I remember slaving over this difficult work when I was a piano student 40 years ago, and Yuja Wang makes it sound so easy. And she makes it so musical as well.
Same for me in Adelaide, South Australia back in '59. I could "hear" it, but by fingers stumbled all the time. Disgusted with my poor technique I chose two Scriabin works in the end and pushed my way through them instead. I've always regretted that choice. I decided I didn't want to spend my life teaching kids whose mothers wanted them to learn and changed careers and put my dreams away.
There's a lot to love in this performance by Yuja Wang. I especially love her in the exuberant variations. And she brings out inner voices in a number of the variations that I haven't heard in other performances. Altogether a treat for the ears!
Unusual, witty, approach to this ... very personal, less "imposing" than many, but wonderfully clear and varied colors ... she's still getting better ...
I adore these wonderful variations by Brahms since I heard them for the first time in Concordia in Bussum (1956?), played bij the great pianist Hans Richter Haaser. A long time deep impressed by the way Yefim Bronfman plays the piece, it is, after listening to miss Wang, as if I hear these notes for the first time. She is telling a complete different story. Breath taking.
I am delighted Wang is turning to Mozart, Brahms, Handel, etc. (I'm sure a lot of Beethoven is coming). She recently said that the performing of Mozart is the only occasion for her of stage fright, which I think is a compelling sign of her artistic judgment and maturity. This is a turn that the fabulous Argerich never quite completely made. I suspect that Wang will eventually compensate the world for that.
Many listeners feel the same: every piece she plays is as we hear and understand it for the first time. Such a musical insight is uncompearable. She takes the "old masterworks" out of the museum and shows us the modernity and eternity of them. Thank you Yuja for making music.....
17:50 Wow, i've never heard the 25th variation played so fast and so fleet, and so musical too. Nice!! Super. This is really hard!!! And then pulling back the energy going into the beginning of the fugue. Awesome performance, but the 25th var is just unreal.
Again Ms. Wang is able to find the texture and color in bombast and rapid covering of the keyboard. There is in this a highly individual discovery of both pathos and bathos. We are left moved and a bit mystified. Thanks for your precision and passion, Ms. Wang!
I must echo something others commented - some different nuances that we've never noticed before, and I've heard some great performances of this complex, loved music. Apart from that, our beloved Yuja just being herself. Feeling so lucky to have had five live performances... so far! ❤️❤️❤️
When a musician achieves total technical prowess like yuja she is able to express herself as she wishes and face it there is not a pianist alive with her ability
As always it's a tremendous joy to hear Yuja here, bringing dazzling life to Brahms. It's also wonderful to read the immensely admiring comments (almost all). The danger is encountering the occasional harsh criticism, like suddenly finding that a friend is a Trump supporter. I don't think they're all trolls... just reminders that human brains are not all wired the same. We have to keep remembering how lucky we are to see and hear Yuja as often as we like. When the great works were written, who could hear them performed more than a handful of times??
Finally a pianist that, in my opinion, understands how to play Brahm, I am not an expert, I just know when I hear something so beautifully emotionally played as one would imagine, the composer would want his music played. No surprise it be Yuja Wang, doesn't she look spectacular in the outfit she's wareing,? So many fine pianist to listen to...Thank you Peace
My first exposure to miss Wang was with Bartok's Second Conserto for piano. It's a masterful Bartok piece which requires nerves of steel. As it's seizure-inducing score is enough to put most normal humans into a coma. Even the New York Philharmonic had to cancel it's Premiere. Because they couldn't learn it in time. Not only it is an incredibly difficult peace to play. But is also quite a challenge for the orchestra as well. I have since come to appreciate Bartok more. Only wishing I would have come across some of his work sooner. I will also admit that I had some reservations of Yuja Wang. As I thought she was reckless attempting Beethoven's HammerKlavier so soon. Those concerns were all for not. As was one of the most brilliant interpretations of Beethoven's masterpiece I've heard. Miss Wang for her age is well beyond her years. Thank you for sharing this piece with us as well. :b
Yuja Wang is the most sensational virtuoso since Horowitz! She is absolutely stunning in her technique and so insightful in her interpretations, which strike one as revelatory and fresh at each moment.
when I listen to this version I can perceive so many more things going on! like there were different recordings perfectly superimposed but you can tell them apart much more easily
The good thing about short range brilliance employed with short but brilliant variations is that much insight can be gained concerning their quality. I don't know all the extant interpretations of this work but am familiar with Richter's and another major artist whose work Yuja Wang knows well: Leon Fleischer. Despite her youth, this version compares in my view very favorably. Perhaps she may ultimately have too much hype to live up to, but for now she seems to me the finest new pianistic talent around. If this piece doesn't convince you, consider her RUclips performance (not the DG recording) of the Scriabin second sonata. Very hard to think of a better one, even Richter, Horowitz et al.
