All Eyes and Ears On Yuja Wang Vienna 2020

[@michaelschefold3299]

"Beethoven learned a lot from Gershwin".....She has an incompearable humour! 👍👍👍 She really loves Vienna and Europe, hopefully she'll live in Europe sometimes....

[@moxigeren50gabe23]

She is based in New York ever since she emigrated to the States but yes she absolutely would love to live in Europe

[@michaelschefold3299]

@@moxigeren50gabe23 In this crazy times it would be better for her to live in Europe.....but she loves New York, too....and she has a great Appartement in the 55 floor with a fantastic view over New York.

[@ronl7131]

🤣🤣🤣

[@georgescancan7503]

Magic??? 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.

[@mariodisarli1022]

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

[@eldergeektromeo9868]

Yuja is truly a phenomenal musician, and an even more stunning woman! Thank you Yuja, for showing us why Vienna is so close to your heart.

[@moxigeren50gabe23]

Thanks for watching and subscribe

[@eldergeektromeo9868]

When you see her nose crinkle, you know to expect to experience her incredible sense of humor, and/or hear her signature giggle! Love it! ❤❤

[@moxigeren50gabe23]

Thanks for watching and subscribe

[@Brainhoneywalker]

This woman ... caused me to come out of a lifelong hard jazz bubble and REALLY listen to classical music. I have fallen in love with classical music. So much to learn and know. So worth it.

[@georgescancan7503]

This woman???? for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

[@Brainhoneywalker]

@@georgescancan7503 I have been an avant guard jazz lover for many years. I’ve seen artists give other worldly performances ... seen them again ... and wanted a doggone refund. I imagine classical musicians are no different to the trained ear. I have no interest in her dress.

[@harryboggon8718]

Yuja is so charming with her infectious laugh A joy to behold ❤️

[@moxigeren50gabe23]

her laught is so contagious

[@harryboggon8718]

I also happen to think Yuja is the best Pianist in the World ❤️

[@georgescancan7503]

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.

[@georgescancan7503]

@@mariodisarli1022 for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

[@mariodisarli1022]

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

[@MrEdgaralain]

So much talent, so much beauty, and a lot of humor. Her laughing is like a river of silver. In spite of her unbelievable success she managed to stay natural and humble. It must be a great pleasure (and honour) to have her as a friend. It's impossible to dislike her!

[@moxigeren50gabe23]

She is so cool and down to earth

[@georgescancan7503]

"talent"???? Who is Yuja? Product PR and show industry! Absolutely ordinary pianist, pulled onto the stage by mafia structures for the sexual entertainment of snotty youths and old libertines! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We must finally say: enough !!! The Classical Review Wang’s powerful virtuosity stronger on flash than depth in Boston recital May 13, 2018 By Aaron Keebaugh Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres ... There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping. ... Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style. Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored. Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music. ... The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.

[@mariodisarli1022]

"and a lot of humor.": kzbin.info/www/bejne/oIbPYYKElMurbrs

[@robertbrueckner6552]

@@georgescancan7503 oh the stupid jealousy! it is so dumb!

[@cesarmorenobravo7082]

@@georgescancan7503 Georges Cancan obviously you nothing of human values nor art nor music. Poor human trash.

[@julionicodeme217]

She is so cute and talented and humble, I like her❤️

[@mariodisarli1022]

"talented"??? 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

[@fatimanakisbek7264]

Thank you Yuja! Beethoven would be very proud of you ✋❤️You are wonderfully made by God for His purpose, keep your journey to find Him in what you are doing, love it so much !You are beautiful ☀️👗💥✋❤️🙏

[@moxigeren50gabe23]

Yuja is the best nowdays

[@mariodisarli1022]

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

[@mariodisarli1022]

"Thank you Yuja"! kzbin.info/www/bejne/oIbPYYKElMurbrs

[@gueue5937]

I adore her as musician and loved how she talks about Vienna, my home town :o) Hope to see her again in Musikverein oder Konzerthaus soon!

[@moxigeren50gabe23]

Couldn't agree more!

[@carloseduardobarrosrodrigu6318]

She is a genius... lovely girl...

