I'm gonna ask my silly question, and hope you'll be nice. What does intermezzo mean? And could you shed some light on ABA structure. (The "for dummies" response will do, as you might have already guessed 😃).
@@GypsyEncounters Intermezzo is the name given to this particular movement. One of the definitions for Intermezzo is "a short piece of music for a solo instrument." ABA is the form of the music. There are 3 sections to this piece labeled as A-B-A A: 0:00 - 2:10 B: 2:10 - 3:50 A: 3:50 - 5:42
As an old retired broadcast TV engineer, I'm fascinated by how this was put together - but as a music lover, of Yuja and Andreas especially, I just want to enjoy their magic... Thanks, DG. One objection - I don't want the ending spoilt by unwanted "recommendations" plastered over the scene...
Do you mean, how did they create the acoustic we hear and besides, there are no microphones? My guess is that they recorded it in a studio and "lip-synched" it on the water .....😄
I Love Brahms Music! And I Gladly hear every single rendition on Yuja's lovely and talented hands!!! And now... The location and the whole idea are Stunning! BRAVO YUJA! Bravo Andreas! Vielen Danke Deutsche Grammophon!
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.
Mario DiSarli We don’t need your biases here. It makes no sense for you post that article under this video, as the type of music and showmanship demonstrated in their new album counteracts this claim of Yuja being simply ‘technique’ and nothing more. You literally comment on every single video there is of her, please just get over this obsession and find something more worthwhile to do.
Hi Mr Ben Adams! Who is Yuja Wang? Product PR and show industry! An absolutely ordinary pianist who is being dragged onto the stage by mafia structures for the sexual entertainment of a bored crowd! 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 all must finally say: enough !!!
THE NEW YORKER by Janet Malcolm " What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven! ..."
Listen to Wagner, dear MrGer2295! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
Great clown!!! The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times By Joshua Barone Feb. 12, 2019 In all seriousness: What can’t Yuja Wang do? This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week. But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski. But there was - more. She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
Very beautyful and magic - mostly because of Yuja Wang though. I find it a little strange that the Album Blue hour have only Ottensamer at the front cover
Oh wie cool... Brahms-Arrangements auf einem Ponton. Da muss man erstmal drauf kommen. Goodness, that's very special.. Brahms-arrangements on a water-stage
ruclips.net/video/fjQyoD3kGwA/видео.html This masterpiece of American-Canadian-Chinese culture presents everything you said! But this is not European culture, it is a shame for the greatest Russian composer! His famous piano concerto is used to make money and give sexual entertainment to a bored crowd! This is the American-Canadian culture ??? I can understand the Chinese - they are exploring the world of a foreign culture! This is not classical music, this “event” can be called like this: “A Chinese sewing machine sews American dollars for the realization of the“ American Dream ”!
I am wondering how DG got such a beautiful sound on this video - which looks terrific! The video appears to go out of sync with the music at 4:18 , (i'm guessing they used a studio recording for sound, and made the video afterwards - is that right?) It doesn't really matter... I think seeing these extraordinary musicians play on the water is very soothing. Great job all and thanks.
Natürlich, lieber Sigi, kann Brahms und alle anderen Komponisten wie Gemüse im Laden verkauft werden! Dies ist unser Exportschlager, wie Volkswagen, Audi, Mercedes, ...! Das Problem ist, dass diese Autohersteller die gesamte Gesellschaft mit kriminellen Techniken betrügen. Dieselbe Technik wird von Unternehmen verwendet, die CDs und DVDs herstellen. Ein auffallendes Beispiel ist dieser Video: Collaboration strip club pianistin und Klarinettist, der seinen Titel geerbt hat!
@@mariodisarli1022 Der Vergleich mit der Autoindustrie hinkt aber gewaltig. Ich bin nicht mal sicher, ob er sich überhaupt auf den Beinen halten kann. ☺ Denn im Gegensatz zu dieser hat man hier ein sehr gutes Produkt geliefert. Damit sollen natürlich Kunden angezogen werden, klar. Aber genau so sollte es ja auch funktionieren.
