the Elf King sings, it's very sweet and manipulative; and when the father sings, it sounds quite deliberate.. like, I even feel like I'm being scolded when I hear that melody. The only thing I thought was a little weird was how OVERdramatic the bass motif was, but hey thats her interpretation! I'm not winning awards and playing w/ orchestras!
I want to know HOW you got the recording in the first place!! I went to hear her and even before she appeared I was just filming the inside of the building and was told to shut my camera off. Had it not been my first time hearing here and the fact we had travelled a long way, I would have told the person to get lost! I wasn't filming HER - (yet - ha!) Hey, c'mon. Everybody films concerts at some time. I'm just SO glad you filmed this one, and a HUGE thank you. Yuja is a HUGE-A talent!!
Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind: Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er hält ihn warm. „Mein Sohn, was birgst du so bang dein Gesicht?“ „Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron’ und Schweif?“ „Mein Sohn, es ist ein Nebelstreif.“ „Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel’ ich mit dir; Manch’ bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand.“ „Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?“ „Sei ruhig, bleibe ruhig, mein Kind: In dürren Blättern säuselt der Wind.“ „Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Rein Und wiegen und tanzen und singen dich ein.“ „Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?“ „Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau.“ „Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt.“ „Mein Vater, mein Vater, jetzt fasst er mich an! Erlkönig hat mir ein Leids getan!“ Dem Vater grausets, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Mühe und Not: In seinen Armen das Kind war tot.
I keep wondering when I see a performance like this what the limitation on muscle contraction and restoration really is for a human being, or any animal for that mater. Not to mention how long someone can keep it up without depleting the glucose and oxygen necessary to make it all work. The music often demands more that what a normal person can deliver, hence the idea that some virtuosos are super-human.
@frzewski Let me try and answer those questions in less than 500 characters: 1) Who gives a shit? These are bravuras pieces, they are no longer Schubert songs 2) Liszt's pianos were pretty good compared to Beethoven's pianos. I have actually played one, humbly. They can withstand quite a porking. Plus, Liszt conceived music, maybe even for a piano only he heard but was technically not yet created. Summary: Yuja Wang is spriritually intimate with Liszt, I believe, and Liszt is enjoying it.
bbobsyerund Let's simplify the matter--to say Yuja is far better, as someone has posted to say, than any of the three you mentioned, might provoke a cry from you of exaggeration. How about this?: Yuja plays just a bit better than Hofmann, or Richter or Kissen--or all three combined? Smiles and cheers....
What would you say, how much experience one needs to play this? I would like to try it. I've been been playing the piano for about 10 years and practice 2 -3 hours a day. Do you think I could make it?
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
@bbobsyeruncl Let's simplify the matter. To say Yuja is far better, as someone has posted to say, than any of the three you mentioned might provoke cries from you of hyperbole. How about this? Let's say Yuja plays only a little better than Kissen or Hofmann or Richter? Peace.
@rubenblijdorp For those saying that this piece is going way too fast- I've sang this piece and the tempo for accompaniment is absolutely perfect. That is the way the song was made; fast and dramatic, with schmaltzy slow Erlkonig music. The tempo and volume was just where it needed to be. You are right about the balance though.
My favorite part of this piece is 1:26 to 1:49. I just love those graceful arpeggios (or however they're spelled) that the right hand does. The left hand goes perfectly with the right hand in those parts. Alas, if only I could play this piece on a large concert grand piano every day.
Great but way too fast, it loses something. It sounded garbed in certain places. We know you're a wonderfu lpianist but don't blow us away with your skill
By the way, even if you are right concerning the world record, she gets this result cheating. Look what her right hand plays at 0:08 and compare to what it must be played according the sheet
Marina Ivanoff More likely Yuja just ignored that which she did not wish to play - she seems to do that quite frequently. Listen to her entrance to Rach 2.
123eldest No. It is NOT some different edition by Liszt. It is different edition by Yuja herself :)) And she did the same ( I mean cheating) in Sonata S.178 (a.k.a. B minor).
Perfetta padronanza dello strumento e strepitosa sicurezza dovuta certamente ad un talento che pochi possiedono. Molto brava, è un piacere ascoltare e vedere le mani sorvolare la tastiera... complimenti!
