@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
@@Richard-wh9wm I thought it was cringy because of it being overly complimentary to the point of fawning. I will give the commenter credit for not sexualizing her like most of the other male commenters do.
It's her volume of work that amazes me. Putting these long pieces together in your being at a level of performance is no easy accomplishment. The patience and commitment required are simply astonishing. Yet for her just another stint at the office. Can't wait to meet her someday. Hopefully this COVID nightmare isn't going to ruin all our livelihood and freedom for too much longer.
What a joy is Yuja Wang! Not only a phenomenally gifted and skilled artist, but a personality that is so open and expressive, just like her music. A delightful interview!
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@bloodgrss Hi Yuja! The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
I started taking piano lessons when I was 11 and she is so right. I was self taught before then and all the pieces I learned before I left for college stayed with me. After 5 years of not playing because life got in the way, I got back into it and I can still play hear every note, rhythm, and still feel that sensation of joy. Now I learn new pieces but they don't feel as special as those pieces.
Yuja for me since the beginning is a perfect artist. She resembles the epitome of highest level of artistry that she knows what she wants and she sticks to what she believe she can hit and can hit it right! Hope to meet her one day
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@charlesdaues9439 If you want cheap fun pal-you obviously are knowledgeable of such low class things; thank heaven you know nothing of music to be taken seriously here troll...
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@georgescancan7503 I disagree Yuja Wang's interpretation of Prokofiev are the best ever. She has an ability to abstract herself from the music and imply her interpretation without it interfering with the composers intentions; in works of composers post-19C, that's a very favorable and rare ability. Also about her attire, there exists a need today to conserve previous traditions for some reason even though composers have been trying to break that since 1945. All Yuja Wang is doing by changing her attire is trying to change perception of musicians as old posh and conservative and attract newer generations of music lovers; in this day and age what she wears isn't even remotely provocative and the minute number of people that are shocked also hate all todays fashion. The fact that she is internationally renowned and noneuropean while the majority of other european soloists are unknown is indicative of how fresh her musical perspectives are and without which the western classical traditions would've died out 5 years ago from lack of younger interest. She studied under gary graffman, one of the leading classical pianist and who studied for a long time under horowitz which makes her a greater arbiter of western tradition than the majority of renowned european pianists. The rest of what u said is stupid and doesnt really warrant a response. understand overcome change
@ Butros Nayan Dear Butros Nayan, the naked body at the piano keyboard is not a masterpiece of modern pianistic art, it is an ordinary strip club. Gary Graffman is a specialist in preparing Chinese piano acrobats for the American market. Yes, Gary may have turned the pages of the musical text for Vladimir Horowitz and brought him a cup of coffee, but this is not a reason to call him a world magnitude. By the way, Vladimir Horowitz was a European and became a great pianist in Europe, not in America, if you want to know. for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!
@@georgescancan7503 You're a prime example of a critic as defined by Brendan Behan. "Critics are like eunuchs in a harem, they know how to do it but can't!"
@@ukoze Sutor, ne ultra crepidam From Wikipedia, the free encyclopedia Vasari's home in Florence, Apelles Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise. Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying. The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review: 1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.) A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]
What a stunner! You show it off, girl; you only live once. She has truly magical powers and she can literally live like a queen. One of the few global superstars who I genuinely applaud and celebrate.
@@bloodgrss ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
I love the way the camera shows the mustician with her hands cut off, and then it shows her hands with her body cut off. It's wonderful to see a musician cut into pieces by the camera.
About Ms. Wang there is little to no pretense. Her genius therefore is, like her playing, accessible and genuinely human. Hamlet asked what are we who are caught twixt heaven and earth are to do. Ms. Wang has found the reply: create, innovate and excel! We are blessed to share her earth with her and in her playing whether simply kidding around or in the depths of Prokofiev, we find an intimate encounter and we are invariably the better for it.
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.