[@moxigeren50gabe23]

she is the best

[@estarling8766]

''... his genius of transforming something so simple to something so powerful. '' Beethoven indeed.

[@moxigeren50gabe23]

Thanks for subscribe

[@michaelweisberg6685]

I admit a partiality of all things Asian, but Ms. Yang stands well above ethnicity, as her ebullient personality is reflected 100% into her pianist skills. Her greatest strength, is the pure joy she conveys through her incredible and heartfelt love of the music she plays. I look forward to all her future performances, while enjoying her past 20 years as a pianist prodigy.

[@mariodisarli1022]

@JohnnieRhodes "the Cinese-American pianist"??? Classical music is an achievement of European civilization and culture, and you can promote American - Chinese concepts about classical music and especially about sexual experiments with classical music in China and the USA. You can experiment further, but please, for American and Chinese cowboys. You need to take a lot of ethics and aesthetics lessons and only then go on the stage of the concert hall. Treat with respect the greatest works of the greatest composers !!! slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

[@jeanpierreschmitt9537]

Yuja, vous êtes un diamant d’une rare beauté. Restez comme vous êtes, simple, spontanée, naturelle. Ne changez rien. J’espère avoir l’occasion d’assister un jour à l’un de vos concerts en France, Strasbourg peut-être.

[@miguelsalas8460]

Thank you Yuja!

[@georgescancan7503]

for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) Chinese sewing machine! YW - PR product, money making machine!!!

[@moxigeren50gabe23]

Thank you Miguel

[@zeno476]

wow so amazing i love it

[@moxigeren50gabe23]

Thank you Zen

[@mitsuokurokawa8329]

I love your music, Yuja! 👏👏👏👏👏👏

[@moxigeren50gabe23]

Xie xie ni, thank you

[@moxigeren50gabe23]

Thank you all Please subscribe

[@88hsef88]

Dear Gabo: I love your Logo with the American-Chinese hand in hand. That would be the dream and future of this planet Earth. Why the No 1 economy has to feel threaten and making all the excuses to stun the advancement of the No 2. Would that not be better if the two can work to further the global wealth and health? Yuja being an ambassador for East and West exemplifies how people can take advantages of different systems or cultures. Bravo Wang!

[@moxigeren50gabe23]

I hope one day America and China work together for a better future of the planet

[@georgescancan7503]

Who is Yuja? Product PR and show industry! Absolutely ordinary pianist, pulled onto the stage by mafia structures for the sexual entertainment of snotty youths and old libertines! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We must finally say: enough !!! The Classical Review Wang’s powerful virtuosity stronger on flash than depth in Boston recital May 13, 2018 By Aaron Keebaugh Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres ... There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping. ... Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style. Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored. Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music. ... The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.

[@ambrosecars2124]

The epidemy of the song, "The Way You Look Tonight." 'And that laugh that wrinkles your nose, it touches my foolish heart.'

[@joannebrisson7786]

Thanks Gabo!!!

[@moxigeren50gabe23]

Thank you for tunning

[@mariodisarli1022]

Thanks Yuja: kzbin.info/www/bejne/oIbPYYKElMurbrs

[@juliusthomas1832]

I wonder, does she compose /write her own music? I must visit Vienna 😉

[@MrEdgaralain]

To all who critizise this unbelievable artist on the basis of third party reviews: SAPERE AUDE!

[@georgescancan7503]

kzbin.info/www/bejne/Zpule4h7rZeFhM0 Yes, sex does sell! The down side is it has a tendency to cheapen and degrade at the same time. Pianists such as Yuja Wang and Lang Lang (and Khatia Buniatishvili) seem to be on the same page with regard to their presentation in classical music. One the one hand it is a fabulously tawdry trick to bring in a larger audience, but on the other I suspect most of THAT audience wouldn't even consider coming to their concerts if they weren't so salacious in their presentations!