I don't feel anything from the story within this piece. Really weird for me to type this since this is a Romantic Era piece. o.o The skill is amazing but no emotion from the story it's suppose to play. Only feelings I can feel is amazement of the skill level of the pianist definitely not the same as being lost in the story of the piece and having emotions arise from that.
Try closing your eyes and just listening - your amazement at Yuja's technical abilities is blocking out your appreciation of the power in her interpretation. Remember the FRANTIC ride the father is taking to rescue his daughter, that is the core of this music.
really impressive handwork. and shes a rockstar look at the headbanging at 0:50 ! i think my favorite section is the climax at 3:28. just full of passion and anger, really incredible performance
희빈 장씨(1659∼1701) : 조선 19대왕 숙종의 후궁. 본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다. 1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다. 이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다. 이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다. 이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다. 이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다. 기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다. 이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다. 소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다. 그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다. 이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)· 유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
Probably the best performance of this piece I've yet heard, her hands don't even look like they're touching the keys, almost as if they're floating/hovering. She really brings out the terror and desperation the young boy and father must've felt and the sweet and enticing allure of the Elf King.
I'm confused is this Schubert or Liszt who composed this? and the guy who said Yuga played this in record time well this is the first time I ever heard this and she was marvelous and I loved it.
The original composition is by Schubert, but this is a version of the original that has been transcribed to solo piano by Franz Liszt. The original composition is for voice with piano accompaniment.
if anyone listening to this is not yet familiar with the poem this song was written after (and also how the elements of the song match up to certain elements of the poem) then i highly , -HIGHLY- recommend you look it up . you won't be disappointed - it's incredibly fascinating ! edit : am more than happy to type up a quick synopsis here if anyone is interested ? just let me know :)
American or not, music is a universal language and that is used to express the performers feelings. This may be Schubert's piece, Listzs arrangement or have influences from Europe, but Yuja is the performer, and this is her interpretation. Insulting her music is insulting her. You wouldn't like it if someone just blantantly hated on you, so don't do that to her. And to all who criticize but can't play this, you hae no right to speak.
@jnthnswift2 those that can't do?? I would be very careful before you make judgements about me. I am a concert pianist and have played this piece many times. The "German aspects" are the differences in intonation to bring the meaning of the piece to light. All this lady does is plonk along on the keys without any meaning or feeling. She also plays it much too aggressively. But then I wouldn't expect an American like yourself to understand anything about European or German culture....
Benissimo la prima parte, l'ultimo minuto e mezzo (dove c'è il climax finale) confuso. Per capirci la nei primi 3/4 mi sembra di sentire cantare le parole di Goethe, dopo sento tanti suoni ma non capisco bene la melodia.... buona prova comunque!
I am a fan of Yuya Wang and consider her one of the current great pianists. Even here it can be seen that she feels the music. Still the tempo IMHO is too high. To show off pianistic skills it is ok, but for interpretation of the song it is not suitable. Her other Liszt/Schubert-recordings are really convincing. I would like to hear her play this piece a little bit slower. But maybe she will do so at a later time when she does not have to proof pianistic superiority.
Interesting, passionate performance, but overall to my mind unsatisfactory. Yuja would do better, I think, if she doesn't speed up so much some of the most dramatic. It's a mistake. Everybody can play fast. This is not the point. Erlkoenig is a fine example when it is much more difficult to play it slow. Also, though this may be due to YT's lousy sound, Yuja right hand sometimes tends to overshadow the left, where most of the vocal line lies - which is pretty disastrous.
@chibura Wow. Come on. Kissin is one of the most robotic pianists out there. Sure, his techniques are top notch, but you're using Kissin to compare EMOTIONS? Are you serious? That's like calling Macdonalds "heathy". Sure, you have the right to express your opinions, however obscure they are. But so are others in calling on your more-or-less incorrect views.
@frzewski The real question is: To what degree can we expect a pretentiously erudite critic who appears especially capable of bombastic questions to simply answer them himself, in view of whatever elusive vestiges of Schubertian-era vocal phrasing and tempi" he tries to mumble out while standing in front of a modern grand?
Don't misunderstand me. Of the three, Hofmann, Kissen, and Richter, I like Richter the most, but because technically, yes technically, none of the three could match this young lady when playing this difficulty piece, even Richter (my favorite pianist for years)，hard as he tried, couldn't produce the same clarity, dynamics and virtuosity. I wish otherwise.