@@mariodisarli1022 I agree her sartorial choices are indeed provocative and yet they are quite alluring. Having made that concession, might you not join me by agreeing they are also quite tasteful and suit her youth? Remember, for many in her generation classical music is for old fuddy-duddies. From that perspective --and I am convinced these choices are certainly of an informed volition-- what she does is make classical music both fun and endlessly engaging. She makes the music accessible and contemporary. With this regard, I find her choices both savvy and wise. I am afraid, my friend, we part ways when it comes to viewing her playing as anything other than suiting style with substance. I invite you to listen more and see if her Siren song doesn't draw you further into the music and into her aura. Her gifts are profoundly sentimental without being trapped in sentimentality. I am always left wanting to hear more and yes, I confess, always wanting to watch more as her beauty gives the music an immediacy that has always been the purview of gifted soloists. With this regard, she updates the music and makes it strains of today, with the promise of an audience among the younger set. Hers then is a service to classical music and ensures that you and I will have something to listen to for many years to come.
@@erikbrodnax7050 It's about CLASSIC MUSIC! These two words "classical music" contain the greatest meaning, work and achievements of European civilization. This is a diamond that will always be valuable and will never disappear! This diamond does not need to be popularized, it is not jewelry for everyday consumption. All kinds of "entertainment music" (pop, rock, etc.) will disappear, transform, but classical music and works of the greatest composers of our planet will exist forever!
@@mariodisarli1022 to expect all people to conform to one singular idea and to compress a person based on her/his outward appearance is quite ignorant, disappointing, and shallow. If all paintings were impressionist, if all buildings were brutalist, if all streets were concrete, if all trees were oak, would you like the monotony and predictability of that? Yuja breathes fresh air, contrast, and youth into an otherwise age old craft and pleasure.
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
This gal is such a phenomenal talent. I saw and met her backstage at a concert right out of Curtis in 2008 and she blew me away with her facility and her ability to communicate music to the audience. She just keeps getting better too. There is a RUclips video of her performing Debussy Arabesque and Chopin Fantasy Impromptu at age 11 and she played them better at that age than I do today after a lifetime. I just shake my head. :) I've heard all the greats and she's right up there.
Yuja has the talent to be a child and reckless;) She is a very confident person and good for her! If people who don't know her she would seem arrogant but once you her her play she can be a Princess all she likes. Also I love that she is not politically correct and says what she thinks by telling the truth about what she likes. It can be detrimental to her but for the listener her views are important!
@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...
@@bloodgrss Hi Yuja! Who is Yuja? Product PR and show industry! Absolutely ordinary pianist, pulled onto the stage by mafia structures for the sexual entertainment of snotty youths and old libertines! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We must finally say: enough !!! The Classical Review Wang’s powerful virtuosity stronger on flash than depth in Boston recital May 13, 2018 By Aaron Keebaugh Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres ... There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping. ... Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style. Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored. Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music. ... The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
So interesting to hear her on piano's and her choices. There is another lovely young pianist, Tiffany Poon, who blogs very entertainingly on the tubes on this. Good grief-they both live in NYC and are creating beautiful music in our time-what a four-handed concert that would be!
Hi Yuja! Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss Hi Yuja! GERMANY BERLIN - Cultural radio from the rbb (Berlin - Brandenburg) Philharmonie Berlin - Yuja Wang piano recital Rating: * - - - - (one star of five) Works bei Johannes Brahms: Ballads, Op. 10, No. 1 and 2; Robert Schumann: Kreisleriana, op. 16; Ludwig van Beethoven: Piano sonata No. 29 B flat major, op. 106 - "Hammerklavier-Sonate" With Yuja Wang ..... "Apart from the ecores, this evening was an absolute misunderstanding and, unfortunately, one of the worst piano evenings ever." Andreas Göbel, cultural radio 14.06.2016
@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
She "doesn't want to be always mature or grown up". " 'Likes to be creative and reckless at times as a child". Yet, her playing reflects both the seasoned expression and temperament of a mature, sophisticated and controlled artist, with the limitless energy and abandon explosiveness of a wild child. She truly is a combination of many great attributes. 'Hope she decides to retain these qualities.