"Despite her youth"? She was a veteran at 30 already.Just listen and hear a great and profound musician, and a superb technician. Youth and appearance are incidental.
Staggering playing packed with character. Wonderful fugue. Dare I say it, only marred for this listener by a few eyewateringly fast tempi which for me are only just Brahms. I spite of this she's still miraculous.
These variations are very demanding, because the structure of the theme is always apparent, and you cannot escape through virtuosity formulas. Each variation must be constructed both rationally and musically. Yuja Wang does it perfectly. She gives us an excellent interpretation of these variations and fugue.
Her authority and brilliance remind me a bit of Pollini, but Yuja is a sensitive performer, hence she delivers more feeling and emotion. This is a truly remarkable performance; exciting but moving and leaving me with no doubt that she is a born Brahms interpreter. Just MONUMENTAL, and, damn! she makes the end sound like the Hamerklavier...
I am a novice to this genre and am wondering if there is a writing that incorporates styles from eastern music i.e. Persia & South America together? I think such a piece could influence an entirely new generation of listeners. anyway, goodnight, it is late here at this moment. x
Brahms said that his music should be played at a tempo in which every note can be heard. This piece is a carefully crafted composition not a headlong race to the finish. The omission of many repeats does not make it more interesting but closer attention to articulation would. Ms Wang’s technique is formidable but this music is not about speed.
I tried them on my grand at home and they did seem a little out of place, but Yuja knows what she's doing here -- they convey a powerful sense of finality.
I meant to say, stunning performance is absolutely right. Sparkling, dazzling, brilliant, radiant, powerful, shimmering, ... there aren't enough words of admiration and gratitude for Yuja's interpretations or for amazing adorable Yuja herself. Last night many of us were so lucky to attend Yuja's concert in San Francisco, Feb 23, 2020, suddenly right there in real life. Her Galuppi andante was a touchingly beautiful, gentle melody, then we were spellbound all the way through Scriabin, Ravel, Berg, Pompou, and Bach to Brahms and Chopin and finally her favorite fabulous encores, in which she makes the grand piano absolutely rock! Yuja you are truly a miracle girl!
Michael Saunders: I was at her San Francisco recital, too. It was beyond great. Her Prokofiev ‘Toccata’ encore was jaw dropping. In fact, I left my _jaw_ in San Francisco. Or, to be more specific, in Davies Hall. 😎🎹
i have a small problem with Ms. Wang's "interpretation" of the Brahms' Handel Variations. She deliberately shortened the work by not repeating some of the variations sections. Although i know she did it more than once, the one time it was blatantly missing was in Variation # 15. i think she also skipped the repeats in #14. Call me "picky" ("OK, you're Picky") but i've got the music to the entire work right here and skipping repeats is not really OK if you're only doing it only in really difficult passages. Which is VERY unlike her from previous performances.
@@paulotav9066 I still think it is wrong. If I was playing a Beethoven Sonata in a recital and left out half of a page of music and improvised instead it would definitely be noticed by most in the audience.
I love Yuja Wang. This interpretation is gonna take some getting used to. Didn’t she leave out a bunch of repeat signs?? What is up with that? 😊 Stiil: a competent execution of this demanding piece of music. And yes, I still love Yuja Wang.
You are correct, she does leave some out. Not unusual for pianists to do this over the years; repeats can be optional if the artists mood is for more brevity. Sometimes this is musically sound. Rare in these days of Ur-text fidelity and expectations. I find I don't miss them in this, if you don't mind me saying, more than competent performance...
She omitted at least four repeats! And rushed (IMHO) two of the most beautiful slow variations. Was the program just too long that night? Fantastic work, but she doesn't let six of these variations get enough breath.
The most inviting opening statement - just sparkling - and most impressive fugue I've heard to sum up this fantastic piece - but in between, what was the hurry? She cut out at least four repeats and rushed two slower variations to the point of losing the reflective qualities that lets a listener breathe.
Muß Frau Wang noch zum Bus? Dieses Stück ist ein untaugliches Objekt,großartig virtuoses Spiel zu demonstrieren( braucht sie doch ohnehin NICHT).Viele Variationen werden VIELzu schnell gespielt undnverwischen dadurch. Gefällt mir nicht, Fleisher, Katchen,Gelber und andere machten das besser.
For a moment I looked for performances by others and was astonished to find that some of them regard the fugue as a race! I believe Yuja has it just right.
@@michaelsaunders2135 k; see what you think of kovacevich. klien is good. perahia, iirc. ax something was off, I am thinking. you want a certain stateliness.
