I first heard Hammerklavier in a Philadelphia recital in 1971 by Rudolf Serkin, at which he also played the Moonlight and Appasionata. This work was the entire second half of the program. I don’t know if a Serkin recording exists now or was ever made. So far I have not been able to find one. I was not at all familiar with this sonata until the Serkin performance and upon hearing it for the first time, I was transported to another realm upon hearing it played by maestro Serkin. I vowed then and there that I, a pianistic amateur would one day play it, and I have. I know every note and I am finding this performance by Ms. Wang by far the best now available, perhaps ever available. Her phrasing of the mystical, tender sections of the sonata are heartbreakingly beautiful. I have come to know her as an incredibly strong pianist. Not only are her fingers agile, but her hands and arms radiate physical strength. So the sections of Hammerklavier that demand such strength abound and she ably shows her mastery of this aspect of the work. For those who have not previously known this sonata, I suggest you get a copy of the score and follow it along with this performance or more of them by the many piano masters that have it available here on RUclips. Learn the sequencing of the piece, its intense chromaticism and if you are a pianist, sight read through it and then begin to play it. As far as I am concerned, this is the pinnacle of Beethoven’s body of compositions for the piano. One must also remember that this sonata came toward the end of Beethoven’s life, and as such, it can be compared in its audacity, and dare I say sometimes atonality with the late quartets, especially the Grosse Fuge, and of course the 9th symphony. And perhaps I do not need to mention it here, but Beethoven never heard this sonata, not during its composition nor in performance. He clearly heard it in his head. I personally wish that we could bring a hearing-capable Beethoven forward in time and give him the opportunity to hear this sonata played by Yuja Wang on this or some other equally superb Steinway concert grand piano. Can you imagine his astonishment at everything to do with this performance, Wang’s powerful and sensitive playing, her agility, the brilliance and range of tones and sounds she coaxes from this superb instrument, and of course Wang’s appearance? Not only is she female, young-ish, non-western in ancestry, but she seems to always dress in revealing, sparkly gowns that to some, upon seeing and hearing her for the first time, may initially doubt her as a serious musician. I can only imagine that the composer would not only be delighted by her interpretation of his masterpiece, but he might well have had a similar response to that of Freddie Mercury when he first heard Montserrat Caballé singing in Verdi’s Un Ballo in Maschera. Freddie wanted to hear more of her and he wanted to sing with and compose for her, both of which the two of them were able to accomplish toward the end of his life. I congratulate Ms. Wang for her brilliance and artistic mastery of this work and I congratulate everyone who had anything to do with this recording and video of the performance.
Thank you for this beautiful comment. Yes, Opus 106 is Beethoven's pianistic summit, but the second and last movement of Opus 111 makes you see the sky above the summit... Let's hope that Yuja Wang will also play this last sonata.
I'd recommend that every enthusiast read Charles Rosen's analysis of this sonata in The Classical Style. The work has a revolutionary structure, and is like a fractal, with both the material and larger formal elements all based on melodic chains of descending thirds. As Rosen remarked, one can both say that the form is derived from the material and the material from the form.
It kindof makes sense that a person not even able to find Serkin's widely commercialised recording of the "Hammerklavier" would regard Miss Wang's clueless rendition as the pinnacle of interpretation. I mean: why bother with Solomon, Schnabel, Kempff, Arrau, Brendel, Gulda, Gilels, Lonquich and others when there's a scarcely dressed Asian sewing machine ?
Her playing brings out the inter-connectedness of the phrases and lines....truly showing how symphonic this composition truly is. She is so skilled at giving different voice or feeling to different lines at the same time. Terrific performance.
Jamais je n’ai entendu cette sonate jouée avec tant de musique; j’y ai entendu des choses nouvelles ; je suis émerveillé. Cette pianiste est extraordinaire.
as in so much of his late works....the profound sadness in the human condition emanates ... for any pianist to get to equal grips with what beethoven felt....is an everest..... so much respect for this performance....
Agree with you. Maybe she prefered to store the other version in her concerts archive only because the sound quality is better (less audio compression). Or just simply because this recording was not given to her by the producers. Otherwise I've noticed she does not hesitate to give away her recordings for free, maybe she doesn't care too much about the money. Anyway she said in an interview that she doesn't like recording in a studio and the real inspiration comes in a concert hall (note that all her discs are recorded live) .
Thanks for mentioning the Carnegie performance; I will seek that out. With this one the coughing was atrocious, but sometimes you get that, right? I hope to get better at tuning it out. Cheers!
Ho ascoltato la versione della Carnegie e forse questa rimane un tantino più sofferta , Comunque rimango sempre attonito di fronte a questa CREATURA dalle possibilità oltre l'umano. Sonata trascendentale, straordinaria per complessità e profondità spirituale, per la quale lo stesso Beethoven aveva asserito l'estrema difficoltà tecnica al punto da poter essere eseguita in modo corretto soltanto tra 50 anni! Immenso, incommensurabile Beethoven, altrettanto immensa e incommensurabile Yuja Wang che ha letto alla perfezione la lezione Beethoveniana. Bravissima!! Mostruosamente immensa!!!
Atemberaubend, die beste Interpretation die ich von diesem Stück kenne. Eine wunderbare phantastische Pianistin, die Musik versteht, ehrt und liebt. Ohne Prätention. Ich bin noch ganz emotional ergriffen von ihrer Darbietung.
So geht es mir auch! Ich habe das live in Zürich erleben dürfen. Während des dritten Satzes war eine atemlose Ruhe im Saal, man hätte die sprichwörtliche Nadel fallen gehört. Noch nie habe ich ein derart ergriffenenes Publikum erlebt.....und dann hat sie mit vielen fröhlich-virtuosen Zugaben das Publikum in beschwingter Stimmung entlassen...das ist wirklich große Kunst!
Performing this towering masterpiece is like climbing K2 while studying the geology and even communing with the rocks and ice. Yuja surmounts the cliffs and precipices with consummate agility. To begin with I wasn't sure with how much interpretive depth - but as the 3rd movement progressed my reservations were dispelled.
I’ve heard so many pieces by Yuja both online and in person and what can I say... not a moment of boredom. She’s got her way of storytelling with music for sure. I’m not a pianist but it’s definitely telling how I’ve never seen a bad comment of her playing, especially from the elderly generation who are accustomed to listening to the masters. She makes me think that perhaps musically is a god given gift...
Unglaublich! Yuja Wang ist ja nicht gerade als Beethoven Interpretin bekannt, vielleicht mit Ausnahme der Kreutzersonate, die sie mit Joshua Bell auch in Verbier gespielt hat. Es steht mir nicht zu, diese Interpretation der Hammerklaviersonate zu beurteilen. Aber wenn es diese Aufnahme schon vor 50 Jahren gegeben hätte, hätte ich nicht so lange gebraucht, diese Sonate lieben zu lernen. Grandios!
12 дней назад
Vielleicht haben Sie nicht gelernt, die Sonate zu lieben, sondern die halbnackte Pianistin?
Thank you, thank you, thank you! What a wonderful treat to have found your channel. And what an extreme rare delight to have the score on the screen, rather that having to hold it in my lap. And of course what a breathtaking performance from Yuja Wang. More clarity that I've ever heard before! Thank you again for your gift of your hard work in putting this together with the score.
Thank you for your generous message. I am happy that my work is appreciated, happy especially to allow the listeners to approach more closely the interpretations of such a great artist.
@@eusebiusetflorestan2532 Your work is very much appreciated! Thank you again for caring so much about the music and these special performances that you're willing to spend probably hundreds of hours putting these together, along with the scores, synchronized to the performances.
I think Yuja is deeply in love with the piano! I think that during the tenderest passages she really caresses the keys. At other times she makes passionate love with it.
Thanks for the guidelines of the piece which gives us an entry of the music, it's always a pleasure to listen to Yuja's wonderful performance, hope some day could be in her live concert next year somewhere, someday........