Yuja is such an unexpected personality in the classical world 😮 As she explains on this video she loves beeing childish and even reckless 😅 And how lovely, and brave, to make a statement like this ❤ I'm a pianist myself, i listened to Oscar Peterson when i was six, and started listening to Jarrett when i was 10 or 12... Yujas level of playing baffels me 😊 I also love her bravery wearing super-sexy outfits and still coming across as a highly sophisticated and loveable young woman❤❤❤ /Daniel in Sweden
I hold Richter as my favourte.But now I finally found a second favourite:listen to her Scriabine sonata n°2...and Chopin Waltz OP 64(2) both live...I never thought I would finally discover these two works played so beautifully.And she is so pleasant to hear her talk.
Yuja per me è la migliore pianista del 🌍, ho visto che suona da bambina piccola, e anche allora le sue mani erano veloci come il battito d'ali di un colibrì o dolci come le ali di una🦋, un fenomeno da sempre, da tante emozioni, e suona perfettamente, veramente la migliore, fantastica 🌺🌺🌺🍀
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 .... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”
@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
No apologies necessary Yuja. Give all the slack you want to that little child inside the lovely woman who can tinkle the ivory way into the listeners' hearts like not many can. 💋
Small child ?! You are deeply mistaken! She is a calculating business woman who has set one goal - to make millions. To do this, she is ready to bare her body in order to gain popularity with an uneducated public. She is ready, for the sake of fame and money, to vulgarize the works of the greatest composers, to turn them into entertainment for a bored crowd. This is a shame for classical music and the great Chinese nation!
@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 .... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”
I hope she was able to recover from that terrible incident back in February. This is why I absolutely despise airports and we'll avoid them whenever possible. But how she was able to recover from that nightmare. After being questioned for nearly an hour almost missing her recital. I can understand why she was so upset. I probably would have turned around, left and told Canada to go f*** themselves!! Excuse my French but seriously there was no excuse for that treatment. Canadian Airport TSA or whoever it was that was involved in that owes her a huge apology. Talk about bad communication there as WTF. Hopefully she can put that behind her. It is my goal in life to see at least one of her recitals before the world ends. Which I might want to get moving because that might be sooner than later lol. :)
slippedisc.com/2020/02/fury-as-yuja-in-dark-glasses-blanks-her-audience/ Fury as Yuja, in dark glasses, blanks her audience By norman lebrecht on February 23, 2020 The attention-seeking pianist came on stage in sunglasses at her Vancouver recital on Friday night and refused to acknowledge the audience. They grew increasingly resentful. Here’s a vivid post from the conductor Tania Miller: Last night I attended a Vancouver Recital Society concert with Yuja Wang performing. I was looking forward to hearing her perform. When she walked out on stage with sunglasses and a direct approach to the piano, quick bow and immediate performance with no acknowledgement of the audience, I thought it was quirky. Some of the audience tittered at the thought that this was some sort of cool new dress code. But with each subsequent work that she performed, she stood up, bowed quickly without a smile, and when she left the stage she walked with clear body language that shut the audience out. When the audience continued to clap to bring her back out on stage, she refused. The effect was shocking. As each subsequent work was performed and this pattern continued, it became clear that she was shutting the door on her audience. I heard later that she had trouble with the Canadian border getting into Canada. She was obviously angry. But Yuja Wang, you must not forget that the music is the most important treasure. And that some are bestowed with the ability to share it and it is an honour and a blessing to do so. Your innocent audience, some donning masks to protect themselves from the potential Coronavirus, came to be in your presence for this sold-out concert, and to hear the music and extraordinary talent that you had to share. Instead they experienced the rejection of an artist withholding the permission to share in the feeling, transcendence and the shared emotion of the beauty, joy, and humanity of music. UPDATE: Yuja: I was humiliated UPDATE2 Conductor apologises for dissing Yuja
@@mariodisarli1022 Such "Stars" live in scandals, they become famous thanks to scandals. If Ms. Yuja Wang did not go on stage in absolutely scandalous clothes, no one would need her. Her "pianism" is a Chinese-American acrobatics of a pianistic keyboard with elements of a half-naked body, musical depth is often lacking. All music critics of serious newspapers speak about this.