[@spartybob1]

she is in a class by herself

[@georgescancan7503]

New York CLASSICAL REVIEW by Eric Simpson Sun May 15.2016 Concerts are, to some extent, an expectations game in one way or another: we go to a major venue to hear a leading artist expecting a great performance, and often that bar is met or even exceeded. Or we witness a very fine performance that stands out all the more for being by someone we’ve scarcely heard of. The least pleasant of all worlds has to be the experience of disappointment from the performers from whom we expect the most. Over the past several years, it has been a thrill to watch the continued development of Yuja Wang, who has shed her reputation as a flashy technician and demonstrated herself to be a sensitive musician of real substance. It was surprising, then, to hear her on Saturday at Carnegie Hall, in her most mature recital program to date, sound so far out of her element. The first two of Brahms’s Op. 10 Ballades provided just the first example of what would become a recurring problem throughout Wang’s recital: chronic over-pedaling. While some judicious blurring can help give color to a piece, Wang’s heavy foot seemed here to be more of a tic, fussing with textures without finding much in the way of meaningful expression. Neither Ballade showed much specificity of intention, giving instead a broadly generic account of the music without a strong feel for its style or significance. There was a more virtuosic feel that one often hears in her rendering of Schumann’s Kreisleriana, yet Wang still relied too heavily on her pedaling, her playing often feeling rote. For all the fire with which she ended the third movement, there was no focus in it, so that it took on the shape of general bluster. There were moments throughout of superb playing-the last movement was marked by striking contrasts between passion and playful coyness, but even these felt like momentary effects rather than elements of a complete interpretation. Most perplexing of all was her take on Beethoven’s magisterial “Hammerklavier” Sonata. In the early going it was quite impressive, a truly majestic majestic opening followed by extraordinary freedom in her interpretation of the rest of the first movement. Wang’s fingerwork at times felt a little drowsy, a problem that carried over into her Scherzo, and kept it from ever approaching its requisite crispness. As so often before, Wang’s account of the pensive Adagio sostenuto showed moments of superb playing-her delicate touch floated shining tones out of the piano, and individual phrases were sublimely crafted. What she lacked, though was the ruminative Beethovenian spirit of the music-the romantic preciousness with which she shaped the movement would have been more suited to a Chopin nocturne. The finale showed plenty of determination in the “Allegro risoluto,” but more excessive pedaling and sluggish fingerwork muddied what ought to have been a crystal-clear fugue. A different pianist, it seemed, emerged for the curtain calls. Wang tossed off all of her usual encores, and they were brilliant: the Gretchen am Spinnrade transcription had the perfect combination of Schubertian sensitivity and Lisztian bombast. Arcadi Volodos’s cheeky riff on Mozart’s Rondo alla Turca elicited laughter at every witty turn and the Horowitz “Carmen” Variations were accomplished with supreme flair. Where was this self-assured, limpid playing on the rest of the program?

[@jiny_heo]

what is background music? please🙏

[@moxigeren50gabe23]

It's Beethoven sonata

[@brunocerrato6883]

Super 😊

[@camilloflaim8933]

I hope that one day you compose something for piano; so after the musicians will say : music of Yuja Wang . I have write many pages ,but i have learned how to compose for 8 years on Conservatory.

[@georgescancan7503]

kzbin.info/www/bejne/on64fpdnj6qCfsU Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

[@camilloflaim8933]

Vienna it's only 530 km far from my village, but until now never goned there ,only arrived to Salzburg.

[@ronl7131]

Ahhhhh Vienna coffee....😋

[@moxigeren50gabe23]

it must be good coffe hehehe

[@mariodisarli1022]

Ahhhhhhhhhhh: kzbin.info/www/bejne/oIbPYYKElMurbrs

[@koshersalaami]

I recognized that Sachertorte box. I might still have one somewhere from the seventies. There’s a statue in one of the main parks there that looks for all the world like Mark Twain playing a violin. It’s Johann Strauss. You know you’re in a good place when the statues are of musicians. My big question for Yuja is if she played on any Bosendorfers while in town - that’s where they’re made. It’s where AKG Acoustics used to be. They’re gone, replaced by a company called Austrian Audio.

[@georgescancan7503]

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.