I can well imagine the star pianists in Beethoven's time and thereafter, looking at the score of the Hammerklavier [Op. 106, No. 29], and shaking their heads: "Herr Beethoven," they would raise their voices or write in his notebook, "It is not possible to play this piece. No human being can possibly do that." And Beethoven would say, "Gentlemen, in my mind's ear, I can hear a pianist, about 200 years from now, playing this sonata WITHOUT a score in front of her." The stars would leave, saying to each other, "Too bad that he's so far gone that he imagines that anyone will play this mess of notes 200 years, from now;" "not only that, but without looking at least occasionally at his crazy score!" "and that's not nearly as insane as to think that it would be a woman. Poor Beethoven." He must have been thinking of Yuja Wang. I wish he could have heard her, or at least seen her. Thanks so much for uploading. It is magnificent.
Thank you for your nice comment! As you know of course, Yuja is not the only pianist who can play this work today. What sets her apart (and what made her elected by Beethoven!) is the prodigious clarity and simplicity of her playing, in a work so terribly complex. She illuminates Beethoven like no other.
Yuja Wang es un caso muy especial de pianista, que a sus brillantes condiciones musicales, que la han hecho destacarse en todo el planeta, gusta de lucir una moda peculiar que también apreciamos. Yo le agradezco y la felicito por ambas aristas.
Unfortunately in the past few weeks the comments thread has degenerated into an increasingly unpleasant war of KB against the world. I suggest we go back to writing about either Ms. Wang, Herr Beethoven, or both. Beethoven was obviously at the top of his game here and in the other late sonatas as well, not to mention the late quartets. It seems to me, as an amateur listener and musician, that Bach was looming especially large in his imagination, to marvelous effect. - as was true of later Mozart too. Yuja Wang plays wonderfully, with both attuned passion and disciplined technique, especially here and more recently, and she manifests artistic genius in more ways than I care to list. Most critics and musicians can hear this with no debate. Generational issues really don't apply.
Одно из сложных, в плане исполнения, произведений Бетховена. Юджия его играет безукоризненно. И это говорит о силе ее таланта. Но она не просто играет, она его чувствует и передает все нюансы звуков в их последовательности. Бетховен становится перед нами во весь рост. Трудно передать словами те ощущения которые наполняют слушателя. Можно сказать - соединились два гения и это не преувеличение - это реальность. Привет из Киева.
To be honest, Hammerkavier is a piece I do not really understand. I have listened to various renditions with attention, including Arrau, Horowitz, Algerich, etc. I must say this one captured me, I still do not get it, but I enjoyed and it transmitted something to me, it made me daydream, set me in a meditation state, transported me to far places, all in 40 minutes. Thank you, Yuha Wang
I agree-and because of it's complexity and almost incomprehensible spirit, it has never been a favorite of mine or much of the general music public (as much as some of his other more 'comprehensible; sonata's). I do like Yuja's clarity and approach; there are many others who are equally good in different ways. Credit to her to launch herself into this most difficult one as successfully as she does...
@@mikloscserhati1480 Correct, Horowitz never recorded this played it publicly - once in a private gathering in his home attended by a handful of his closest friends, per his biographer. Horowitz stated, again, per his biographer, it was far too long and musically 'verbose.' Peter Serkin on the Graf pianofiorte definitely worth catching, and, of course Solomon (likely the best ever interpretation) and Sokolov.
From your words here, i think you have definitely ‘got’ this sonata. It probes the infinities. I can imagine a wordless documentary with scenes from the sky at the south pole in winter showing the long night immensity with the milky way and massive auroras, a scene worthy of visions of life on a moon of Saturn or Neptune, uninterrupted streams of the vision of the early universe, from the James Webb Telescope, of stars being born, then to the deep sea, to the challenger deep where dwell heretofore unseen and unimagined creatures living in profound darkness and pressure. To the mid Atlantic Ridge and am area of black smokers pouring forth otherwise superheated toxic water supporting an entire ecosystem of living creatures whose sustenance is based on chemosynthesis, to tbe Kilauea Volcano and ots streams of lava accumulating at night. Then a line of Trappist monks heading toward their chapel for their prayers of the hours. And so on
Каждое исполнение этой сонаты - подвиг,а удачное - подвиг вдвойне. В этом исполнении придраться можно лишь к пропуску повторения экспозиции 1-й части. Всё остальное - превосходно.
SUPERB musically and technically! I suspect that there are people who cannot comprehend how a very attractive woman dressed as she does can give such a performance of this! I am used to a slower tempo in the last movement fuge (mine) and think it a bit better, but I have nowhere near her technique
A glissando (with pedal, no less) in the lead-up to the recap of the scherzo ...ouch! It's in moments like this that Ms. Wang, for all her skill, leaves one wondering what on earth she was thinking, the conception is so fundamentally off-base.
The 'fixed hand sweep' up the keyboard in the scherzo is interesting - I've been listening to this piece for 50 years and playing it for 40 and have never seen that. Isn't seen in her Carnegie performance.
...quiero imaginar que el maestro L van B está en el mas allá viendo y escuchando a esta genial intérprete en la ejecución de esta compleja y magistral obra
Ces pianissimi qui viennent comme ça, sans la moindre justification, quelqu'un a soudainement baissé le bouton du volume, ces silences ajoutés, ce besoin constant d'étonner, ce rythme constamment brisé; elle est à la mode, quelle baudruche. La virtuosité s'utilise à bon escient.
To Critique Yuja is not for the faint-of-heart - but let us just make a few points that cry out to be noticed: Yuja is, uncontroversially, a technician of incomparable stature - no sane critic would dare take that away from her! Now, when it comes to her performance of Beethoven - and in particular the Hammerklavier, there is, unfortunately, much to take note of, and yes - to criticize. But let me be brief here, lest Yuja fans arise in protest. Firstly, one is frankly overwhelmed with her clever though ill-advised insertion of innumerable accents where they simply don't belong. In this performance, these continual and arbitrary thrusts into the keyboard result in a most serious loss of developmental tension, just where this needs to be avoided. But worse, is Yuja's constant and excessive rounding off and softening of the edges of phrase endings in a manner that would be shunned by true Beethoven interpreters. Her rubatos, here, are executed in such a manner and in such places, that what is revealed is a serious lack of incite into the very architecture of this sublime work. Beethoven did not apply a sensuous hand to this work - but in Yujha's hand, that's pretty much all I hear in this performance. Beethoven's phrases are carved out of granite - not talcum powder - notwithstanding a few - very few - interesting and well articulated phrases. But let me stop there for now...
I had written a long answer to this intervention, which RUclips (I discover it now) shredded and made unreadable (unless it was my interlocutor, gifted with mysterious powers?). I just don't want to let him think that I neglected his words, but I lack the courage to start my whole argument again. In a few words, I noted with astonishment how the reproaches made to Yuja's interpretation are, if I may say so, exactly wrong: In other words, reversing what this commentary says (the misplaced accents, the lack of tension in the development, the softening of the angles, the lack of a sense of architecture), would give a pretty good description of Yuja's playing. As for the "continual and arbitrary thrusts into the keyboard", this fits her « comme un tablier à une chèvre », according to the French expression that I don't know how to translate into English, and would apply much better to Martha A., so revered among "true Beethoven interpreters", not to mention, of course, Katia B. In short, I seriously wonder if this comment is not a pure and amusing provocation, just to make Yuja's admirers react (and it works; I react !). Because to see talcum powder where precisely there is granite, it is really a peak of misinterpretation. So I prefer to think of it as a peak of humor. No hard feelings !
Miss Wang is all about softening, prettening, shallowing, glittering... She has proficient fingers, no one denies that, but not a clue about what she's playing. Unless it's Philip Glass, for whom she's just perfect. (No, that wasn't meant as a compliment).