@@mariodisarli1022 Hallo, warum kommst Du immer wieder mit diesem zehn Jahre alten Artikel an, den Du jetzt schon wie häufig gepostet hast? Die Informationen darin werden ja dadurch nicht aktueller...
Sigi Kunisch question: I still don’t understand why people are talking about Asian as “better than everyone else”. Not just Asian can be good at piano. Some Russian, American, European, and of course Asian are also fantastic. You can’t compare it in a certain country or continent, it’s how much talent people have, and how much and the way they practice. I’m Canadian/Asian and I know of course you think you’re half Asian, you’re still Asian, but most of my teachers aren’t Asian. I don’t understand why Asian people HAVE to be better than others.
COOL: 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.
@@video1248 Listen to Wagner, dear Mr. PianoLover! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
As Irving Berlin once wrote, "I know a fine way / to treat a Steinway," and this isn't it. Whoever decided to put this piano on a barge came damned near to committing a Class-C felony. Second, the playing is gorgeous and the arrangement is very much in the spirit of the Brahms clarinet sonatas, but I think Wang could have brought out the countermelody a little more in the trio (first part second time through and third part, before the return).
Hate to be the skunk at the garden party, but since this is one of Brahms greatest masterpieces, I don't think the addition of a clarinet adds to or enhances in any way Brahms' original and most personal music which he played mostly for himself in the autumn of his life. He was first and foremost a pianist and I think he would say it is totally unnecessary. I would love to hear Yuja play this on her own someday.
Oh, my, my-Mario! [etc.-still posting with your multiple YT personalities;-)]? Still sexually confused and sexist over Yuja I see...poor man-I thought by now therapy and drugs would have helped you...
Yuja Wang is a fantastic pianist, that I admire also because she is an independent mind who chooses the pieces she interprets according to her artistic tastes, some in the repertoire and some completely off the beaten track. Here... Brahms' Op. 118 no 2 is certainly not a minor and fashionable choice, but - arranged into a clarinet duo? It does sound good, but a bit... how to say... watered down? Which cannot have anything to do with playing it on a raft, of course. Sorry, but I could not appreciate it, and I find the venture too commercial. This is just my personal reaction.
Yes Bruno I know what you meant by saying the recording felt commercial. I would said it felt packaged for me, packaged to create a certain ambiance of "beauty". I guess it's done to appeal to the mass and to increase the bottom line, I.e. the album sell (commercial). I am saying this not as a critism to Yuja and Andreas; they both are wonderful musicians. Yuja once said that she would like to share more pieces that she was curious and exploring to her audience but at the same time had to take into consideration of what the audience wanted to hear and what the venue wanted to showcase. The balance of public arts and of that which in a major way sustains it in a capitalist world is always a challenge.
@@s.c.1494 truly agree both musicians highly respect the art and did not make any exaggeration when interpreting this piece and still respect the art of Brahms and is serious in their performance. ❤
This Intermezzo has one of the most beautiful ABA structures in history. The music is probably the most sentimental thing ever.
I'm gonna ask my silly question, and hope you'll be nice.
What does intermezzo mean? And could you shed some light on ABA structure.
(The "for dummies" response will do, as you might have already guessed 😃).
@@GypsyEncounters Intermezzo is the name given to this particular movement. One of the definitions for Intermezzo is "a short piece of music for a solo instrument."
ABA is the form of the music. There are 3 sections to this piece labeled as A-B-A
A: 0:00 - 2:10
B: 2:10 - 3:50
A: 3:50 - 5:42
Beautiful scenery - check
Beautiful people - check
Beautiful playing - check
As an old retired broadcast TV engineer, I'm fascinated by how this was put together - but as a music lover, of Yuja and Andreas especially, I just want to enjoy their magic... Thanks, DG.
One objection - I don't want the ending spoilt by unwanted "recommendations" plastered over the scene...