@@davidmoran5431 I tried Kovacevish and remembered he's one who races through the fugue. Before that, I realized much of it is what we're grown used to. It hurts when Yuja's modulations of touch, tone, and tempo are suddenly not there. I remain certain that Brahms would be swept away by Yuja's flawless, sparkling performance. You're right about wanting a certain stateliness for the fugue, especially for the last page -- there's no reason whatsoever to race through it.
@@michaelsaunders2135 tnx, must relisten to all to see where and when not I concur I recall Kova and Klien fugue ringing out, but will check and will relisten to this too will also hack away at it on keyboard and see what I can produce w only moderate embarrassment
Beaucoup d'effets exterieurs, de traits surlignés, de contre-chants exagérés, des outrances pour faire ressortir une originalité artificielle. Des variations trop rapides (8,25), des traits trop perlés (24)... Ce genre d'interprétation très "propre", voire aseptisé prend aujourd'hui le pas sur les interprétations plus intériorisées et bien plus authentiques. Oui, Melle wang possède une magnifique technique, mais n'a aucune âme!
@bert22 - "Aucune âme" me semble un jugement sans nuances. Pour le reste, on ne peut que partager votre avis : il manque un élément essentiel, l'intériorité. Cependant, les versions de M. Perahia ou G. Sokolow ne suscitent guère plus d'enthousiasme, -- trop de fortissimi pour le premier, peu d'originalité pour le second. Avez-vous une préférence pour une version ?
It's actually a rather bland reading and the last variation before the fugue nearly breaks up. A very accomplished, wonderful musician but she needs to slow down and give more thought to performances beyond pyrotechnics. Too much rubato in places, which I feel isn't suitable in the Brahms Variations.
Bland!? Sort of hard to say it is full of 'pyrotechnics' and can still be bland, but to each ear its own musical prejudices. I don't agree with you, most importantly over too much rubato. Seems just fine to me, appropriate to Brahms or not (and there we disagree again). Brahms is full of rubato markings (he uses "hairpins" for that and writes cresc or decrescendo for dynamics). Very few pianists seem to understand this notation...
I agree. While I have never heard such dazzling filigreed passagework, the rich textures were lost to an inappropriately blinding speed that made them inaudible. It is beyond comprehension how a human mind can command such speed and accuracy but the beauty never had a chance and bowed to effect, sadly.
Well, there's certainly some fine playing and brilliance, but honestly, Harms Brandel Hairyvations doesn't really sound Yuja's cup of tea, for the moment anyway. There's a disturbing lack of logic in some hairyvations having repeats, most not. It all needs more time to flow and develop, more breadth and richness. I'm sure she'll play this masterwork marvellously later in life, but for now, it just sounds like a perfunctory excercise.
Ah, enfin...... mon sex-maniac préferé, Mon-sewer Can'tCan't Georges, qui supprime ses commentaires quand ça le deplaise. If ever Yuja knew you were in the audience, (for ogling of Hair, Limbs & Boobs, of course), she could improvise hairyvations on the celebrote old popular tune: "For he's a jolly good follow!"
Dear Wuja, you are a good pianist, but this is not the way to interpret such a piece. The song is missing, the polyphony, dynamics and rhythm are confused. it's all too fast, like a fingertip. It's all exterior! Where is the depth ?. There is nothing Brahams. Good study.
Sure, not so much of Brahms in it. Some profundity and strength looms up here and there. She could grow up and become a significant pianist, but her fans and admirers are pushing her to the opposite direction. Many of the comments are appalling. Someone even says she is as good as Pollini but more sensitive. At present, she is trying to turn a lot of music into an easy and pleasant experience, which of course gratifies the public. Brahms' music requires much dedication and sobriety, both from the players and from the listeners. But this sounds so boring to many.
@@albertoemiliani779 Why are comments like this so negative?? I've listened 100 times and loved every moment. Evidently Brahms was not appreciative of Clara's performance, but I feel certain he would admire Yuja's immensely.
@@michaelsaunders2135 Negative? Why negative? I said she has some profundity and strength and she could grow up, but a superficial cast pervades her present interpretation. Isn't it negative when someone writes that Pollini, Sokolov and Michelangeli are the great boring team? (in capitals, some Maisenbacher below). If you liked it so much I'm only happy, because it's Brahms that you liked and it's so unusual to find people to which his music says something -- something of importance, something that can change the colors of life. But please, try Sokolov too, try Pollini and Michelangeli. I have the definite feeling that their interpretations reach much deeper.
Facile and it’s NOT Brahms. She;s not ready for this repertoire. Have never heard such a slap dash performance of this piece. The comment of Rocco is not negative. Wang has considerable strengths, but coursing the rarified air of the Classics is not one of them.