@Frank Lord Trudeau Junior failed his old man, to have jeopardized the historical bonding of these two biggest nations/peoples since WW2, forged by Dr. Norman Bethume, who was canonized by Chairman Mao in his eulogy of this Internationale Comrade/Martyr. Salute to Frank Lord's chivalry.
@@georgescancan7503 typical socialist Canadian type response .do as i want not as you want ..total control of everyone and everything ..no respect ..go to Canada .if you are not a socialist .expect to be treated like a dog ..here is proof ..plus total racism ..
Sutor, ne ultra crepidam From Wikipedia, the free encyclopedia Vasari's home in Florence, Apelles Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise. Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying. The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review: 1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.) A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]
@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...
@@bloodgrss Hi Yuja! New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
58 years ago a teacher at Leeds GS, Joe Lee, asked me when I was going to grow up. Apparently I replied "tomorrow, Sir". But it didn't happen the next day - it may happen tomorrow! As for Yuja, body, mind or soul? Well, I lover her face, legs and the rest; her mind is top intellectual level expressing things which normal mortals cannot even conceptualise. But, her soul? What a most wondrous thing this is - I played her Rachmaninov after Khatia B and, allthough I hate comparisons, I was sent into wonderland!!!
Yuga Wang is a really Sharp Cookie. Yes, she is unquestionably extremely talented, but she has carefully created her public persona and her Stage Act to make herself very wealthy. She knows exactly what she is doing.
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon. ruclips.net/video/jUl0ON_fx8Y/видео.html
@@bloodgrss Clown??? The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times By Joshua Barone Feb. 12, 2019 In all seriousness: What can’t Yuja Wang do? This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week. But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski. But there was - more. She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
The camera shows the woman making coffee. It could just show her doing that--but oh, no: first it shows the coffee; then it moves the camera up to her head and cuts off the coffee. Gosh, that's skillful camera work--why should you hold the camera still, and letter the viewer look at the woman?
In an interview with the Neue Zürcher Zeitung (22.6.2019) YW held out the prospect of stopping travelling and performing altogether, maybe having a baby. Having a baby is a nice idea. It would give the Chinese woman a sense of purpose in life. Pregnancy would be a fashion inspiration for the fashionista
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
![Yuja Wang: Philip Glass Piano Etude No. 6 [HD]](http://i.ytimg.com/vi/rWMQMd2VKEk/mqdefault.jpg)
Rolex - fave.co/2UWXhdn
See Yuja Wang live, get your tickets on StubHub - fave.co/2UxuqvM
I love her style and confidence. her dresses remind me of the beautiful costumes figure skaters wear.
Or hookers too
She s fierce :) explosion of energy, crispness, genuine talent
@bloodgrss "Heights and Achievements"???!!!
The New Yorker
By Janet Malcolm
August 29, 2016
... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience?
During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed.
As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
@@georgescancan7503 what a stupid review. Even by NYT standards. A disgrace.
Wow not only is she a spectacular pianist she is also so bright and charismatic and eloquent, and grounded. Wholly a genius of our time.
@@martinkulik9466 super cringe
@@stevenmeyer9674 and what makes you say that little one?
@@Richard-wh9wm I thought it was cringy because of it being overly complimentary to the point of fawning. I will give the commenter credit for not sexualizing her like most of the other male commenters do.
@ noted
I watch Yuja constantly on RUclips,I absolutely adore Her 💘
It's her volume of work that amazes me. Putting these long pieces together in your being at a level of performance is no easy accomplishment. The patience and commitment required are simply astonishing. Yet for her just another stint at the office. Can't wait to meet her someday. Hopefully this COVID nightmare isn't going to ruin all our livelihood and freedom for too much longer.
What a joy is Yuja Wang! Not only a phenomenally gifted and skilled artist, but a personality that is so open and expressive, just like her music. A delightful interview!