@flarbton That image makes my day... A whole host of bureaucrats in Germany in the 30s decided, too, that there was something "Jewish" to be found in music and art. Brother Pinos reminds us that evil really is banal.
@SourCream232 Oh really? There's piano judges that have every right to criticize the pianist's playing and some can't even play the piece the pianist is playing. So even though they can't play a piece, they have the right to criticize her playing as long as they understand how classical works and if they know the song fully to the extent where they should know the dynamics, tempo, etc.
So glad other sound musical minds take up my slack and make you feel less lonely and somehow valid and important..your purpose here after all; the attention you lack in real life... If I did not find you so funny it just might be sad...just....;-)
@SourCream232 "American or not" "have influences from Europe"... What are you talking about? If it's not American than it's still good music? Liszt and Schubert were from Europe, that's a little more than 'influence from' right?
I understand, and maybe I took it a little too far (chat isn't the best way to communicate tone of voice or anything like that) but all I'm saying is that she performed a difficult piece according to her interpretation and everyone's just being sorta jerkish. I'm an instrumentalist and I get judged too, so I know where you're coming from; please understand why I'm trying to defend her.
you people turn music into a crazy competition.. i agree that there are some technical things every pianist should learn, but in the end music is just for joy and pleasure... there can't be no critic or comparison because the potential to grow is infinite... everybody is different, so the interpretetions will be different, otherwise playing piano will be just like pressing the notes without any personal atitude and feelings....
@SourCream232 if music is a universal language then why do you need to be able to play this to give an opinion? Are people allowed to say that they like it if they cant play it?
1:37 look at how her left hand FLOATS over those keys!
Да, уж!!! Я бы сказала, что не плавает, а порхает, как бабочка! Полный восторг!
this piece is so notoriously difficult and shes like nah im just going to hit every note
Smart, a lot easier having taken out so many notes to not have to play those repeated octaves for too long 😂
To those saying she plays with no feeling: Yes, she does. Before I read the comments, I was actually thinking how well she portrays the different characters' emotions - the boy is frantic and frightened, the Erlkönig is sweet and captivating, and the father is increasingly worried. If you mean the ostinato pattern has no emotion - of course it wouldn't. It's a horse running at top speed, which she emulates perfectly. The lyrics are perfectly easy to "hear" in this version: if you know them.
Difference of opinion i ahree she doesnt but its just about personal taste
Father isn’t worried. She got that wrong. Also, the narrator should be consistent .
@@lightningbolt4419I feel like there are many interpretations. One is that the child is very sick and is hallucinating, about to die. The other is that the Erlkönig is there, but the father is pretending not to see him to comfort the child. In both cases, the father will be very, very worried. If the erlkönig wasn't there, he'd be worried for his hallucinating sick kid, and if it was real, then he'd be worried for obvious reasons.
@@mirnim true.
@@lightningbolt4419where can we view your performance?
機関銃みたいに動く指の病気、世界に彼女だけだから凄い！世界一のピアノ弾きだ、俺大好き、、
You need to drink lots of coffee to play this piece.
Just kidding, I saw Yuja play this piece in Toronto. Most excellent!
you probably need to drink that cofee while practicing it lol
@@sisidiam1096 you have to get that coffe enjected into your veins
This performance is just outstanding! The desperation and tragedy of the musical story is etched powerfully into the listeners mind - really exceptional playing and interpretation.
There's some rude comments in here, I don't get it. This is amazing performance! I never heard the Liszt version before, it's amazing and I thought she brought out the three different characters very well and the desperation of the father. So people writing, no expression, what are you talking about?
That's the first time I have ever applauded a UA-cam video!
Amazing.
Just got here from music class, jesus this girl is insaane. Also , you can tell how much she's prepared for this, her fucking forearm is bigger than her bicep/tricep.
This is exactly the right interpretation. The father is frantic to save his son from the dreaded Erlkonig and races his horse carrying his son with him to try and escape the coming fate, but he is too late and finds his son is dead.
Yes - I don't get the 'too fast' criticisms. It's a high Romantic Liszt piano piece - a miniature symphonic poem for virtuoso pianist (imagine it played by Alkan!), no longer the early Romantic Schubert song it started out being.
yes !