Do you mean, how did they create the acoustic we hear and besides, there are no microphones? My guess is that they recorded it in a studio and "lip-synched" it on the water .....😄
@@fierywomanpacnw7004Yes, just like some musians in the concert, 😂
This is the most beautiful version.
I Love Brahms Music! And I Gladly hear every single rendition on Yuja's lovely and talented hands!!! And now... The location and the whole idea are Stunning! BRAVO YUJA! Bravo Andreas! Vielen Danke Deutsche Grammophon!
Yuja is always magnificent! ❤
WOW! What a brilliant transcription, I would never have thought to couple those two instruments... they're perfectly suited for this gem!
The most beautiful sound I've ever heard from the two most beautiful talented musician....bravo.♥️👏♥️
Finally serious classical musicians make beautiful music videos! Long overdue!
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.
Mario DiSarli We don’t need your biases here. It makes no sense for you post that article under this video, as the type of music and showmanship demonstrated in their new album counteracts this claim of Yuja being simply ‘technique’ and nothing more. You literally comment on every single video there is of her, please just get over this obsession and find something more worthwhile to do.
Hi Mr Ben Adams! Who is Yuja Wang? Product PR and show industry! An absolutely ordinary pianist who is being dragged onto the stage by mafia structures for the sexual entertainment of a bored crowd! 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 all must finally say: enough !!!
Is this ocean liner owned by Deutsche Gramophon?
@@b_nadams It makes no sense to answer this troll! Read what he's writing or read it not....laugh about it...he's not worth a single word...
C’est génial. Excellent arrangement. J’adore.
Traducir al Español por favor
Oui je suis d'accord
Amazing. Une interprétation d'une grande beauté par 2 musiciens d'une grande beauté
O my heart! Such beauty!
How wonderful it is...
My tears falling down at 1:27
3 of the most beautiful notes in the history of music
LOVE IT ! VERY MOVING ! THANK YOU FOR SHARING THIS WITH US 🎹❤❤❤
THE NEW YORKER by Janet Malcolm " What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven! ..."
Listen to Wagner, dear MrGer2295! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
Wunderschön, Ton und Bild gleichermaßen! Danke.
...one beautiful woman on red dress..two souls playing together...three sharps ...just perfect..!!
ruclips.net/video/jUl0ON_fx8Y/видео.html
for the clarinet, no sharps! :)
@@blintscav Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
Magnifique !
OMG ❤️ so amazing
Thank you. That's all that I can say.
WONDERFUL 🎶😊 (More words are not needed)
Un brano fantastico !
Thank You Deutsche Grammophon...
Bellissimo!😄👏👏👏
My heart is exploding from listening to this... especially at 03:19
Simplesmente Bravíssimo!!!
I love it!
Wang YuJia! Gorgeous!😍😍😍
Magnifique, ils jouent si bien, de plus ils sont beaux !
great playing !
Великолепно!
Yes, Anna! ruclips.net/video/jUl0ON_fx8Y/видео.html
Los Amo¡¡¡¡
Beautiful
Bravi!
My Sweet Hummingbird Yuja Wang 🎹 🥰🥰🥰
My favorite.
💯 x💯x💯x💯x💯 lindo....beautiful
If Squidward were good...
All joking aside, this is absolutely beautiful. Thank you for this.
Great clown!!! The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be
The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times
By Joshua Barone
Feb. 12, 2019
In all seriousness: What can’t Yuja Wang do?
This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week.
But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski.
But there was - more.
She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
Fresse
Very beautyful and magic - mostly because of Yuja Wang though. I find it a little strange that the Album Blue hour have only Ottensamer at the front cover
Because he’s hot
just wonderful💫💎💕💖💖
Bravo.
Oh wie cool... Brahms-Arrangements auf einem Ponton. Da muss man erstmal drauf kommen.
Goodness, that's very special.. Brahms-arrangements on a water-stage
Trop beau...
Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
감상했습니다.
Génial !!!
Pure aesthetic.