@@Pogouldangeliwitz Mo Zart is all about sexist, racist, ignorant, shallow, pretentious, glittering stupid trolling...He has no proficiency in intelligent musical critique, no one can deny that; has no clue what he is talking about. Unless it is about basic and unadulterated prejudice, for which he is a YT poster child perfect example. (Yes, that was meant as a compliment-trolls seldom get them Mo, right?)
nur mal eine Frage an die Klavierspieler hier: fehlen im "Glissando" im Scherzo nicht die "B"? Ich frage nur für einen Puristen... Davon abgesehen bin ich sicher, Miss Wang wäre Beethovens Lieblingsschülerin gewesen!!!
You are absolutely right! The other pianists play with all their fingers and therefore touch the B, while Yuja takes the liberty of doing a glissando that turns the B into an H! But the most amazing thing is that in her Carnegie Hall performance, she plays like the other pianists (and goes just as fast as a glissando)... The atmosphere of Verbier must have inspired her this little fantasy. Congratulations again for noticing!
@@eusebiusetflorestan2532 in Sachen "Freiheiten" in opus 106 treibt es Mr. Kempff noch ein wenig doller: beachte Takt 65ff. im Adagio ... dort wohl eher unplanmäßig 😉
Yuja Wang a encore beaucoup à apprendre avant de pouvoir faire entendre ce dont cette musique parle. Ah techniquement oui c'est une virtuose qui joue les notes de la partition ...mais cela ne fait pas l'affaire sur cette sonate. Il faut avoir vécu, compris profondément intérieurement pour comprendre les aléas de la vie, de l’âme. Ecoutez Kempff par exemple ou Guilels qui 'paraissent' moins virtuose , font plus de fausses notes (kempff) mais qui "habitent" littéralement, naturellement le sentiment de regarder la vie et d'avoir un regard sur ce qui traverse l’âme humaine . Yuja , on se retrouve sur cette sonate dans 20 ans, histoire de murir un peu ... ??
Depuis longtemps, dans la critique musicale, un préjugé dénonce le (ou la) virtuose-sans-musicalité-profonde, préjugé dont Horowitz ou Cziffra ont été les victimes en leur temps. C’est au tour de Yuja Wang d’en souffrir. Or il se trouve que cette pianiste est d’abord et surtout une grande musicienne, qui sent et comprend à merveille tout ce qu’elle joue (et Dieu sait que son répertoire est vaste). Ce n’est pas sa faute si elle dispose, en plus, d’une technique parfaite. S’agissant de cette Sonate Hammerklavier, dire qu’elle l’habite moins bien que Kempff ou Gilels, parce qu’elle ne comprendrait pas les « aléas de la vie, de l’âme », est pour le moins aventuré. Son mouvement lent, par exemple, est profondément pensé et senti ; sa fugue finale apporte à cette partition impossible une clarté unique, qui n’est pas seulement l’effet de sa technique, mais est indissociable de sa compréhension de l’œuvre. Enfin, pourquoi ce ton protecteur, aimablement supérieur, du vieux sage qui a connu la vie et qui sourit devant le manque d’expérience existentielle d’une jeunette ? Il se peut que Yuja Wang joue cette sonate différemment quand elle aura vingt ans ou trente ans de plus ; cela ne veut pas dire qu’elle y mettra une « âme » qui serait absente de son interprétation de 2016. Je vous invite à la réécouter, mais aussi à l’écouter (et pourquoi pas, sur ma chaîne) dans d’autres œuvres, comme le Deuxième Concerto de Brahms, autre monument qu’elle « habite » admirablement, ou bien encore dans une pléiade d’œuvres de musique de chambre, où son intelligence et son sens musical font merveille ; où toujours, sous ses doigts, vous entendrez toute la musique et rien que la musique. Oui, écoutez-la davantage, je me permets de vous le suggérer : vous ne le regretterez pas.
@@eusebiusetflorestan2532 Bonjour Merci de votre réponse Oui je reconnais bien des qualités à Yuja c'est bien pour cela que je l'ai écouté du début à la fin de cette sonate à plusieurs reprises comme vous me le suggérez d'ailleurs. Oui il y a effectivement des personnes qui donnent un avis, c'est le leur, il est forcément subjectif comme tout avis, ressenti. Est ce un préjugé ? Non . je dis juste ce que je ressens et c'est forcément pris dans les épreuves de ma vie qui croyez le bien ont été nombreuses. Je connais des dizaines de versions de cette sonate et certaines me parlent effectivement mieux que d'autres de mon vécu, et particulièrement le mouvement lent bien sûr. Et désolé de le soutenir, celui exécuté par Yuja Wang ce jour là ne me parle pas. Et c'est tant mieux si il souleve de l'émotion pour d'autres personnes. Il ne.provoque rien chez moi plutôt de l'ennui de voir une grande pianiste tenter quelque-chose sans y parvenir. Mais son intention et sa manière de ressentir cette partition est différente de ma manière de celle de Barenboim ou de Richter ou Valentina Lisitsa que je trouve souvent très juste et que j'apprécie beaucoup mais pour qui cette sonate 29 échappe aussi. Certaines œuvres ne sont pas comme d'autres, nécessitent d'autres choses et pour moi ces deux pianistes sur cette partition, dont Yuja en 2016, n'y sont pas encore. Elles y reviendront j'en suis sûr. Et donneront tous ce qu'elles recèlent à ce moment là. Ça ne veut pas dire que Y Wang n'as d'âme . Elle est parfaite sur d'autres choses. Un musicien est connecté differement aux compositeurs Argerich est elle vraiment a son aise dans les sonates de Beethoven ? Je trouve que non, c'est mon ressenti Chez Ravel on sent que c'est pour elle. Elle a une accointance directe. Je dis juste que je ne ressens pas cette interpretation En quoi dire un ressenti personnel serait une attaque contre cette musicienne ? Elle a les qualités de sa jeunesse, je ne la qualifie pas de jeunette, vous l'aimez et tant mieux mais acceptez le questionnement. Son répertoire est vaste oui, peut être trop... Volodos, difficilement contestable, a réduit son répertoire considérablement afin de méditer chaque execution. Bon c'est le fruit d'une progression, d'une évolution, d'un état d'être dans son rapport à la musique, aux oeuvres et la mission qu'ile pense être la sienne Je trouve que Yuja Wang avale trop de répertoire, et je prends le pari avec vous qu'un jour elle même fera comme tous elle ira à l'essentiel. Pour le moment elle veut prouver encore. C'est son chemin. Ce que vous n'avez pas compris de mon message c'est justement que je lui fait confiance pour évoluer même si elle joue déjà très bien. Pogorelich jouait très bien jeune , voyez comment il a évolué c'est juste incroyable. Je lui souhaite d'avoir un chemin comme celui là et pour Pogorelich c'est les épreuves difficiles de sa vie qui l'ont fait évoluer. Voilà, ....de la part non d'un type qui se prends pour un vieux sage mais qu'un auditeur qui a des avis sur les musiciens. Désolé si j'ai eu un mot sur votre star mais elle n'en reste pas moins brillante !!