The “right interpretation” is like saying the “right opinion.” Theres no such thing
But the father tries to comfort him throughout the poem denying the elf king, hence the major transition after the frantic Mein Vater's.
But still a brilliant interpretation
Best performance of this piece that I've ever heard. This kind of effortless virtuosity and wonderful musicality hasn't been seen since the young Argerich.
Wow. I'm seriously impressed. Not only by he amazing speed, but by the way Yuja Wang makes Liszt sound natural. Most of Liszt's piano transformations sound like he just wanted to piss pianists off by making he pieces ridiculously difficult to play and listen to. Seldom have I come across pianists like her who make use of their talent and practice not only to play the piece as fast as possible, but to play it like I think it was meant to be played: as a song with the piano being the singer.
Fabulous! Thanks for posting!
She does make the song seem sorta angry....but hot damn did she play the shit outta that song.
I do not want to comment because of a lack of words..what can one say of such a performace ..just remain silent an d sit in awe..BRAVO.
This woman is a genious.
Fantastico , maravilloso, increible, perfecto, beautiful to see her hand flaying.
I almost passed out when I watched this. It is amazing.
Another pianist who thinks playing fast means playing good.
I cant see the fingures :O
shes amazing...i have never seen such an amazing hand technique when a person plays the piano.GOOD LUCK IN YOUR CAREER!
TaYuK0, you could not feel the emotion not the pianist. Try to listen carefully and it is a good classical music lesson to you. Well dynamic and sensitive touch from right hand at the beginning even in the extremely fast and difficulty movement, together with the EMOTIONAL beautiful melody flooding. I am not sure if you play piano because You have mentioned other pianist is better. Try yourself just a few bars only the right hand, if you could do the same you will be a excellent pianist, or listen Kissing played the same piece. Kissing has beautiful sound but the right hand is not the same level as Yuja Wang.
Well as a person who has played this piece (not at professional level but meh) , I can agree that it is very difficult to play it this fast - however I still don't think the right hand is as good as you claim it to be. The piece doesn't need to be this fast - about 140 is good enough. The articulation in the right hand is stagnant and messy - you should be able to hear the staccato and each individual notes rather than just a sustained blur, which is something that kissin does better. Those right hand runs when the child is screaming in this version aren't very good, you can't hear the notes individually and she hits wrong notes fairly frequently. Additionally, more changes in rubato and articulation should be able to help differentiate the characters from one another better, or make the child sound more and more panicked between his entries as he grows more fearful of the erlking, rather than the same each time. I have great respect for her interpretation - maybe it's the recording idk - but I think that there are other pianists who do this better, kissin being one of them.
***** It's a showpiece with a very emotional background. And the acoustic in this recording is really bad :(
A little too fast, this is.
Yuja easily has the power, but that was just a bit too much power. Still not bad, though...
A question of personal preferences I think :)
I don't see how there are so many negative opinions claiming lack of musicality in this piece. Every time the kid sings it gets ever so frantic; every time the Elf King sings, it's very sweet and manipulative; and when the father sings, it sounds quite deliberate.. like, I even feel like I'm being scolded when I hear that melody. The only thing I thought was a little weird was how OVERdramatic the bass motif was, but hey thats her interpretation! I'm not winning awards and playing w/ orchestras!
That looks so painful...I'm getting carpal-tunnel just watching her.
absolutely fabulous
I want to know HOW you got the recording in the first place!! I went to hear her and even before she appeared I was just filming the inside of the building and was told to shut my camera off. Had it not been my first time hearing here and the fact we had travelled a long way, I would have told the person to get lost! I wasn't filming HER - (yet - ha!) Hey, c'mon. Everybody films concerts at some time. I'm just SO glad you filmed this one, and a HUGE thank you. Yuja is a HUGE-A talent!!
she really feels the piece
I have listened to other artists playing this..but..
Yuja makes music of this..she is fenomenal..xxBravo👏👏👏👏
the sustained triplets are just so perfect
and she does it with absolute control.
It's so impossible for an individual to play that piece. It's more like an orchestral cover.
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind:
Er hat den Knaben wohl in dem Arm,
Er fasst ihn sicher, er hält ihn warm.