[@mariodisarli1022]

Buuuuuuuuuuuuuuuuuuuuuu: kzbin.info/www/bejne/oIbPYYKElMurbrs

[@gpiano84]

She seems very cool

[@georgescancan7503]

Hi "cool"! for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

[@johncurtis920]

To readers please forgive this overly long write-up. Beethoven, from all accounts, could be unpleasant, sometimes cruel, and in a tip of the hat to the state of our world today you could say that his politics were...hard to understand. Over the years the man physically fell apart. It's said that at one point, in the town of Baden, a disheveled Beethoven had once gone for a walk and been arrested for vagrancy. So I suppose he was a rather cantankerous individual by the standards of his, or for that matter any other, era. But it seems demons of the type many of us face hounded him, too. Beethoven's thoughts in a letter that was apparently never sent, but discovered later on and now known as the Heiligenstadt Testament, perhaps sum the man and his anguish: “Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in others,” (he wrote, describing his anguish at losing his hearing and his fears over it being found out) “Such incidents drove me almost to despair; a little more of that and I would have ended my life - it was only my art that held me back.” From the vantage of our day and age we know his struggle but can you imagine being so blessed, yet having to wrestle with the idea of a God so cruel, one that endows you with the capability to conceive such musical beauty we experience today yet being unable, or only crudely able, to hear it except from the outside looking in perspective pf through the iron-barred gate of your imagination? The mind recoils from such as that, doesn't it? For such an artist it must be anguish on the order of biblical. How would you react if confronted by so woeful a profundity? The jewel of your desire dangling ever just beyond your grasp. Madness to the point of suicide would be understandable would it not? His art, its creation without regard for how he was crippled, may have been his balm but given all that we know today there's little wonder that he was a heavy drinker. But regardless,, his entire body of work is the proof that one can triumph over despair. It is the gift Beethoven gives to us all, re-expressed in our day by the likes of Yuja Wang. I only hope that he himself understood it before he died. No God is that cruel, is it? John~ American Net'Zen

[@emkoh2746]

John Curtis. Thanks for sharing your thoughts. Rather profound.

[@mariodisarli1022]

Baden, Beethoven? No! Strip club!!! kzbin.info/www/bejne/oIbPYYKElMurbrs

[@alfredovegas9691]

Alfredo Vegas, Yuya, mi vida esta llena de grandes satisfacciones. entre ellas mi hermosa familia, pero hay algo que nunca lograré, conocerte en persona, tu personalidad, tu incomparable simpatia y tu maravilloso arte, eres la mejor pianista del mundo! sin duda alguna; me marcharé de este mundo sin besar tus maravillosas manos, sin porder expresarte, en persona, que eres bellisima! Te deseo una larga vida sin que pierdas tu sencilla personalidad y la grandeza de tu arte!

[@georgescancan7503]

for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

[@iancrossley6637]

The forth is my favorite too. On another subject, please call Lewis Hamilton. He could use a friend right now after a rough weekend.

[@moxigeren50gabe23]

They all my favorite

[@MrEdgaralain]

To "Georges Cancan": The length of your answer towards my admiration for Yuja Wang is adequate to your ignorance of todays interpretation of classical music. We do not live in the past, we live today!

[@georgescancan7503]

Hi Dude! SLIPPED DISC Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’ UPDATE: In defence of Yuja Wang

[@georgescancan7503]

< 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!

[@georgescancan7503]