Skipping coda's-if so (I have not the score in front of me) has never been a crime for any pianist-and tho' her tempo's are not leisurely, they are well within the music's compass. Your ear and expectation may be different, but what 'isn't great' is that shallow assessment of this fine performance...
@@beckerhanshermann8372 Oh, my dear Max/Karin! Let us be clear: you are great in your trolling Yuja Wang judgments, which you never justify aside from extreme prejudice and musically snobbish ignorance, and in your boundless condemnation for a young woman who can play the piano quite well. It's great when a man can hate as much as you do!
@@beckerhanshermann8372 It would be beneficial for you to read the opinions of obviously competent critics and musicians here on the tubes and in the musical press. Yes, Miss Wang is "great", she is lauded by a vast majority of those critics, and unprejudiced musicians. She certainly keeps up with other pianists like Perrahia, Arrau, Michelangeli and others-tho' only a shallow fool or fanatic looks for comparisons to troll when enjoying living classical music making. Finding her attack and sound coarse and loud is of course your individual privilege; a greater many of us do not. Yet your oft posted angry trolls toward her Chinese nationality and her 'dress choices' invalidates anything 'balanced' or credible you may have to say musically or pianistically about ANY of her performances. And, I suggest you look at the score (if you know how to read one). She IS faster than some others-but well within the tempos indicated by Brahms. Your PREFERENCE may be different of course, as is Ms. Butler's above (by the way, just how do you KNOW Ms. Butler is a "competent woman" or critic? Is the criteria that she agrees with your distaste for Yuja Wang?😉) No, what IS actually "rushed" , per usual with your rush to troll mentality, is your crackered bias trying to mask as intelligent musical acumen.
A really good pianist . The theme is structurally meaningless.The variations have are stuniing each one on its own but lack emotional coherence . All in all in my not so humble opinion this is playing marked by short range brilliance .Very short range..
![Yuja Wang: Schumann Piano Concerto in A minor Op. 54 [HD]](http://i.ytimg.com/vi/fWDrJT0s1s8/mqdefault.jpg)
![Yuja Wang: Rachmaninov Rhapsody on a Theme of Paganini Op. 43 [HD]](/img/1.gif)
Bringing Brahms alive ! (as in so many other works) What a musician, so glad we can hear this on RUclips, thank you !!
Beautifully played by Yuja! She's got such a lovely touch
I remember slaving over this difficult work when I was a piano student 40 years ago, and Yuja Wang makes it sound so easy. And she makes it so musical as well.
Likewise in Vienna 60 years ago. If only I had her facility!
Same for me in Adelaide, South Australia back in '59. I could "hear" it, but by fingers stumbled all the time. Disgusted with my poor technique I chose two Scriabin works in the end and pushed my way through them instead. I've always regretted that choice. I decided I didn't want to spend my life teaching kids whose mothers wanted them to learn and changed careers and put my dreams away.
What a bright, funny, lovely interpretation of something I've generally heard as measured and conventional. Loved it. Thanks Yujia. Cathy
This is my favourite interpretation of this lovely piece
There's a lot to love in this performance by Yuja Wang. I especially love her in the exuberant variations. And she brings out inner voices in a number of the variations that I haven't heard in other performances. Altogether a treat for the ears!
Unusual, witty, approach to this ... very personal, less "imposing" than many, but wonderfully clear and varied colors ... she's still getting better ...
I adore these wonderful variations by Brahms since I heard them for the first time in Concordia in Bussum (1956?), played bij the great pianist Hans Richter Haaser. A long time deep impressed by the way Yefim Bronfman plays the piece, it is, after listening to miss Wang, as if I hear these notes for the first time. She is telling a complete different story. Breath taking.
I will appreciate your opinion about my Brahms ruclips.net/video/t1IejQDrzLg/видео.html
I am delighted Wang is turning to Mozart, Brahms, Handel, etc. (I'm sure a lot of Beethoven is coming). She recently said that the performing of Mozart is the only occasion for her of stage fright, which I think is a compelling sign of her artistic judgment and maturity. This is a turn that the fabulous Argerich never quite completely made. I suspect that Wang will eventually compensate the world for that.
I agree!
Argerich made this turn in 2020!
Many listeners feel the same: every piece she plays is as we hear and understand it for the first time.
Such a musical insight is uncompearable. She takes the "old masterworks" out of the museum and shows us the modernity and eternity of them.
Thank you Yuja for making music.....
17:50 Wow, i've never heard the 25th variation played so fast and so fleet, and so musical too. Nice!! Super. This is really hard!!! And then pulling back the energy going into the beginning of the fugue. Awesome performance, but the 25th var is just unreal.