„Mein Sohn, was birgst du so bang dein Gesicht?“
„Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron’ und Schweif?“
„Mein Sohn, es ist ein Nebelstreif.“
„Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel’ ich mit dir;
Manch’ bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand.“
„Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?“
„Sei ruhig, bleibe ruhig, mein Kind:
In dürren Blättern säuselt der Wind.“
„Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Rein
Und wiegen und tanzen und singen dich ein.“
„Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?“
„Mein Sohn, mein Sohn, ich seh es genau:
Es scheinen die alten Weiden so grau.“
„Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch ich Gewalt.“
„Mein Vater, mein Vater, jetzt fasst er mich an!
Erlkönig hat mir ein Leids getan!“
Dem Vater grausets, er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not:
In seinen Armen das Kind war tot.
she blows my mind
これを聴くと改めて音楽に強弱がどの様な影響を与えるのか教えてくれる
I keep wondering when I see a performance like this what the limitation on muscle contraction and restoration really is for a human being, or any animal for that mater. Not to mention how long someone can keep it up without depleting the glucose and oxygen necessary to make it all work. The music often demands more that what a normal person can deliver, hence the idea that some virtuosos are super-human.
@frzewski Let me try and answer those questions in less than 500 characters:
1) Who gives a shit? These are bravuras pieces, they are no longer Schubert songs
2) Liszt's pianos were pretty good compared to Beethoven's pianos. I have actually played one, humbly. They can withstand quite a porking. Plus, Liszt conceived music, maybe even for a piano only he heard but was technically not yet created.
Summary: Yuja Wang is spriritually intimate with Liszt, I believe, and Liszt is enjoying it.
🤩🤩👏👏👏👏👏👏👏👏👏👏👏👏👏👏😍😍
bbobsyerund Let's simplify the matter--to say Yuja is far better, as someone has posted to say, than any of the three you mentioned, might provoke a cry from you of exaggeration. How about this?: Yuja plays just a bit better than Hofmann, or Richter or Kissen--or all three combined? Smiles and cheers....
What would you say, how much experience one needs to play this? I would like to try it. I've been been playing the piano for about 10 years and practice 2 -3 hours a day. Do you think I could make it?
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
@bbobsyeruncl Let's simplify the matter. To say Yuja is far better, as someone has posted to say, than any of the three you mentioned might provoke cries from you of hyperbole. How about this? Let's say Yuja plays only a little better than Kissen or Hofmann or Richter? Peace.
@rubenblijdorp
For those saying that this piece is going way too fast- I've sang this piece and the tempo for accompaniment is absolutely perfect. That is the way the song was made; fast and dramatic, with schmaltzy slow Erlkonig music. The tempo and volume was just where it needed to be. You are right about the balance though.
My favorite part of this piece is 1:26 to 1:49. I just love those graceful arpeggios (or however they're spelled) that the right hand does. The left hand goes perfectly with the right hand in those parts. Alas, if only I could play this piece on a large concert grand piano every day.
This is why i don't play liszt much on my instruments, the piano will will were-off 3 times as fast than when i don't play liszt !
still sounds good!
I just can't believe it every time when I see her performance......
brravo!!!!!
Great but way too fast, it loses something. It sounded garbed in certain places. We know you're a wonderfu lpianist but don't blow us away with your skill
+Harry San Miguel ummm... thats full speed, she's just playing it full speed
Thumb Up!
Very beautiful! So very beautiful piece of music and Yuja performance!! Brava!!
헐 대박 !!!
She is supranatural .
Well she just set the world record for finishing this piece in the shortest amount of time but I'm not too sure that's very desirable.
By the way, even if you are right concerning the world record, she gets this result cheating. Look what her right hand plays at 0:08 and compare to what it must be played according the sheet
Marina Ivanoff
Never noticed that before, perhaps it is a different edition?
Marina Ivanoff More likely Yuja just ignored that which she did not wish to play - she seems to do that quite frequently. Listen to her entrance to Rach 2.
123eldest
No. It is NOT some different edition by Liszt. It is different edition by Yuja herself :))
And she did the same ( I mean cheating) in Sonata S.178 (a.k.a. B minor).
Yeah, she takes the seconds and leaves out the full octave. Love the way she plays this, but still.