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’
By norman lebrecht
on June 23, 2019
The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag:
‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’
‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’
Read on here.
The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@bloodgrss Hi Yuja!
The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.
@@mariodisarli1022
bloodgrss
18 hours ago
@Mario DiSarli IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss
ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
The whole orchestra, the conductor, is amazing too. And the young man turning the pages.
She is absolutely amazing. Definitely my favorite modern pianist.
I just binged a bunch of videos of Yuja playing and WOW. Its so fun watching her. What an amazing musician.
What a marvelous person, and one-of-a-kind musician!
Bravissimo Yuja! 👏🏼👏🏼👏🏼
Bravissima.
It's amazing how she feels the music, plays with her whole body, a volcano of energy.
@bloodgrss "Heights and Achievements"???!!!
The New Yorker
By Janet Malcolm
August 29, 2016
... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience?
During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed.
As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
Love her playing, really nice to hear her talk about music
I started taking piano lessons when I was 11 and she is so right. I was self taught before then and all the pieces I learned before I left for college stayed with me. After 5 years of not playing because life got in the way, I got back into it and I can still play hear every note, rhythm, and still feel that sensation of joy. Now I learn new pieces but they don't feel as special as those pieces.
Yuja for me since the beginning is a perfect artist. She resembles the epitome of highest level of artistry that she knows what she wants and she sticks to what she believe she can hit and can hit it right! Hope to meet her one day
Maybe you could find out what street corner she is working in Vegas, bring $100 and have a good time
@@charlesdaues9439 wow that is very disrespectful mate
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’
By norman lebrecht
on June 23, 2019
The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag:
‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’
‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’
Read on here.
The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@charlesdaues9439 If you want cheap fun pal-you obviously are knowledgeable of such low class things; thank heaven you know nothing of music to be taken seriously here troll...
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
She is a treasure, a genius, a woman, a girl. We are fortunate to have her on this planet with us, especially these days.
@@georgescancan7503 I disagree Yuja Wang's interpretation of Prokofiev are the best ever. She has an ability to abstract herself from the music and imply her interpretation without it interfering with the composers intentions; in works of composers post-19C, that's a very favorable and rare ability. Also about her attire, there exists a need today to conserve previous traditions for some reason even though composers have been trying to break that since 1945. All Yuja Wang is doing by changing her attire is trying to change perception of musicians as old posh and conservative and attract newer generations of music lovers; in this day and age what she wears isn't even remotely provocative and the minute number of people that are shocked also hate all todays fashion. The fact that she is internationally renowned and noneuropean while the majority of other european soloists are unknown is indicative of how fresh her musical perspectives are and without which the western classical traditions would've died out 5 years ago from lack of younger interest. She studied under gary graffman, one of the leading classical pianist and who studied for a long time under horowitz which makes her a greater arbiter of western tradition than the majority of renowned european pianists. The rest of what u said is stupid and doesnt really warrant a response. understand overcome change
@ Butros Nayan Dear Butros Nayan, the naked body at the piano keyboard is not a masterpiece of modern pianistic art, it is an ordinary strip club. Gary Graffman is a specialist in preparing Chinese piano acrobats for the American market. Yes, Gary may have turned the pages of the musical text for Vladimir Horowitz and brought him a cup of coffee, but this is not a reason to call him a world magnitude. By the way, Vladimir Horowitz was a European and became a great pianist in Europe, not in America, if you want to know.
for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack
of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!
@@georgescancan7503 You're a prime example of a critic as defined by Brendan Behan. "Critics are like eunuchs in a harem, they know how to do it but can't!"
@@ukoze Sutor, ne ultra crepidam
From Wikipedia, the free encyclopedia
Vasari's home in Florence, Apelles
Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise.
Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying.
The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review:
1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.)
A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]
@@georgescancan7503 Thank you for that very erudite reply. I hope you take it to heart!
What a stunner! You show it off, girl; you only live once. She has truly magical powers and she can literally live like a queen. One of the few global superstars who I genuinely applaud and celebrate.