Again Ms. Wang is able to find the texture and color in bombast and rapid covering of the keyboard. There is in this a highly individual discovery of both pathos and bathos. We are left moved and a bit mystified. Thanks for your precision and passion, Ms. Wang!
I love this tune on which the variations are based. It is as good as the harmonious blacksmith
I must echo something others commented - some different nuances that we've never noticed before, and I've heard some great performances of this complex, loved music. Apart from that, our beloved Yuja just being herself. Feeling so lucky to have had five live performances... so far! ❤️❤️❤️
Brilliant music ... Brilliant performer ... Brilliant photography ... !! Many thanks !
I will appreciate your opinion about my Brahms ruclips.net/video/t1IejQDrzLg/видео.html
Just to remind ourselves that this is a live concert, rock climbing with no rope, and the courage of her path through the fugue is flabbergasting.
Thank you for uploading this magnificent performance.
Love the rythm at 5:48! Never heard the variation that fast before.
Wow. You're right about that! How does she do it?
When a musician achieves total technical prowess like yuja she is able to express herself as she wishes and face it there is not a pianist alive with her ability
She's great, without a doubt, but South Korea has unleashed several young giants recently who will certainly bear watching from now on.
And Alexandra Dovgan will be a factor. ruclips.net/video/3xOVsLAAF0s/видео.html
Wonderful, thank you for sharing, great interpretation.
merci encore a vous Peter que dire ? merveilleuse Yuja merveille du piano Chinois!!!!
One of my favorite piano variations.
十多年前驚艷其技藝,如今更是層樓再上！
Listened recently to Van Cliburn performance. Loved it.
Wow. Immortal mastery.
Really good! Well constructed performance with brilliant sound.
As always it's a tremendous joy to hear Yuja here, bringing dazzling life to Brahms. It's also wonderful to read the immensely admiring comments (almost all). The danger is encountering the occasional harsh criticism, like suddenly finding that a friend is a Trump supporter. I don't think they're all trolls... just reminders that human brains are not all wired the same. We have to keep remembering how lucky we are to see and hear Yuja as often as we like. When the great works were written, who could hear them performed more than a handful of times??
first-class
20:00-20:50 Such a beautiful sequence by Brahms. ❤️
Finally a pianist that, in my opinion, understands how to play Brahm, I am not an expert, I just know when I hear something so beautifully emotionally played as one would imagine, the composer would want his music played. No surprise it be Yuja Wang, doesn't she look spectacular in the outfit she's wareing,? So many fine pianist to listen to...Thank you Peace
My first exposure to miss Wang was with Bartok's Second Conserto for piano. It's a masterful Bartok piece which requires nerves of steel. As it's seizure-inducing score is enough to put most normal humans into a coma.
Even the New York Philharmonic had to cancel it's Premiere. Because they couldn't learn it in time. Not only it is an incredibly difficult peace to play.
But is also quite a challenge for the orchestra as well. I have since come to appreciate Bartok more.
Only wishing I would have come across some of his work sooner. I will also admit that I had some reservations of Yuja Wang.
As I thought she was reckless attempting Beethoven's HammerKlavier so soon. Those concerns were all for not.
As was one of the most brilliant interpretations of Beethoven's masterpiece I've heard. Miss Wang for her age is well beyond her years. Thank you for sharing this piece with us as well. :b
The real test will be the Diabelli Variations.
Yuja Wang is the most sensational virtuoso since Horowitz! She is absolutely stunning in her technique and so insightful in her interpretations, which strike one as revelatory and fresh at each moment.
when I listen to this version I can perceive so many more things going on! like there were different recordings perfectly superimposed but you can tell them apart much more easily
Sua grande sensibilidade e uma sonoridade impar arrepiam...
谢谢
Nice touch & voicing…..
The good thing about short range brilliance employed with short but brilliant variations is that much insight can be gained concerning their quality. I don't know all the extant interpretations of this work but am familiar with Richter's and another major artist whose work Yuja Wang knows well: Leon Fleischer. Despite her youth, this version compares in my view very favorably. Perhaps she may ultimately have too much hype to live up to, but for now she seems to me the finest new pianistic talent around. If this piece doesn't convince you, consider her RUclips performance (not the DG recording) of the Scriabin second sonata. Very hard to think of a better one, even Richter, Horowitz et al.
ruclips.net/video/t1IejQDrzLg/видео.html I will appreciate your opinion about my Brahms
"Despite her youth"? She was a veteran at 30 already.Just listen and hear a great and profound musician, and a superb technician. Youth and appearance are incidental.
As beautiful a rendition as any
A very modern interpretation of brahms. Thanks.