Increiblee!!! Wowww
Wonderful
Amazing!
ruclips.net/video/fjQyoD3kGwA/видео.html This masterpiece of American-Canadian-Chinese culture presents everything you said! But this is not European culture, it is a shame for the greatest Russian composer! His famous piano concerto is used to make money and give sexual entertainment to a bored crowd! This is the American-Canadian culture ??? I can understand the Chinese - they are exploring the world of a foreign culture! This is not classical music, this “event” can be called like this: “A Chinese sewing machine sews American dollars for the realization of the“ American Dream ”!
I am wondering how DG got such a beautiful sound on this video - which looks terrific! The video appears to go out of sync with the music at 4:18 , (i'm guessing they used a studio recording for sound, and made the video afterwards - is that right?) It doesn't really matter... I think seeing these extraordinary musicians play on the water is very soothing. Great job all and thanks.
Other way around. You film first and then record over the footage
I don't hear that at all... What do you mean out of sync?
@@colleen8997 it’s funny. I don’t see it now either. I wonder if they edited the film after I made this comment. Not sure.
a dreamlike scene
Relaxing
Gorgeous
Bravo
와우 멋져요
L O V E T H E M
Brahms ist zwar nicht so ganz meine Musik, aber trotzdem: Toll gemacht von allen Beteiligten!
Natürlich, lieber Sigi, kann Brahms und alle anderen Komponisten wie Gemüse im Laden verkauft werden! Dies ist unser Exportschlager, wie Volkswagen, Audi, Mercedes, ...! Das Problem ist, dass diese Autohersteller die gesamte Gesellschaft mit kriminellen Techniken betrügen. Dieselbe Technik wird von Unternehmen verwendet, die CDs und DVDs herstellen. Ein auffallendes Beispiel ist dieser Video: Collaboration strip club pianistin und Klarinettist, der seinen Titel geerbt hat!
@@mariodisarli1022 Der Vergleich mit der Autoindustrie hinkt aber gewaltig. Ich bin nicht mal sicher, ob er sich überhaupt auf den Beinen halten kann. ☺ Denn im Gegensatz zu dieser hat man hier ein sehr gutes Produkt geliefert. Damit sollen natürlich Kunden angezogen werden, klar. Aber genau so sollte es ja auch funktionieren.
@@mariodisarli1022 Hallo, warum kommst Du immer wieder mit diesem zehn Jahre alten Artikel an, den Du jetzt schon wie häufig gepostet hast? Die Informationen darin werden ja dadurch nicht aktueller...
Sigi Kunisch what does that mean?
Sigi Kunisch question: I still don’t understand why people are talking about Asian as “better than everyone else”. Not just Asian can be good at piano. Some Russian, American, European, and of course Asian are also fantastic. You can’t compare it in a certain country or continent, it’s how much talent people have, and how much and the way they practice. I’m Canadian/Asian and I know of course you think you’re half Asian, you’re still Asian, but most of my teachers aren’t Asian. I don’t understand why Asian people HAVE to be better than others.
Just to feel in peace with oneself and dream and dream
Bliss. 🎶 🎵 🎶
Que buen crossover de artistas xd
The only question I have is... how are they going to bring that piano back?
Que bellinte
I like.
I don´t think that the piano we see sounds like this.
Nice lake. Would like to know where it is.
As you can see there're no microphones on the barge.
Like most music videos this's the performers pantomiming to the studio recording.
Indeed...the visual era......music is for the ears! But the two are very pretty
There does not appear to be a microphone so presumably what we are hearing is not them playing on this platform.
Duh
❤️
COOL
COOL: 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.
Mario DiSarli ruclips.net/video/ZZyokBXgEJY/видео.html it’s great!
Mario DiSarli how long did it take to write all of that stuff?!
Mario DiSarli please enjoy ruclips.net/video/ZZyokBXgEJY/видео.html!
@@video1248 Listen to Wagner, dear Mr. PianoLover! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
🌜✨
Szép!
they don't get seasick while playing?
Of course! Does this ocean liner belong to the Deutsche Gramophon? No icebergs at all! Do you think this "Titanic" can go to the bottom?