"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong
@@mariodisarli1022 "When the seagulls follow the trawler, it's because they think sardines will be thrown into the sea." Eric Cantona.
@@keyboarddancers7751 "Two things are infinite: the universe and human stupidity; and I'm not sure about the universe." Albert Einstein
@@mariodisarli1022 Our Fascist friend-ban coming...
@@bloodgrss
ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
she's amazing talent .nice interview hearing about her life .She sounds humble and real. Saw her years ago already!? NYC
@bloodgrss "Heights and Achievements"???!!!
The New Yorker
By Janet Malcolm
August 29, 2016
... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience?
During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed.
As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
I was lucky to hear her play Prokofiev live in 2015 , stunning , Yuja , you are the best in so many ways 👏👏👏👏👏👏
I love the way the camera shows the mustician with her hands cut off, and then it shows her hands with her body cut off. It's wonderful to see a musician cut into pieces by the camera.
About Ms. Wang there is little to no pretense. Her genius therefore is, like her playing, accessible and genuinely human. Hamlet asked what are we who are caught twixt heaven and earth are to do. Ms. Wang has found the reply: create, innovate and excel! We are blessed to share her earth with her and in her playing whether simply kidding around or in the depths of Prokofiev, we find an intimate encounter and we are invariably the better for it.
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.
@@mariodisarli1022 I agree her sartorial choices are indeed provocative and yet they are quite alluring. Having made that concession, might you not join me by agreeing they are also quite tasteful and suit her youth? Remember, for many in her generation classical music is for old fuddy-duddies. From that perspective --and I am convinced these choices are certainly of an informed volition-- what she does is make classical music both fun and endlessly engaging. She makes the music accessible and contemporary. With this regard, I find her choices both savvy and wise. I am afraid, my friend, we part ways when it comes to viewing her playing as anything other than suiting style with substance. I invite you to listen more and see if her Siren song doesn't draw you further into the music and into her aura. Her gifts are profoundly sentimental without being trapped in sentimentality. I am always left wanting to hear more and yes, I confess, always wanting to watch more as her beauty gives the music an immediacy that has always been the purview of gifted soloists. With this regard, she updates the music and makes it strains of today, with the promise of an audience among the younger set. Hers then is a service to classical music and ensures that you and I will have something to listen to for many years to come.
@@erikbrodnax7050 It's about CLASSIC MUSIC! These two words "classical music" contain the greatest meaning, work and achievements of European civilization. This is a diamond that will always be valuable and will never disappear! This diamond does not need to be popularized, it is not jewelry for everyday consumption. All kinds of "entertainment music" (pop, rock, etc.) will disappear, transform, but classical music and works of the greatest composers of our planet will exist forever!
@@mariodisarli1022 to expect all people to conform to one singular idea and to compress a person based on her/his outward appearance is quite ignorant, disappointing, and shallow. If all paintings were impressionist, if all buildings were brutalist, if all streets were concrete, if all trees were oak, would you like the monotony and predictability of that? Yuja breathes fresh air, contrast, and youth into an otherwise age old craft and pleasure.
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
This gal is such a phenomenal talent. I saw and met her backstage at a concert right out of Curtis in 2008 and she blew me away with her facility and her ability to communicate music to the audience. She just keeps getting better too. There is a RUclips video of her performing Debussy Arabesque and Chopin Fantasy Impromptu at age 11 and she played them better at that age than I do today after a lifetime. I just shake my head. :) I've heard all the greats and she's right up there.
I love this girl, she's my favorite pianist!!!
🥰 4 You 🌹
“ walking into a postcard atmosphere…“ Really like that imagery
Yuja has the talent to be a child and reckless;) She is a very confident person and good for her! If people who don't know her she would seem arrogant but once you her her play she can be a Princess all she likes. Also I love that she is not politically correct and says what she thinks by telling the truth about what she likes. It can be detrimental to her but for the listener her views are important!