Staggering playing packed with character. Wonderful fugue.
Dare I say it, only marred for this listener by a few eyewateringly fast tempi which for me are only just Brahms. I spite of this she's still miraculous.
So good!
Photo : Yuja sitting on the keyboard. What a symbol .... haha ...;
This cover is killing.
Yeah
Variation 22: Brahms has 'borrowed' from Muzio Clementi's piano concerto in C, 3rd movement. Like to hear Yuja play this.
找羽佳弹这首曲子好久了！
These variations are very demanding, because the structure of the theme is always apparent, and you cannot escape through virtuosity formulas. Each variation must be constructed both rationally and musically. Yuja Wang does it perfectly. She gives us an excellent interpretation of these variations and fugue.
Don't forget these composition.
On Italy it's for the diploma on piano.
deserves it
Her authority and brilliance remind me a bit of Pollini, but Yuja is a sensitive performer, hence she delivers more feeling and emotion. This is a truly remarkable performance; exciting but moving and leaving me with no doubt that she is a born Brahms interpreter. Just MONUMENTAL, and, damn! she makes the end sound like the Hamerklavier...
블랙핑크팬보이 Well said!!! The clarity and musical insight of Pollini, but more sensitivity.
Michael Schefold ‘has
17:50 Authority, discipline, provocative, abusive, .....; and really imperial.
this is baller
I am a novice to this genre and am wondering if there is a writing that incorporates styles from eastern music i.e. Persia & South America together? I think such a piece could influence an entirely new generation of listeners. anyway, goodnight, it is late here at this moment. x
Fully agreed ! ;-)
Mighty hands !! .......😍👍🏻🙆🏻👍🏻❤️
I think there were 2 composers who composed equally as well for piano and for orchestra. Brahms and Beethoven
So good....best wishes yuja my kinda girl
Well played (live and all) but love Perhia version too
이곡과 똑같은 손열음버전 들어보길 강추합니다
I find it close in spirit to Katchen's version, and at least as good. Which, from me, is no small compliment.
Fabulous! Original but not gimmicky. I'm concerned about the health of the audience, though. Was this performed during flu season?
I have heard this piece by many different artistes but this is my favourite
Many who smoke cigarettes?
a true sensitive performer
More "sensitive" kann es ja gar nicht sein ... hahahah
Brahms said that his music should be played at a tempo in which every note can be heard. This piece is a carefully crafted composition not a headlong race to the finish. The omission of many repeats does not make it more interesting but closer attention to articulation would. Ms Wang’s technique is formidable but this music is not about speed.
Nor is her performance-faster than you may want, but not faster than the music can bear...
yuja wang's piano play is always funny lol
A few seconds earlier, the piano was saying : sit on my face
Not so sure about those low bass notes she added at the end. Otherwise, stunning performance.
I tried them on my grand at home and they did seem a little out of place, but Yuja knows what she's doing here -- they convey a powerful sense of finality.
I meant to say, stunning performance is absolutely right. Sparkling, dazzling, brilliant, radiant, powerful, shimmering, ... there aren't enough words of admiration and gratitude for Yuja's interpretations or for amazing adorable Yuja herself. Last night many of us were so lucky to attend Yuja's concert in San Francisco, Feb 23, 2020, suddenly right there in real life. Her Galuppi andante was a touchingly beautiful, gentle melody, then we were spellbound all the way through Scriabin, Ravel, Berg, Pompou, and Bach to Brahms and Chopin and finally her favorite fabulous encores, in which she makes the grand piano absolutely rock! Yuja you are truly a miracle girl!
Michael Saunders: I was at her San Francisco recital, too. It was beyond great. Her Prokofiev ‘Toccata’ encore was jaw dropping. In fact, I left my _jaw_ in San Francisco. Or, to be more specific, in Davies Hall. 😎🎹
I should say "a little out of place *initially*". Now they seem exactly right! Just like every single moment of Yuja's sparkling performance!
I should say "a little out of place *initially*". Now they seem exactly right! Just like every single moment of Yuja's sparkling performance!
😻👋
i have a small problem with Ms. Wang's "interpretation" of the Brahms' Handel Variations. She deliberately shortened the work by not repeating some of the variations sections. Although i know she did it more than once, the one time it was blatantly missing was in Variation # 15. i think she also skipped the repeats in #14. Call me "picky" ("OK, you're Picky") but i've got the music to the entire work right here and skipping repeats is not really OK if you're only doing it only in really difficult passages. Which is VERY unlike her from previous performances.
its due to live performance
@@paulotav9066 I still think it is wrong. If I was playing a Beethoven Sonata in a recital and left out half of a page of music and improvised instead it would definitely be noticed by most in the audience.