@@gabmar6554 Cher « Gab mar », À mon tour de vous remercier pour votre réponse nuancée. Si je vous ai écrit après votre premier commentaire, c’est parce que je sentais qu’un dialogue serait possible (ce n’est pas toujours le cas, hélas). Sans vouloir vous chicaner, votre « ressenti personnel » n’a pas seulement consisté à dire, comme vous le faites maintenant, que vous n’entriez pas dans l’inteprétation de Yuja Wang. En écrivant que « Yuja Wang a encore beaucoup à apprendre », qu’« elle joue les notes », etc., vous formuliez un jugement nettement plus tranché, qui prenait, il me semble, cette pianiste d’un peu haut ; vous lui faisiez porter l’entière responsabilité de ce que vous ressentiez ou ne ressentiez pas... Votre second message est plus heureusement subjectif ! De mon côté, il n’est pas question, bien sûr, que je mette en doute ce que vous éprouvez. J’ai peut-être réagi avec trop de vivacité, mais c’est que le reproche que vous avez fait à Yuja Wang est récurrent, et qu’il me semble décidément infondé. Il est vrai que je connais Yuja personnellement (un peu), et qu’elle a inspiré l’un des mes livres (intitulé « Piano chinois »). J’ai à cœur de prendre sa défense ! Mais j’ose croire que mon admiration n’est pas aveugle. (Sans vouloir vous ennuyer avec mes états de service, j’ai écrit plusieurs autres livres, des essais, sur des sujets musicaux. Mon dernier ouvrage dans ce domaine s’intitule « Pour la main gauche », et France-Musique lui a accordé un prix l’année dernière). Des goûts et des couleurs… Cette glorieuse incertitude du jugement en matière artistique est un des thèmes de mon « Piano chinois ». Et si vous avez pris connaissance, sur cette sonate et sur ma chaîne RUclips, des commentaires qui ont précédé le vôtre, vous en aurez trouvé un qui vilipende cette interprétation (en des termes tels que je n’ai pas jugé bon de répondre), mais vous aurez aussi pu lire des auditeurs qui placent la version de Yuja au-dessus de toutes les autres. Quoi qu’il en soit, je vous remercie encore de votre aimable réponse. Croyez bien que je respecte votre point de vue. Et que vive la musique !
I love yuja wang. However Rudolph buchbinder is still the best Beethoven exponent that has ever lived. He entered the vienna conservatoire at 5 years old therefore he's been playing complete van b. repertoire for 70 years. It's in his DNA. Frankly no one comes close. He is referred to as the Viennese maestro par excellence! I would not, even as a prodigy, bother with performing Beethoven while he is alive. You can delude yourself but there you have it. He's a killer!
More silly fanaticism masking as intelligent musical critique. There are MANY fine Beethoven interpreters, Rudolph among them. You are deluded to think he is the best; fanboy pretentious shallowness...@@JohnathanMackenzie-h8z
32:37 Dear Yuja, I like you so much, but here, you know, this doesn't need pianism, but heroism. Try it again in twenty years, after many plagues, deaths in your family and entourage, frustrations of any kind, sorrows, despairs, nightmares and dark self-destructive abysses. Than, it will be better.
Dear Fritz; more fevered bull crap from you. One does not have to be Beethoven or a mental case to play his music well. Many well-balanced personalities play him well. You're projecting your own despair and self-destructive behavior on artistic critique. Rather a stupid and invalid thing to do...I hope you can get better.
@@bloodgrss I am going far much better than you. And if you don't understand this music, it's not my fault. Listen to it a second time, it will perhaps make more sense to you.
@@Fritz_Maisenbacher Ah, dear Fritzzy! It's not my fault that in all these years you still toddle mentally between unrestrained hero worship (Kleiber) and musical confusion. Perhaps, if you actually read the score of the music you pretentiously comment on, performances would make more sense to you.
@@bloodgrss Don't worry, loser, I read more scores than you are going to the toilets. And this is a lot. And don't forget that too much masturbating about Yuja is destroying your senses. You are half-deaf already my dear ... stop it , please !
Every Yuja performance she wares a different dress revealing a different part. All I need to do now is put all the parts together and I'll have a perfect composition.
I'm going to go against all the hype here. This is a good performance of this work but nothing more than that. The great adagio has tripped up so many pianists and it's done it to Ms Wang as well. Choppy phrasing kills much of the deep angst and emotion of this movement and something really important - using silence to lead into the next phrase. There have been pianists who have transported me into another realm with this work. They include Sokolov (from an early Moscow recording) Solomon and Richter. Ms Wang doesn't take me there.
Sokolov did the most disappointing and boring recital I ever heard. He is so overhyped. I would speculate, if you did not know this was Yuja playing here, your assessment would be different. Personal prejudice masking as valid critique yet again over Ms. Wang...
4 года назад+2
I only knew the video of the concert in New York 2016. The interpretation in Verbier is no better. Does she really know what she's playing?
I believe she knows perfectly well. She is also very young. And she is not a musical fool. There is plenty of room for her to learn more as she matures. Meanwhile she is doing splendidly and working hard. I am 78, with a lifetime of music behind me, and believe we have a treasure in this young musician. I know quality and potential when I meet them.
@ How amusing-the same idiotic post I got from 'Max Montauk'. I have never been fooled over you and Maxie being the same-thanks for declaring it to the world.😉 Fascist/sexistisch moron !!!
12 дней назад
@@quaver1239 If you know this pianist so well and assume that she is maturing artistically, can you perhaps also explain why this lady regularly exposes her thighs in public and why she has been showing more leg in concerts for years than a chorus dancer?
“Dry as chalk?!!” What the hell does that even mean? Can you actually say anything intelligent or meaningful about her performance? Probably not. You are clearly not a musician.
@@1fattyfatman I DESPISE pedaled counterpoint. I was merely stating that “dry as chalk” has no meaning. I actually think that even Yuja relies on the pedal too much here, but everyone seems to do so with this work.
I first heard Hammerklavier in a Philadelphia recital in 1971 by Rudolf Serkin, at which he also played the Moonlight and Appasionata. This work was the entire second half of the program. I don’t know if a Serkin recording exists now or was ever made. So far I have not been able to find one. I was not at all familiar with this sonata until the Serkin performance and upon hearing it for the first time, I was transported to another realm upon hearing it played by maestro Serkin. I vowed then and there that I, a pianistic amateur would one day play it, and I have. I know every note and I am finding this performance by Ms. Wang by far the best now available, perhaps ever available. Her phrasing of the mystical, tender sections of the sonata are heartbreakingly beautiful. I have come to know her as an incredibly strong pianist. Not only are her fingers agile, but her hands and arms radiate physical strength. So the sections of Hammerklavier that demand such strength abound and she ably shows her mastery of this aspect of the work. For those who have not previously known this sonata, I suggest you get a copy of the score and follow it along with this performance or more of them by the many piano masters that have it available here on RUclips. Learn the sequencing of the piece, its intense chromaticism and if you are a pianist, sight read through it and then begin to play it. As far as I am concerned, this is the pinnacle of Beethoven’s body of compositions for the piano. One must also remember that this sonata came toward the end of Beethoven’s life, and as such, it can be compared in its audacity, and dare I say sometimes atonality with the late quartets, especially the Grosse Fuge, and of course the 9th symphony. And perhaps I do not need to mention it here, but Beethoven never heard this sonata, not during its composition nor in performance. He clearly heard it in his head. I personally wish that we could bring a hearing-capable Beethoven forward in time and give him the opportunity to hear this sonata played by Yuja Wang on this or some other equally superb Steinway concert grand piano. Can you imagine his astonishment at everything to do with this performance, Wang’s powerful and sensitive playing, her agility, the brilliance and range of tones and sounds she coaxes from this superb instrument, and of course Wang’s appearance? Not only is she female, young-ish, non-western in ancestry, but she seems to always dress in revealing, sparkly gowns that to some, upon seeing and hearing her for the first time, may initially doubt her as a serious musician. I can only imagine that the composer would not only be delighted by her interpretation of his masterpiece, but he might well have had a similar response to that of Freddie Mercury when he first heard Montserrat Caballé singing in Verdi’s Un Ballo in Maschera. Freddie wanted to hear more of her and he wanted to sing with and compose for her, both of which the two of them were able to accomplish toward the end of his life. I congratulate Ms. Wang for her brilliance and artistic mastery of this work and I congratulate everyone who had anything to do with this recording and video of the performance.
Thank you for this beautiful comment. Yes, Opus 106 is Beethoven's pianistic summit, but the second and last movement of Opus 111 makes you see the sky above the summit... Let's hope that Yuja Wang will also play this last sonata.