I agree - all the pieces I learned before 18 are so precious to me - in my DNA.
i adore this woman. not many big musicians open up themselves to the social media. ❤️
@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...
@@bloodgrss Hi Yuja!
Who is Yuja? Product PR and show industry! Absolutely ordinary pianist, pulled onto the stage by mafia structures for the sexual entertainment of snotty youths and old libertines! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We must finally say: enough !!!
The Classical Review
Wang’s powerful virtuosity stronger on flash than depth in Boston recital
May 13, 2018
By Aaron Keebaugh
Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres
...
There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping.
...
Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style.
Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored.
Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music.
...
The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
@@bloodgrss Separate two things: a brothel and a concert hall!
GREAT TALENT +GREAT PERSONALITY and Beauty
So interesting to hear her on piano's and her choices. There is another lovely young pianist, Tiffany Poon, who blogs very entertainingly on the tubes on this. Good grief-they both live in NYC and are creating beautiful music in our time-what a four-handed concert that would be!
Hi Yuja!
Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
@@bloodgrss Separate two things: a brothel and a concert hall!
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
I just love Yuja Brilliant and Beautiful ❤️
"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss Hi Yuja! GERMANY BERLIN - Cultural radio from the rbb (Berlin - Brandenburg)
Philharmonie Berlin - Yuja Wang piano recital
Rating: * - - - - (one star of five)
Works bei Johannes Brahms: Ballads, Op. 10, No. 1 and 2; Robert
Schumann: Kreisleriana, op. 16; Ludwig van Beethoven: Piano sonata No.
29 B flat major, op. 106 - "Hammerklavier-Sonate"
With Yuja Wang
.....
"Apart from the ecores, this evening was an absolute misunderstanding
and, unfortunately, one of the worst piano evenings ever."
Andreas Göbel, cultural radio
14.06.2016
@@mariodisarli1022
bloodgrss
18 hours ago
@Mario DiSarli IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss
ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
YUJA WANG es totalmente GENIAL!!!
cool and talented girl
An incredible talent.
She "doesn't want to be always mature or grown up". " 'Likes to be creative and reckless at times as a child". Yet, her playing reflects both the seasoned expression and temperament of a mature, sophisticated and controlled artist, with the limitless energy and abandon explosiveness of a wild child. She truly is a combination of many great attributes. 'Hope she decides to retain these qualities.
" 'Hope she decides to retain these qualities. " ???!!! ruclips.net/video/5s8ykU0mVNQ/видео.html
Yuja is such an unexpected personality in the classical world 😮 As she explains on this video she loves beeing childish and even reckless 😅 And how lovely, and brave, to make a statement like this ❤ I'm a pianist myself, i listened to Oscar Peterson when i was six, and started listening to Jarrett when i was 10 or 12... Yujas level of playing baffels me 😊 I also love her bravery wearing super-sexy outfits and still coming across as a highly sophisticated and loveable young woman❤❤❤ /Daniel in Sweden
I hold Richter as my favourte.But now I finally found a second favourite:listen to her Scriabine sonata n°2...and Chopin Waltz OP 64(2) both live...I never thought I would finally discover these two works played so beautifully.And she is so pleasant to hear her talk.
The other two pianos must have been relieved.
I’m still chuckling…but seriously she’s the one that woke me up and I’m out of my 71 year old stupor…what a performer!
I heard Yuja had said "Sorry,baby" to the other two pianos.
Good one! 😂
Yuja per me è la migliore pianista del 🌍, ho visto che suona da bambina piccola, e anche allora le sue mani erano veloci come il battito d'ali di un colibrì o dolci come le ali di una🦋, un fenomeno da sempre, da tante emozioni, e suona perfettamente, veramente la migliore, fantastica 🌺🌺🌺🍀
She is the best, actually... And a beautiful girl.
Yes she is both :)
Yes,Mr.! ruclips.net/video/5s8ykU0mVNQ/видео.html
"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’
By norman lebrecht
on June 23, 2019
The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag:
‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’
‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’
Read on here.