ESTA COLOSAL VERSIÓN,AUNQUE DIFERENTE,ES SOLO COMPARABLE CON LA DE SVIATOSLAV RICHTER Y LA DE GRIGORY SOKOLOV GRABADA EN VIVO.
ruclips.net/video/t1IejQDrzLg/видео.html I will appreciate your opinion about my Brahms
I love Yuja Wang. This interpretation is gonna take some getting used to. Didn’t she leave out a bunch of repeat signs?? What is up with that? 😊
Stiil: a competent execution of this demanding piece of music. And yes, I still love Yuja Wang.
You are correct, she does leave some out. Not unusual for pianists to do this over the years; repeats can be optional if the artists mood is for more brevity. Sometimes this is musically sound. Rare in these days of Ur-text fidelity and expectations. I find I don't miss them in this, if you don't mind me saying, more than competent performance...
She omitted at least four repeats! And rushed (IMHO) two of the most beautiful slow variations. Was the program just too long that night? Fantastic work, but she doesn't let six of these variations get enough breath.
The most inviting opening statement - just sparkling - and most impressive fugue I've heard to sum up this fantastic piece - but in between, what was the hurry? She cut out at least four repeats and rushed two slower variations to the point of losing the reflective qualities that lets a listener breathe.
Too much rubato, but an amazing feat nonetheless. Don't play Brahms like Chopin.
Muß Frau Wang noch zum Bus? Dieses Stück ist ein untaugliches Objekt,großartig virtuoses Spiel zu demonstrieren( braucht sie doch ohnehin NICHT).Viele Variationen werden VIELzu schnell gespielt undnverwischen dadurch. Gefällt mir nicht, Fleisher, Katchen,Gelber und andere machten das besser.
There's Tiger Woods, then Roger Federer then there's Yuja
Other way round !! Yuja is not last on any list !!
fugue plods a little, just a little
For a moment I looked for performances by others and was astonished to find that some of them regard the fugue as a race! I believe Yuja has it just right.
@@michaelsaunders2135 k; see what you think of kovacevich. klien is good. perahia, iirc. ax something was off, I am thinking. you want a certain stateliness.
@@davidmoran5431 I tried Kovacevish and remembered he's one who races through the fugue. Before that, I realized much of it is what we're grown used to. It hurts when Yuja's modulations of touch, tone, and tempo are suddenly not there. I remain certain that Brahms would be swept away by Yuja's flawless, sparkling performance. You're right about wanting a certain stateliness for the fugue, especially for the last page -- there's no reason whatsoever to race through it.
@@michaelsaunders2135 tnx, must relisten to all to see where and when not I concur
I recall Kova and Klien fugue ringing out, but will check
and will relisten to this too
will also hack away at it on keyboard and see what I can produce w only moderate embarrassment
@@michaelsaunders2135 k, finding this one fairly wanting overall, including technically (!!) --- more tk tomorrow
연습 많이 안했나 보네 유자왕...
Brahms
Beaucoup d'effets exterieurs, de traits surlignés, de contre-chants exagérés, des outrances pour faire ressortir une originalité artificielle. Des variations trop rapides (8,25), des traits trop perlés (24)... Ce genre d'interprétation très "propre", voire aseptisé prend aujourd'hui le pas sur les interprétations plus intériorisées et bien plus authentiques. Oui, Melle wang possède une magnifique technique, mais n'a aucune âme!
@bert22 - "Aucune âme" me semble un jugement sans nuances. Pour le reste, on ne peut que partager votre avis : il manque un élément essentiel, l'intériorité. Cependant, les versions de M. Perahia ou G. Sokolow ne suscitent guère plus d'enthousiasme, -- trop de fortissimi pour le premier, peu d'originalité pour le second. Avez-vous une préférence pour une version ?
Not enough poetry...
It's actually a rather bland reading and the last variation before the fugue nearly breaks up. A very accomplished, wonderful musician but she needs to slow down and give more thought to performances beyond pyrotechnics. Too much rubato in places, which I feel isn't suitable in the Brahms Variations.
Bland!? Sort of hard to say it is full of 'pyrotechnics' and can still be bland, but to each ear its own musical prejudices. I don't agree with you, most importantly over too much rubato. Seems just fine to me, appropriate to Brahms or not (and there we disagree again). Brahms is full of rubato markings (he uses "hairpins" for that and writes cresc or decrescendo for dynamics). Very few pianists seem to understand this notation...
I agree. While I have never heard such dazzling filigreed passagework, the rich textures were lost to an inappropriately blinding speed that made them inaudible. It is beyond comprehension how a human mind can command such speed and accuracy but the beauty never had a chance and bowed to effect, sadly.