Je m' étais contente, à l' époque des enregistrements de W. Kempf. fin 1960...DGG. Une nouvelle interprétation nous vient, bienvenue.
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ruclips.net/video/pwdVVCN6qW4/видео.html
I'd recommend that every enthusiast read Charles Rosen's analysis of this sonata in The Classical Style. The work has a revolutionary structure, and is like a fractal, with both the material and larger formal elements all based on melodic chains of descending thirds. As Rosen remarked, one can both say that the form is derived from the material and the material from the form.
It kindof makes sense that a person not even able to find Serkin's widely commercialised recording of the "Hammerklavier" would regard Miss Wang's clueless rendition as the pinnacle of interpretation. I mean: why bother with Solomon, Schnabel, Kempff, Arrau, Brendel, Gulda, Gilels, Lonquich and others when there's a scarcely dressed Asian sewing machine ?
Her playing brings out the inter-connectedness of the phrases and lines....truly showing how symphonic this composition truly is. She is so skilled at giving different voice or feeling to different lines at the same time. Terrific performance.
Jamais je n’ai entendu cette sonate jouée avec tant de musique; j’y ai entendu des choses nouvelles ; je suis émerveillé. Cette pianiste est extraordinaire.
as in so much of his late works....the profound sadness in the human condition emanates ... for any pianist to get to equal grips with what beethoven felt....is an everest..... so much respect for this performance....
Best the world can have ...such wonderful superb pianist.,Ms. Yuja Wang...Congratulation !!
I have listened to the Carnegie performance many times & think that this performance is even better .. simply wonderful
Agree with you. Maybe she prefered to store the other version in her concerts archive only because the sound quality is better (less audio compression). Or just simply because this recording was not given to her by the producers. Otherwise I've noticed she does not hesitate to give away her recordings for free, maybe she doesn't care too much about the money. Anyway she said in an interview that she doesn't like recording in a studio and the real inspiration comes in a concert hall (note that all her discs are recorded live) .
Thanks for mentioning the Carnegie performance; I will seek that out. With this one the coughing was atrocious, but sometimes you get that, right? I hope to get better at tuning it out. Cheers!
Ho ascoltato la versione della Carnegie e forse questa rimane un tantino più sofferta , Comunque rimango sempre attonito di fronte a questa CREATURA dalle possibilità oltre l'umano. Sonata trascendentale, straordinaria per complessità e profondità spirituale, per la quale lo stesso Beethoven aveva asserito l'estrema difficoltà tecnica al punto da poter essere eseguita in modo corretto soltanto tra 50 anni! Immenso, incommensurabile Beethoven, altrettanto immensa e incommensurabile Yuja Wang che ha letto alla perfezione la lezione Beethoveniana. Bravissima!! Mostruosamente immensa!!!
Atemberaubend, die beste Interpretation die ich von diesem Stück kenne. Eine wunderbare phantastische Pianistin, die Musik versteht, ehrt und liebt. Ohne Prätention. Ich bin noch ganz emotional ergriffen von ihrer Darbietung.
So geht es mir auch! Ich habe das live in Zürich erleben dürfen. Während des dritten Satzes war eine atemlose Ruhe im Saal, man hätte die sprichwörtliche Nadel fallen gehört. Noch nie habe ich ein derart ergriffenenes Publikum erlebt.....und dann hat sie mit vielen fröhlich-virtuosen Zugaben das Publikum in beschwingter Stimmung entlassen...das ist wirklich große Kunst!
Performing this towering masterpiece is like climbing K2 while studying the geology and even communing with the rocks and ice. Yuja surmounts the cliffs and precipices with consummate agility. To begin with I wasn't sure with how much interpretive depth - but as the 3rd movement progressed my reservations were dispelled.
Interesting how another commenter evoked Everest; I think the mountaineering imagery is unique and fitting for this piece. Thanks!
Every phrase she plays seems to be aware of every other phrase in this astounding piece.
Stunning in every way! No words! Extremely gifted in skill and interpretation. Some have come close but no equal!
I’ve heard so many pieces by Yuja both online and in person and what can I say... not a moment of boredom. She’s got her way of storytelling with music for sure. I’m not a pianist but it’s definitely telling how I’ve never seen a bad comment of her playing, especially from the elderly generation who are accustomed to listening to the masters. She makes me think that perhaps musically is a god given gift...
"God" is spelled with a capital G, in case you didn't know or care.
Lewis Wereb what if I’m not a believer of a monotheistic religion? You can google why some people don’t capitalise the G
Musicality you mean
! The strenght of Beethoven and the graceful touch of Yuja,,
Great delight!!!! 🌹
Speachless .... No one should be allowed to have so much natural talent and beauty!! But Thank God she does. Bix.
Unglaublich! Yuja Wang ist ja nicht gerade als Beethoven Interpretin bekannt, vielleicht mit Ausnahme der Kreutzersonate, die sie mit Joshua Bell auch in Verbier gespielt hat. Es steht mir nicht zu, diese Interpretation der Hammerklaviersonate zu beurteilen. Aber wenn es diese Aufnahme schon vor 50 Jahren gegeben hätte, hätte ich nicht so lange gebraucht, diese Sonate lieben zu lernen. Grandios!
Vielleicht haben Sie nicht gelernt, die Sonate zu lieben, sondern die halbnackte Pianistin?
Thank you, thank you, thank you! What a wonderful treat to have found your channel. And what an extreme rare delight to have the score on the screen, rather that having to hold it in my lap. And of course what a breathtaking performance from Yuja Wang. More clarity that I've ever heard before!
Thank you again for your gift of your hard work in putting this together with the score.
Thank you for your generous message. I am happy that my work is appreciated, happy especially to allow the listeners to approach more closely the interpretations of such a great artist.
@@eusebiusetflorestan2532 Your work is very much appreciated! Thank you again for caring so much about the music and these special performances that you're willing to spend probably hundreds of hours putting these together, along with the scores, synchronized to the performances.
She has terabytes of memory. Incredible performer and personality.
Yes, and she has terabytes of SOUL to deliver all this piece of eternity
perhaps you are a typical piano troll.........
@Michael Holme I think, she has a lot of personality !
I think Yuja is deeply in love with the piano! I think that during the tenderest passages she really caresses the keys. At other times she makes passionate love with it.
Her fingers are dancing on the keys: you are right, it's real love that comes out.
Thanks for the guidelines of the piece which gives us an entry of the music, it's always a pleasure to listen to Yuja's wonderful performance, hope some day could be in her live concert next year somewhere, someday........
I can well imagine the star pianists in Beethoven's time and thereafter, looking at the score of the Hammerklavier [Op. 106, No. 29], and shaking their heads: "Herr Beethoven," they would raise their voices or write in his notebook, "It is not possible to play this piece. No human being can possibly do that." And Beethoven would say, "Gentlemen, in my mind's ear, I can hear a pianist, about 200 years from now, playing this sonata WITHOUT a score in front of her." The stars would leave, saying to each other, "Too bad that he's so far gone that he imagines that anyone will play this mess of notes 200 years, from now;" "not only that, but without looking at least occasionally at his crazy score!" "and that's not nearly as insane as to think that it would be a woman. Poor Beethoven."
He must have been thinking of Yuja Wang. I wish he could have heard her, or at least seen her. Thanks so much for uploading. It is magnificent.
Thank you for your nice comment! As you know of course, Yuja is not the only pianist who can play this work today. What sets her apart (and what made her elected by Beethoven!) is the prodigious clarity and simplicity of her playing, in a work so terribly complex. She illuminates Beethoven like no other.
He’s listening from the hereafter
Transcendent in every way. A high point of LvB and YW's art.
Yuja is simply amazing!
Ludwig van would have been delighted to meet her.