와 손떠는거 개잘한다 난 바로 꼬이던데..
wantfree 지금은 3년이나 지났는데 치실수있어용? (궁금궁금)
one of the most difficult pieces for piano.. superb performance
Perfetta padronanza dello strumento e strepitosa sicurezza dovuta certamente ad un talento che pochi possiedono. Molto brava, è un piacere ascoltare e vedere le mani sorvolare la tastiera... complimenti!
I don't feel anything from the story within this piece. Really weird for me to type this since this is a Romantic Era piece. o.o The skill is amazing but no emotion from the story it's suppose to play. Only feelings I can feel is amazement of the skill level of the pianist definitely not the same as being lost in the story of the piece and having emotions arise from that.
TaYuK0 Contradictory to most of the comments here.
Try closing your eyes and just listening - your amazement at Yuja's technical abilities is blocking out your appreciation of the power in her interpretation. Remember the FRANTIC ride the father is taking to rescue his daughter, that is the core of this music.
wow, her hands are amazing
Absolutely fantastic. I'm so thrilled, my goose bumps won't go away
I'm learning this and...and..... you guys continue the sentence ....😑
This is first class piano playing.
really impressive handwork. and shes a rockstar look at the headbanging at 0:50 ! i think my favorite section is the climax at 3:28. just full of passion and anger, really incredible performance
희빈 장씨(1659∼1701) : 조선 19대왕 숙종의 후궁.
본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다.
1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다.
이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다.
이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다.
이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다.
이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다.
기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다.
이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다.
소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다.
그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다.
이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)· 유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
Probably the best performance of this piece I've yet heard, her hands don't even look like they're touching the keys, almost as if they're floating/hovering. She really brings out the terror and desperation the young boy and father must've felt and the sweet and enticing allure of the Elf King.
Пятый элемент. Феноменальная пианистка.
Great Yuja!
amazing~
I'm confused is this Schubert or Liszt who composed this? and the guy who said Yuga played this in record time well this is the first time I ever heard this and she was marvelous and I loved it.
the cameraman cannot help but stray to focus on her instead of what's going on there at the keyboard, who can blame him?
Schubert lied transcribed by Liszt for solo piano.
The original composition is by Schubert, but this is a version of the original that has been transcribed to solo piano by Franz Liszt. The original composition is for voice with piano accompaniment.
"Ich liebe dich, mich reizt deine schöne Gastalt." - Erlkönig
***** Und bist du nicht willig, so brauch' ich GEWALT!
Richtig! 😆
I've got it memorized, it's one of my favorite poems :)
***** Mein liebe Kind, komm geh mit mir!
aragornthebrave Mein liebES Kind ;)
her side view reminds me of Nodame Megumi from the live action of Nodame Cantabile
Genial!!!!
손가락 하나하나가 걍 망치로 활용되는 것 같은..
魔王ってピアニスト殺しって言われるって言うけど、この演奏はピアノ壊しに行ってる気がする笑笑
すごい迫力だ！！私もはやくまたピアノ始めたいなぁ
Very dramatic and exciting Playing!!
Quand trois géants se retrouvent hors le temps !
She is the best living pianist I know. Just amazing!
if anyone listening to this is not yet familiar with the poem this song was written after (and also how the elements of the song match up to certain elements of the poem) then i highly , -HIGHLY- recommend you look it up . you won't be disappointed - it's incredibly fascinating !
edit : am more than happy to type up a quick synopsis here if anyone is interested ? just let me know :)
@orleomarty You can't be sure about that. You're still young and if you're creative in finding melodies you could make money with your music one day.
Merveilleuse pour moi qui n'aimait pas trop le piano
I almost passed out when I watched this. I could only dream of playing this piece with that kind of passion and intensity.
super!
American or not, music is a universal language and that is used to express the performers feelings. This may be Schubert's piece, Listzs arrangement or have influences from Europe, but Yuja is the performer, and this is her interpretation. Insulting her music is insulting her. You wouldn't like it if someone just blantantly hated on you, so don't do that to her. And to all who criticize but can't play this, you hae no right to speak.