Tbh, most of these variations are rather bland to begin with.
Well, there's certainly some fine playing and brilliance, but honestly, Harms Brandel Hairyvations doesn't really sound Yuja's cup of tea, for the moment anyway. There's a disturbing lack of logic in some hairyvations having repeats, most not. It all needs more time to flow and develop, more breadth and richness. I'm sure she'll play this masterwork marvellously later in life, but for now, it just sounds like a perfunctory excercise.
Ah, enfin...... mon sex-maniac préferé, Mon-sewer Can'tCan't Georges, qui supprime ses commentaires quand ça le deplaise. If ever Yuja knew you were in the audience, (for ogling of Hair, Limbs & Boobs, of course), she could improvise hairyvations on the celebrote old popular tune: "For he's a jolly good follow!"
Dear Wuja, you are a good pianist, but this is not the way to interpret such a piece. The song is missing, the polyphony, dynamics and rhythm are confused. it's all too fast, like a fingertip. It's all exterior! Where is the depth ?. There is nothing Brahams. Good study.
Sure, not so much of Brahms in it. Some profundity and strength looms up here and there. She could grow up and become a significant pianist, but her fans and admirers are pushing her to the opposite direction. Many of the comments are appalling. Someone even says she is as good as Pollini but more sensitive. At present, she is trying to turn a lot of music into an easy and pleasant experience, which of course gratifies the public. Brahms' music requires much dedication and sobriety, both from the players and from the listeners. But this sounds so boring to many.
@@albertoemiliani779 Why are comments like this so negative?? I've listened 100 times and loved every moment. Evidently Brahms was not appreciative of Clara's performance, but I feel certain he would admire Yuja's immensely.
@@michaelsaunders2135 Negative? Why negative? I said she has some profundity and strength and she could grow up, but a superficial cast pervades her present interpretation. Isn't it negative when someone writes that Pollini, Sokolov and Michelangeli are the great boring team? (in capitals, some Maisenbacher below). If you liked it so much I'm only happy, because it's Brahms that you liked and it's so unusual to find people to which his music says something -- something of importance, something that can change the colors of life. But please, try Sokolov too, try Pollini and Michelangeli. I have the definite feeling that their interpretations reach much deeper.
Facile and it’s NOT Brahms. She;s not ready for this repertoire. Have never heard such a slap dash performance of this piece. The comment of Rocco is not negative. Wang has considerable strengths, but coursing the rarified air of the Classics is not one of them.
Okay she’s skipping Codas and rushing. This isn’t great
Skipping coda's-if so (I have not the score in front of me) has never been a crime for any pianist-and tho' her tempo's are not leisurely, they are well within the music's compass. Your ear and expectation may be different, but what 'isn't great' is that shallow assessment of this fine performance...
@@beckerhanshermann8372 Oh, my dear Max/Karin! Let us be clear: you are great in your trolling Yuja Wang judgments, which you never justify aside from extreme prejudice and musically snobbish ignorance, and in your boundless condemnation for a young woman who can play the piano quite well. It's great when a man can hate as much as you do!
@@beckerhanshermann8372 It would be beneficial for you to read the opinions of obviously competent critics and musicians here on the tubes and in the musical press. Yes, Miss Wang is "great", she is lauded by a vast majority of those critics, and unprejudiced musicians. She certainly keeps up with other pianists like Perrahia, Arrau, Michelangeli and others-tho' only a shallow fool or fanatic looks for comparisons to troll when enjoying living classical music making.
Finding her attack and sound coarse and loud is of course your individual privilege; a greater many of us do not. Yet your oft posted angry trolls toward her Chinese nationality and her 'dress choices' invalidates anything 'balanced' or credible you may have to say musically or pianistically about ANY of her performances.
And, I suggest you look at the score (if you know how to read one). She IS faster than some others-but well within the tempos indicated by Brahms. Your PREFERENCE may be different of course, as is Ms. Butler's above (by the way, just how do you KNOW Ms. Butler is a "competent woman" or critic? Is the criteria that she agrees with your distaste for Yuja Wang?😉)
No, what IS actually "rushed" , per usual with your rush to troll mentality, is your crackered bias trying to mask as intelligent musical acumen.
What do you mean by "skipping "odas"? She skips da capos, but no coda here... 🤔
A really good pianist . The theme is structurally meaningless.The variations have are stuniing each one on its own but lack emotional coherence . All in all in my not so humble opinion this is playing marked by short range brilliance .Very short range..
Romuald Sztern n
Extremely short range. Performances like this kill Brahms.
Grazie Alberto. This is simply abominable. Cannot listen to this ever again, but did so since I wanted to comment.