Perfect performance.And full of emotions
Traducere
Yuja Wang es un caso muy especial de pianista, que a sus brillantes condiciones musicales, que la han hecho destacarse en todo el planeta, gusta de lucir una moda peculiar que también apreciamos. Yo le agradezco y la felicito por ambas aristas.
Es asombroso que, no bien empieza a tocar, olvidamos su ropa por completo.
È incredibile come possa ricordare a memoria centinaia di spartiti senza alcun errore. Bravissima
Unbelievable ! Thank you so much for publishing this ! ! ! (An arachnaphobe would be terrified of the sight of those amazing fingers)
Unfortunately in the past few weeks the comments thread has degenerated into an increasingly unpleasant war of KB against the world. I suggest we go back to writing about either Ms. Wang, Herr Beethoven, or both. Beethoven was obviously at the top of his game here and in the other late sonatas as well, not to mention the late quartets. It seems to me, as an amateur listener and musician, that Bach was looming especially large in his imagination, to marvelous effect. - as was true of later Mozart too. Yuja Wang plays wonderfully, with both attuned passion and disciplined technique, especially here and more recently, and she manifests artistic genius in more ways than I care to list. Most critics and musicians can hear this with no debate. Generational issues really don't apply.
Thank you for your wise comment!
Me encanta su equilibrio para interpretar Beethoven. Estoy feliz de ser su fan.
Yuja toca desde el Corazón, Bravo!!!!
Zertifiziert intergalaktisch!🌹
Breathtaking mastery!
I've never heard this before. I found the sheet music and to hear it played, not just read the music, it was astounding.
Finalmente mi si è chiarito il senso di questa splendida sonata. Grazie Yuja Wang
all yuja and score. nice channel!
thank you very much for this wonderful video
You are welcome!
We can imagine what kind of pianist was Beethoven to write a such difficult piece !!! 🙏
29:48 The Allegro always takes me by surprise even though I know its coming. Like a burst of intense anger after calmness and tranquillity
Magnificient...
She is really great..
Одно из сложных, в плане исполнения, произведений Бетховена. Юджия его играет безукоризненно. И это говорит о силе ее таланта.
Но она не просто играет, она его чувствует и передает все нюансы звуков в их последовательности. Бетховен становится перед нами
во весь рост. Трудно передать словами те ощущения которые наполняют слушателя. Можно сказать - соединились два гения и это не
преувеличение - это реальность. Привет из Киева.
Bravissima 👏👏👏
esecuzione magistrale
To be honest, Hammerkavier is a piece I do not really understand. I have listened to various renditions with attention, including Arrau, Horowitz, Algerich, etc. I must say this one captured me, I still do not get it, but I enjoyed and it transmitted something to me, it made me daydream, set me in a meditation state, transported me to far places, all in 40 minutes. Thank you, Yuha Wang
Argerich? Never was aware she played it publicly.
I agree-and because of it's complexity and almost incomprehensible spirit, it has never been a favorite of mine or much of the general music public (as much as some of his other more 'comprehensible; sonata's). I do like Yuja's clarity and approach; there are many others who are equally good in different ways. Credit to her to launch herself into this most difficult one as successfully as she does...
Nor Horowitz 😀
@@mikloscserhati1480 Correct, Horowitz never recorded this played it publicly - once in a private gathering in his home attended by a handful of his closest friends, per his biographer. Horowitz stated, again, per his biographer, it was far too long and musically 'verbose.' Peter Serkin on the Graf pianofiorte definitely worth catching, and, of course Solomon (likely the best ever interpretation) and Sokolov.
From your words here, i think you have definitely ‘got’ this sonata. It probes the infinities. I can imagine a wordless documentary with scenes from the sky at the south pole in winter showing the long night immensity with the milky way and massive auroras, a scene worthy of visions of life on a moon of Saturn or Neptune, uninterrupted streams of the vision of the early universe, from the James Webb Telescope, of stars being born, then to the deep sea, to the challenger deep where dwell heretofore unseen and unimagined creatures living in profound darkness and pressure. To the mid Atlantic Ridge and am area of black smokers pouring forth otherwise superheated toxic water supporting an entire ecosystem of living creatures whose sustenance is based on chemosynthesis, to tbe Kilauea Volcano and ots streams of lava accumulating at night. Then a line of Trappist monks heading toward their chapel for their prayers of the hours. And so on
Yuja la abbiamo sentita in pezzi meno impegnativi, ma è bello ascoltarla in una sonata ricca di contenuti
How can you look at a score when Yuja Wang is playing right in front of you?
Каждое исполнение этой сонаты - подвиг,а удачное - подвиг вдвойне. В этом исполнении придраться можно лишь к пропуску повторения экспозиции 1-й части. Всё остальное - превосходно.
Magnifique ! j'aime aussi la version d'emil gilels
SUPERB musically and technically! I suspect that there are people who cannot comprehend how a very attractive woman dressed as she does can give such a performance of this! I am used to a slower tempo in the last movement fuge (mine) and think it a bit better, but I have nowhere near her technique
Wang to an indiscrete journalist: "I like girls".
A glissando (with pedal, no less) in the lead-up to the recap of the scherzo ...ouch! It's in moments like this that Ms. Wang, for all her skill, leaves one wondering what on earth she was thinking, the conception is so fundamentally off-base.
She's better than Simply Piano.
The 'fixed hand sweep' up the keyboard in the scherzo is interesting - I've been listening to this piece for 50 years and playing it for 40 and have never seen that. Isn't seen in her Carnegie performance.
Wow!
At her very best. Need I say more?
...quiero imaginar que el maestro L van B está en el mas allá viendo y escuchando a esta genial intérprete en la ejecución de esta compleja y magistral obra
además la guía 🤣, es canalización
Hottest female in the planet, playing some of the most difficult pieces of music ever written easily and relax ❤
Are 70 pages by heart.
Certainly. But her mastered repertoire far exceeds a mere 70 pages
Ces pianissimi qui viennent comme ça, sans la moindre justification, quelqu'un a soudainement baissé le bouton du volume, ces silences ajoutés, ce besoin constant d'étonner, ce rythme constamment brisé; elle est à la mode, quelle baudruche. La virtuosité s'utilise à bon escient.
Does she start to get under your skin ? You need to work harder on your craft. don't be jealousy .
To Critique Yuja is not for the faint-of-heart - but let us just make a few points that cry out to be noticed: Yuja is, uncontroversially, a technician of incomparable stature - no sane critic would dare take that away from her! Now, when it comes to her performance of Beethoven - and in particular the Hammerklavier, there is, unfortunately, much to take note of, and yes - to criticize. But let me be brief here, lest Yuja fans arise in protest. Firstly, one is frankly overwhelmed with her clever though ill-advised insertion of innumerable accents where they simply don't belong. In this performance, these continual and arbitrary thrusts into the keyboard result in a most serious loss of developmental tension, just where this needs to be avoided. But worse, is Yuja's constant and excessive rounding off and softening of the edges of phrase endings in a manner that would be shunned by true Beethoven interpreters. Her rubatos, here, are executed in such a manner and in such places, that what is revealed is a serious lack of incite into the very architecture of this sublime work. Beethoven did not apply a sensuous hand to this work - but in Yujha's hand, that's pretty much all I hear in this performance. Beethoven's phrases are carved out of granite - not talcum powder - notwithstanding a few - very few - interesting and well articulated phrases. But let me stop there for now...
I had written a long answer to this intervention, which RUclips (I discover it now) shredded and made unreadable (unless it was my interlocutor, gifted with mysterious powers?). I just don't want to let him think that I neglected his words, but I lack the courage to start my whole argument again.
In a few words, I noted with astonishment how the reproaches made to Yuja's interpretation are, if I may say so, exactly wrong: In other words, reversing what this commentary says (the misplaced accents, the lack of tension in the development, the softening of the angles, the lack of a sense of architecture), would give a pretty good description of Yuja's playing. As for the "continual and arbitrary thrusts into the keyboard", this fits her « comme un tablier à une chèvre », according to the French expression that I don't know how to translate into English, and would apply much better to Martha A., so revered among "true Beethoven interpreters", not to mention, of course, Katia B.