New York CLASSICAL REVIEW by Eric Simpson Sun May 15.2016 Concerts are, to some extent, an expectations game in one way or another: we go to a major venue to hear a leading artist expecting a great performance, and often that bar is met or even exceeded. Or we witness a very fine performance that stands out all the more for being by someone we’ve scarcely heard of. The least pleasant of all worlds has to be the experience of disappointment from the performers from whom we expect the most. Over the past several years, it has been a thrill to watch the continued development of Yuja Wang, who has shed her reputation as a flashy technician and demonstrated herself to be a sensitive musician of real substance. It was surprising, then, to hear her on Saturday at Carnegie Hall, in her most mature recital program to date, sound so far out of her element. The first two of Brahms’s Op. 10 Ballades provided just the first example of what would become a recurring problem throughout Wang’s recital: chronic over-pedaling. While some judicious blurring can help give color to a piece, Wang’s heavy foot seemed here to be more of a tic, fussing with textures without finding much in the way of meaningful expression. Neither Ballade showed much specificity of intention, giving instead a broadly generic account of the music without a strong feel for its style or significance. There was a more virtuosic feel that one often hears in her rendering of Schumann’s Kreisleriana, yet Wang still relied too heavily on her pedaling, her playing often feeling rote. For all the fire with which she ended the third movement, there was no focus in it, so that it took on the shape of general bluster. There were moments throughout of superb playing-the last movement was marked by striking contrasts between passion and playful coyness, but even these felt like momentary effects rather than elements of a complete interpretation. Most perplexing of all was her take on Beethoven’s magisterial “Hammerklavier” Sonata. In the early going it was quite impressive, a truly majestic majestic opening followed by extraordinary freedom in her interpretation of the rest of the first movement. Wang’s fingerwork at times felt a little drowsy, a problem that carried over into her Scherzo, and kept it from ever approaching its requisite crispness. As so often before, Wang’s account of the pensive Adagio sostenuto showed moments of superb playing-her delicate touch floated shining tones out of the piano, and individual phrases were sublimely crafted. What she lacked, though was the ruminative Beethovenian spirit of the music-the romantic preciousness with which she shaped the movement would have been more suited to a Chopin nocturne. The finale showed plenty of determination in the “Allegro risoluto,” but more excessive pedaling and sluggish fingerwork muddied what ought to have been a crystal-clear fugue. A different pianist, it seemed, emerged for the curtain calls. Wang tossed off all of her usual encores, and they were brilliant: the Gretchen am Spinnrade transcription had the perfect combination of Schubertian sensitivity and Lisztian bombast. Arcadi Volodos’s cheeky riff on Mozart’s Rondo alla Turca elicited laughter at every witty turn and the Horowitz “Carmen” Variations were accomplished with supreme flair. Where was this self-assured, limpid playing on the rest of the program?

[@MrEdgaralain]

@@georgescancan7503 To all who critizise this unbelievable artist on the basis of third party reviews: SAPERE AUDE!

[@georgescancan7503]

@@MrEdgaralain Yuja Wang - "McDonald´s"culture! The money& sex culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 .... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”

[@stevet2411]

Help...name of the piece being played in the beginning? Much thanks!

[@raznaot8399]

Beethoven Symphony 7, second movement

[@stevet2411]

@@raznaot8399 Thank you!

[@gagatola5833]

580 comments?? wow

[@walendxweg]

📡📡📞👍💋✒💎🐬

[@MsPea]

So much disgusting sexism directed at Yuja. Always by men.Your comments about the way she looks and how she dresses say more about you than they do about her. That she doesn't conform to your narrow idea of what a professional pianist should look like is your problem, not hers. Why watch her videos if you find her so objectionable? Shame on you.

[@georgescancan7503]

Separate two things: a brothel and a concert hall!

[@georgescancan7503]

@bloodgrss bloodgrss(=Yuja Wang): "Sexism: NOUN, Racism: NOUN, Internet troll: NOUN" Dear bloodgrss, Sex sell: NOUN??? kzbin.info/www/bejne/a6Sbqp6LZdKJhLM ALEXANDER BOOT Author, critic, polemicist Blogs > Alexander's blog > Submitted by Alexander on 24 June 2013 - 12:59pm The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand... [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short. Alexander's blog

[@kensimmons]

@ Georges Cancan did you just call Yuja Wang a whore? If you had done that in my hearing you would definitely be hurting. She doesn't dress for the male gaze, either approving or disapproving. She dresses for the freedom she wants to feel at the moment in time. BTW, I've seen her perform live twice over the past 12 months and she wore gowns each time. What she wears, like what music she plays, is up to her.

[@dunruden9720]

So glad Yuja never met Beethoven. He was a genius, but a complete a'hole especially where women were concerned.

[@moxigeren50gabe23]

Imagine Yuja and Beethoven working together

[@wwbdwwbd]

I suspect even Beethoven's stony heart would be melted by Yuja's natural radiance and immense talent. Or maybe not, since he wouldn't be able to hear her play.

[@mariodisarli1022]

"He was a genius": kzbin.info/www/bejne/oIbPYYKElMurbrs

[@dunruden9720]

@@mariodisarli1022 He accused his housekeepers of trying to poison him, and threw crockery at them.

[@mariodisarli1022]

@@dunruden9720 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