Wearing buoyant is much more safety, at least for Ms Wang... ;)
She is already in swimware. :-) Sorry. This is really beatiful music.
Время романтики Юйцзи Ванг. Снимитесь в кино. Это будет великолепно.
💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙
GMO ✌🏻✌🏻👍👍🙏🙏👏🏻👏🏻
Does anyone know where is it?
🙂
...yeap God must be very proud with some of its creations 😏
Jesse Stone is kicked back and into his second scotch.......Paradise is quiet.
🇰🇷🇰🇷🇰🇷👍👍🙂😇🙏🙏🙏
I don't see a microphone... hmm.
;-)
Lovely nonetheless.
Может быть еще на люстре или стоя в гамаке?
This guy.
BARF
Clara, clarinet...
it is going to rain.
Interesting with the clarinet, Brahms would have liked it, I'm sure.
absolutely uncalled for... there is no need to add images to this music
Why did you ruin the beautiful, tender ending with pasted videos all over the screen? Please do it over if possible.
THE VIDEO IS NICE - BUT JUST LISTEN AND CLOSE YOUR EYES - AND IT GOES WAY BEYOND TWO PEOPLE ON A RAFTER...
The silliest music venue ......
Hope the grand piano was insured.?...and the sound acoustic...not from outdoors
haha İf piano fools to sea, ı would jump and try to save it..
As Irving Berlin once wrote, "I know a fine way / to treat a Steinway," and this isn't it. Whoever decided to put this piano on a barge came damned near to committing a Class-C felony.
Second, the playing is gorgeous and the arrangement is very much in the spirit of the Brahms clarinet sonatas, but I think Wang could have brought out the countermelody a little more in the trio (first part second time through and third part, before the return).
ce contre jour n'est pas genial !! heureusement la musique est là !!
Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
Hate to be the skunk at the garden party, but since this is one of Brahms greatest masterpieces, I don't think the addition of a clarinet adds to or enhances in any way Brahms' original and most personal music which he played mostly for himself in the autumn of his life. He was first and foremost a pianist and I think he would say it is totally unnecessary. I would love to hear Yuja play this on her own someday.
It'll float won't it?
NOOOO!!! ROGUE WAVE!!!!!
volume ratio between instruments isn't good mixed at all. more automation on mix next time
interesting location..lol
A bit over the top innit?
ruclips.net/video/jUl0ON_fx8Y/видео.html
Oh, my, my-Mario! [etc.-still posting with your multiple YT personalities;-)]?
Still sexually confused and sexist over Yuja I see...poor man-I thought by now therapy and drugs would have helped you...
21297
Yuja Wang is a fantastic pianist, that I admire also because she is an independent mind who chooses the pieces she interprets according to her artistic tastes, some in the repertoire and some completely off the beaten track. Here... Brahms' Op. 118 no 2 is certainly not a minor and fashionable choice, but - arranged into a clarinet duo? It does sound good, but a bit... how to say... watered down? Which cannot have anything to do with playing it on a raft, of course.
Sorry, but I could not appreciate it, and I find the venture too commercial. This is just my personal reaction.
Yes Bruno I know what you meant by saying the recording felt commercial. I would said it felt packaged for me, packaged to create a certain ambiance of "beauty". I guess it's done to appeal to the mass and to increase the bottom line, I.e. the album sell (commercial). I am saying this not as a critism to Yuja and Andreas; they both are wonderful musicians. Yuja once said that she would like to share more pieces that she was curious and exploring to her audience but at the same time had to take into consideration of what the audience wanted to hear and what the venue wanted to showcase. The balance of public arts and of that which in a major way sustains it in a capitalist world is always a challenge.
@@s.c.1494 truly agree both musicians highly respect the art and did not make any exaggeration when interpreting this piece and still respect the art of Brahms and is serious in their performance. ❤
This is the most ridicculous thing I´ve ever seen. Playback on a pontoon. No microphones in sight.
Your birth was ridiculous
you are ridiculous
Mozart