In short, I seriously wonder if this comment is not a pure and amusing provocation, just to make Yuja's admirers react (and it works; I react !). Because to see talcum powder where precisely there is granite, it is really a peak of misinterpretation. So I prefer to think of it as a peak of humor. No hard feelings !
Miss Wang is all about softening, prettening, shallowing, glittering... She has proficient fingers, no one denies that, but not a clue about what she's playing. Unless it's Philip Glass, for whom she's just perfect. (No, that wasn't meant as a compliment).
What a pretentious load of horses**t! Just a troll at heart; a loquacious one at that!
@@Pogouldangeliwitz Mo Zart is all about sexist, racist, ignorant, shallow, pretentious, glittering stupid trolling...He has no proficiency in intelligent musical critique, no one can deny that; has no clue what he is talking about. Unless it is about basic and unadulterated prejudice, for which he is a YT poster child perfect example. (Yes, that was meant as a compliment-trolls seldom get them Mo, right?)
@@eusebiusetflorestan2532 Nicely stated...
优秀的钢琴家是能把乐曲的灵魂带给听众。王羽佳做到了。
After Solomon the first!
nur mal eine Frage an die Klavierspieler hier: fehlen im "Glissando" im Scherzo nicht die "B"? Ich frage nur für einen Puristen... Davon abgesehen bin ich sicher, Miss Wang wäre Beethovens Lieblingsschülerin gewesen!!!
You are absolutely right! The other pianists play with all their fingers and therefore touch the B, while Yuja takes the liberty of doing a glissando that turns the B into an H! But the most amazing thing is that in her Carnegie Hall performance, she plays like the other pianists (and goes just as fast as a glissando)... The atmosphere of Verbier must have inspired her this little fantasy. Congratulations again for noticing!
@@eusebiusetflorestan2532 in Sachen "Freiheiten" in opus 106 treibt es Mr. Kempff noch ein wenig doller: beachte Takt 65ff. im Adagio ... dort wohl eher unplanmäßig 😉
And she will only admit to practising 1/2 hr per day! Whew!🌹
I guess after 29 years of playing, that's all she needs...I would need all 29 even to try.
Hechicera del piano,como
Si hubiese pactado con el mismo diablo.
...when and where did Ms. Wang perform this
It's written at the beginning of the videos: Verbier, July 27, 2016...
I never saw Yuja Wang read sheet music while she playing. Is this very normal for a professional pianist to play for hours of masterpieces?🤔
Let's avoid any misunderstanding: the score was added by me, for the listener's pleasure, and it is not Yuja who reads it! With kinds regards.
Apparently it delights some to be contrary for the sake of being contrary; in other contexts I might use the word 'troll'.
who can tell me what was the two words printed under the trade mark brand name on the piano? Thanks a lot!
As far as I know, it simply says: "Verbier Festival", nothing else!
@@eusebiusetflorestan2532 thank you so much!
"Verbier Festival"...?
@@gordontuttle6721 Yes. The place and the date are indicated at the beginning of the video.
29:47
Where's her notes?
She don't need them.
at least she knows how to bend
Yuja Wang a encore beaucoup à apprendre avant de pouvoir faire entendre ce dont cette musique parle. Ah techniquement oui c'est une virtuose qui joue les notes de la partition ...mais cela ne fait pas l'affaire sur cette sonate. Il faut avoir vécu, compris profondément intérieurement pour comprendre les aléas de la vie, de l’âme. Ecoutez Kempff par exemple ou Guilels qui 'paraissent' moins virtuose , font plus de fausses notes (kempff) mais qui "habitent" littéralement, naturellement le sentiment de regarder la vie et d'avoir un regard sur ce qui traverse l’âme humaine . Yuja , on se retrouve sur cette sonate dans 20 ans, histoire de murir un peu ... ??
Depuis longtemps, dans la critique musicale, un préjugé dénonce le (ou la) virtuose-sans-musicalité-profonde, préjugé dont Horowitz ou Cziffra ont été les victimes en leur temps. C’est au tour de Yuja Wang d’en souffrir. Or il se trouve que cette pianiste est d’abord et surtout une grande musicienne, qui sent et comprend à merveille tout ce qu’elle joue (et Dieu sait que son répertoire est vaste). Ce n’est pas sa faute si elle dispose, en plus, d’une technique parfaite.
S’agissant de cette Sonate Hammerklavier, dire qu’elle l’habite moins bien que Kempff ou Gilels, parce qu’elle ne comprendrait pas les « aléas de la vie, de l’âme », est pour le moins aventuré. Son mouvement lent, par exemple, est profondément pensé et senti ; sa fugue finale apporte à cette partition impossible une clarté unique, qui n’est pas seulement l’effet de sa technique, mais est indissociable de sa compréhension de l’œuvre.
Enfin, pourquoi ce ton protecteur, aimablement supérieur, du vieux sage qui a connu la vie et qui sourit devant le manque d’expérience existentielle d’une jeunette ? Il se peut que Yuja Wang joue cette sonate différemment quand elle aura vingt ans ou trente ans de plus ; cela ne veut pas dire qu’elle y mettra une « âme » qui serait absente de son interprétation de 2016. Je vous invite à la réécouter, mais aussi à l’écouter (et pourquoi pas, sur ma chaîne) dans d’autres œuvres, comme le Deuxième Concerto de Brahms, autre monument qu’elle « habite » admirablement, ou bien encore dans une pléiade d’œuvres de musique de chambre, où son intelligence et son sens musical font merveille ; où toujours, sous ses doigts, vous entendrez toute la musique et rien que la musique. Oui, écoutez-la davantage, je me permets de vous le suggérer : vous ne le regretterez pas.
@@eusebiusetflorestan2532
Bonjour
Merci de votre réponse
Oui je reconnais bien des qualités à Yuja c'est bien pour cela que je l'ai écouté du début à la fin de cette sonate à plusieurs reprises comme vous me le suggérez d'ailleurs.
Oui il y a effectivement des personnes qui donnent un avis, c'est le leur, il est forcément subjectif comme tout avis, ressenti. Est ce un préjugé ? Non .
je dis juste ce que je ressens et c'est forcément pris dans les épreuves de ma vie qui croyez le bien ont été nombreuses. Je connais des dizaines de versions de cette sonate et certaines me parlent effectivement mieux que d'autres de mon vécu, et particulièrement le mouvement lent bien sûr. Et désolé de le soutenir, celui exécuté par Yuja Wang ce jour là ne me parle pas. Et c'est tant mieux si il souleve de l'émotion pour d'autres personnes.
Il ne.provoque rien chez moi plutôt de l'ennui de voir une grande pianiste tenter quelque-chose sans y parvenir. Mais son intention et sa manière de ressentir cette partition est différente de ma manière de celle de Barenboim ou de Richter ou Valentina Lisitsa que je trouve souvent très juste et que j'apprécie beaucoup mais pour qui cette sonate 29 échappe aussi. Certaines œuvres ne sont pas comme d'autres, nécessitent d'autres choses et pour moi ces deux pianistes sur cette partition, dont Yuja en 2016, n'y sont pas encore.
Elles y reviendront j'en suis sûr. Et donneront tous ce qu'elles recèlent à ce moment là.
Ça ne veut pas dire que Y Wang n'as d'âme . Elle est parfaite sur d'autres choses.
Un musicien est connecté differement aux compositeurs
Argerich est elle vraiment a son aise dans les sonates de Beethoven ? Je trouve que non, c'est mon ressenti
Chez Ravel on sent que c'est pour elle. Elle a une accointance directe.