@jnthnswift2 those that can't do?? I would be very careful before you make judgements about me. I am a concert pianist and have played this piece many times. The "German aspects" are the differences in intonation to bring the meaning of the piece to light. All this lady does is plonk along on the keys without any meaning or feeling. She also plays it much too aggressively. But then I wouldn't expect an American like yourself to understand anything about European or German culture....
Its good to see the "teacher" accepting the comments as fact and with grace :)
This is the best music of Liszt and played by her who will be the known as the greatest pianist of the 21st century
Benissimo la prima parte, l'ultimo minuto e mezzo (dove c'è il climax finale) confuso. Per capirci la nei primi 3/4 mi sembra di sentire cantare le parole di Goethe, dopo sento tanti suoni ma non capisco bene la melodia.... buona prova comunque!
I am a fan of Yuya Wang and consider her one of the current great pianists. Even here it can be seen that she feels the music. Still the tempo IMHO is too high. To show off pianistic skills it is ok, but for interpretation of the song it is not suitable. Her other Liszt/Schubert-recordings are really convincing. I would like to hear her play this piece a little bit slower. But maybe she will do so at a later time when she does not have to proof pianistic superiority.
Interesting, passionate performance, but overall to my mind unsatisfactory. Yuja would do better, I think, if she doesn't speed up so much some of the most dramatic. It's a mistake. Everybody can play fast. This is not the point. Erlkoenig is a fine example when it is much more difficult to play it slow. Also, though this may be due to YT's lousy sound, Yuja right hand sometimes tends to overshadow the left, where most of the vocal line lies - which is pretty disastrous.
@chibura Wow. Come on. Kissin is one of the most robotic pianists out there. Sure, his techniques are top notch, but you're using Kissin to compare EMOTIONS? Are you serious? That's like calling Macdonalds "heathy". Sure, you have the right to express your opinions, however obscure they are. But so are others in calling on your more-or-less incorrect views.
@frzewski The real question is: To what degree can we expect a pretentiously erudite critic who appears especially capable of bombastic questions to simply answer them himself, in view of whatever elusive vestiges of Schubertian-era vocal phrasing and tempi" he tries to mumble out while standing in front of a modern grand?
Don't misunderstand me. Of the three, Hofmann, Kissen, and Richter, I like Richter the most, but because technically, yes technically, none of the three could match this young lady when playing this difficulty piece, even Richter (my favorite pianist for years)，hard as he tried, couldn't produce the same clarity, dynamics and virtuosity. I wish otherwise.
@flarbton That image makes my day... A whole host of bureaucrats in Germany in the 30s decided, too, that there was something "Jewish" to be found in music and art. Brother Pinos reminds us that evil really is banal.
@SourCream232 Oh really? There's piano judges that have every right to criticize the pianist's playing and some can't even play the piece the pianist is playing. So even though they can't play a piece, they have the right to criticize her playing as long as they understand how classical works and if they know the song fully to the extent where they should know the dynamics, tempo, etc.
기립박수는 이럴때 쳐야하는 것.
You guys can find a modern Rock / Metal rendition of this piece on our page. Search: "Hope lies within der erlkonig" Thanks!
So glad other sound musical minds take up my slack and make you feel less lonely and somehow valid and important..your purpose here after all; the attention you lack in real life...
If I did not find you so funny it just might be sad...just....;-)
@SourCream232 "American or not" "have influences from Europe"... What are you talking about? If it's not American than it's still good music? Liszt and Schubert were from Europe, that's a little more than 'influence from' right?
Listen to Yuja wang played at Verbie 2010. It is a better recoding and sound.
I understand, and maybe I took it a little too far (chat isn't the best way to communicate tone of voice or anything like that) but all I'm saying is that she performed a difficult piece according to her interpretation and everyone's just being sorta jerkish. I'm an instrumentalist and I get judged too, so I know where you're coming from; please understand why I'm trying to defend her.
you people turn music into a crazy competition.. i agree that there are some technical things every pianist should learn, but in the end music is just for joy and pleasure... there can't be no critic or comparison because the potential to grow is infinite... everybody is different, so the interpretetions will be different, otherwise playing piano will be just like pressing the notes without any personal atitude and feelings....
@SourCream232 if music is a universal language then why do you need to be able to play this to give an opinion? Are people allowed to say that they like it if they cant play it?
유자왕 피아니스트 아주 🎉🎉🎉좋아요