Je dis juste que je ne ressens pas cette interpretation
En quoi dire un ressenti personnel serait une attaque contre cette musicienne ? Elle a les qualités de sa jeunesse, je ne la qualifie pas de jeunette, vous l'aimez et tant mieux mais acceptez le questionnement.
Son répertoire est vaste oui, peut être trop... Volodos, difficilement contestable, a réduit son répertoire considérablement afin de méditer chaque execution. Bon c'est le fruit d'une progression, d'une évolution, d'un état d'être dans son rapport à la musique, aux oeuvres et la mission qu'ile pense être la sienne
Je trouve que Yuja Wang avale trop de répertoire, et je prends le pari avec vous qu'un jour elle même fera comme tous elle ira à l'essentiel. Pour le moment elle veut prouver encore.
C'est son chemin. Ce que vous n'avez pas compris de mon message c'est justement que je lui fait confiance pour évoluer même si elle joue déjà très bien.
Pogorelich jouait très bien jeune , voyez comment il a évolué c'est juste incroyable.
Je lui souhaite d'avoir un chemin comme celui là et pour Pogorelich c'est les épreuves difficiles de sa vie qui l'ont fait évoluer.
Voilà, ....de la part non d'un type qui se prends pour un vieux sage mais qu'un auditeur qui a des avis sur les musiciens. Désolé si j'ai eu un mot sur votre star mais elle n'en reste pas moins brillante !!
@@gabmar6554 Cher « Gab mar »,
À mon tour de vous remercier pour votre réponse nuancée. Si je vous ai écrit après votre premier commentaire, c’est parce que je sentais qu’un dialogue serait possible (ce n’est pas toujours le cas, hélas).
Sans vouloir vous chicaner, votre « ressenti personnel » n’a pas seulement consisté à dire, comme vous le faites maintenant, que vous n’entriez pas dans l’inteprétation de Yuja Wang. En écrivant que « Yuja Wang a encore beaucoup à apprendre », qu’« elle joue les notes », etc., vous formuliez un jugement nettement plus tranché, qui prenait, il me semble, cette pianiste d’un peu haut ; vous lui faisiez porter l’entière responsabilité de ce que vous ressentiez ou ne ressentiez pas... Votre second message est plus heureusement subjectif ! De mon côté, il n’est pas question, bien sûr, que je mette en doute ce que vous éprouvez. J’ai peut-être réagi avec trop de vivacité, mais c’est que le reproche que vous avez fait à Yuja Wang est récurrent, et qu’il me semble décidément infondé.
Il est vrai que je connais Yuja personnellement (un peu), et qu’elle a inspiré l’un des mes livres (intitulé « Piano chinois »). J’ai à cœur de prendre sa défense ! Mais j’ose croire que mon admiration n’est pas aveugle. (Sans vouloir vous ennuyer avec mes états de service, j’ai écrit plusieurs autres livres, des essais, sur des sujets musicaux. Mon dernier ouvrage dans ce domaine s’intitule « Pour la main gauche », et France-Musique lui a accordé un prix l’année dernière).
Des goûts et des couleurs… Cette glorieuse incertitude du jugement en matière artistique est un des thèmes de mon « Piano chinois ». Et si vous avez pris connaissance, sur cette sonate et sur ma chaîne RUclips, des commentaires qui ont précédé le vôtre, vous en aurez trouvé un qui vilipende cette interprétation (en des termes tels que je n’ai pas jugé bon de répondre), mais vous aurez aussi pu lire des auditeurs qui placent la version de Yuja au-dessus de toutes les autres. Quoi qu’il en soit, je vous remercie encore de votre aimable réponse. Croyez bien que je respecte votre point de vue. Et que vive la musique !
Unlike you she didn't pretend to be Beethoven.
I love yuja wang. However Rudolph buchbinder is still the best Beethoven exponent that has ever lived. He entered the vienna conservatoire at 5 years old therefore he's been playing complete van b. repertoire for 70 years. It's in his DNA. Frankly no one comes close. He is referred to as the Viennese maestro par excellence! I would not, even as a prodigy, bother with performing Beethoven while he is alive. You can delude yourself but there you have it. He's a killer!
You pretend to be Beethoven. Shame on you.
Ok u fall in the deluded camp..you'll come around...i don't speak for Beethoven but buchbinder does.
More silly fanaticism masking as intelligent musical critique. There are MANY fine Beethoven interpreters, Rudolph among them. You are deluded to think he is the best; fanboy pretentious shallowness...@@JohnathanMackenzie-h8z
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32:37 Dear Yuja, I like you so much, but here, you know, this doesn't need pianism, but heroism.
Try it again in twenty years, after many plagues, deaths in your family and entourage, frustrations of any kind, sorrows, despairs, nightmares and dark self-destructive abysses.
Than, it will be better.
Dear Fritz; more fevered bull crap from you. One does not have to be Beethoven or a mental case to play his music well. Many well-balanced personalities play him well. You're projecting your own despair and self-destructive behavior on artistic critique. Rather a stupid and invalid thing to do...I hope you can get better.
@@bloodgrss
I am going far much better than you.
And if you don't understand this music, it's not my fault.
Listen to it a second time, it will perhaps make more sense to you.
@@Fritz_Maisenbacher Ah, dear Fritzzy! It's not my fault that in all these years you still toddle mentally between unrestrained hero worship (Kleiber) and musical confusion. Perhaps, if you actually read the score of the music you pretentiously comment on, performances would make more sense to you.
@@bloodgrss
Don't worry, loser, I read more scores than you are going to the toilets.
And this is a lot.
And don't forget that too much masturbating about Yuja is destroying your senses.
You are half-deaf already my dear ... stop it , please !
Every Yuja performance she wares a different dress revealing a different part. All I need to do now is put all the parts together and I'll have a perfect composition.
Did you actually listen to her performance? Or did you just stare at her dress? I pity you.
I'm going to go against all the hype here. This is a good performance of this work but nothing more than that. The great adagio has tripped up so many pianists and it's done it to Ms Wang as well. Choppy phrasing kills much of the deep angst and emotion of this movement and something really important - using silence to lead into the next phrase. There have been pianists who have transported me into another realm with this work. They include Sokolov (from an early Moscow recording) Solomon and Richter. Ms Wang doesn't take me there.
Sokolov did the most disappointing and boring recital I ever heard. He is so overhyped. I would speculate, if you did not know this was Yuja playing here, your assessment would be different. Personal prejudice masking as valid critique yet again over Ms. Wang...
I only knew the video of the concert in New York 2016. The interpretation in Verbier is no better. Does she really know what she's playing?
I believe she knows perfectly well. She is also very young. And she is not a musical fool. There is plenty of room for her to learn more as she matures. Meanwhile she is doing splendidly and working hard.
I am 78, with a lifetime of music behind me, and believe we have a treasure in this young musician. I know quality and potential when
I meet them.
Yes; but do you really know what your trolling?
@ How amusing-the same idiotic post I got from 'Max Montauk'. I have never been fooled over you and Maxie being the same-thanks for declaring it to the world.😉
Fascist/sexistisch moron !!!
@@quaver1239 If you know this pianist so well and assume that she is maturing artistically, can you perhaps also explain why this lady regularly exposes her thighs in public and why she has been showing more leg in concerts for years than a chorus dancer?
Freak.
mechanical
Do you have ears?
Thanks for the score,but she lost me after the first 2 notes.
So sad for you. But old age will bring on confusion and debility to understand...
dry as chalk
“Dry as chalk?!!” What the hell does that even mean? Can you actually say anything intelligent or meaningful about her performance? Probably not. You are clearly not a musician.
You prefer pedaled counterpoint? Heathen.
@@1fattyfatman I DESPISE pedaled counterpoint. I was merely stating that “dry as chalk” has no meaning. I actually think that even Yuja relies on the pedal too much here, but everyone seems to do so with this work.
And shallow as a Californian river in August.