The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
In the summer of 2021, the Lucerne Festival will be under the motto "Crazy". I think YW fits very well with this topic.
Thanl God for Your artists that gives us soo much good feelings and thinking and joy. Loves You
@bloodgrss "Heights and Achievements"???!!!
The New Yorker
By Janet Malcolm
August 29, 2016
... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience?
During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed.
As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
What a talent!
🤩 did they said It was Bartok's 🎹 he used. It sounds amazing the attack and dynamic with her playing!! ❤️ I love u 😍 Yuja Wang! 😘 great 😊 pianist!
Love her!
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016
.... However, the right environment can give a
performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says.
“There’s always the smell of popcorn.”
@@mariodisarli1022
bloodgrss
18 hours ago
@Mario DiSarli IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss
ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
Very interesting artist
She always has got something to say. 10 years ago not so but now I also love her playing. Loads of personality, developed well.
Lucerne is the perfect place for Yuja
I ♥️Yuja!
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’
By norman lebrecht
on June 23, 2019
The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag:
‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’
‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’
Read on here.
The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
What an amazing video
You went into tears during one concert Rachmaninov got to you ......what can you comment?
No apologies necessary Yuja.
Give all the slack you want to that little child inside the lovely woman who can tinkle the ivory way into the listeners' hearts like not many can. 💋
Small child ?! You are deeply mistaken! She is a calculating business woman who has set one goal - to make millions. To do this, she is ready to bare her body in order to gain popularity with an uneducated public. She is ready, for the sake of fame and money, to vulgarize the works of the greatest composers, to turn them into entertainment for a bored crowd. This is a shame for classical music and the great Chinese nation!
@@mariodisarli1022 IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016
.... However, the right environment can give a
performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says.
“There’s always the smell of popcorn.”
So easy to love...her music..
When she use the car analogy I got it😂😂🇺🇸
Yuja is amazing... and ... can you imagine a duet Yuja wang and gary brooker? Unfortunately is not possible, but it would be amazing.
Just talent 💯
Half-naked talent.
This Is It Prokofiev Brilliant !
2:27 was that David Beckham? 😂
It was 😂
@@tedpiano Seems she likes him 😉
just amazing
Let’s all have a big MusikHug!
I hope she was able to recover from that terrible incident back in February. This is why I absolutely despise airports and we'll avoid them whenever possible. But how she was able to recover from that nightmare.
After being questioned for nearly an hour almost missing her recital. I can understand why she was so upset.
I probably would have turned around, left and told Canada to go f*** themselves!! Excuse my French but seriously there was no excuse for that treatment.
Canadian Airport TSA or whoever it was that was involved in that owes her a huge apology. Talk about bad communication there as WTF.
Hopefully she can put that behind her. It is my goal in life to see at least one of her recitals before the world ends. Which I might want to get moving because that might be sooner than later lol. :)
slippedisc.com/2020/02/fury-as-yuja-in-dark-glasses-blanks-her-audience/
Fury as Yuja, in dark glasses, blanks her audience
By norman lebrecht
on February 23, 2020
The attention-seeking pianist came on stage in sunglasses at her Vancouver recital on Friday night and refused to acknowledge the audience.
They grew increasingly resentful.
Here’s a vivid post from the conductor Tania Miller:
Last night I attended a Vancouver Recital Society concert with Yuja Wang performing. I was looking forward to hearing her perform. When she walked out on stage with sunglasses and a direct approach to the piano, quick bow and immediate performance with no acknowledgement of the audience, I thought it was quirky. Some of the audience tittered at the thought that this was some sort of cool new dress code.
But with each subsequent work that she performed, she stood up, bowed quickly without a smile, and when she left the stage she walked with clear body language that shut the audience out. When the audience continued to clap to bring her back out on stage, she refused. The effect was shocking. As each subsequent work was performed and this pattern continued, it became clear that she was shutting the door on her audience.
I heard later that she had trouble with the Canadian border getting into Canada. She was obviously angry. But Yuja Wang, you must not forget that the music is the most important treasure. And that some are bestowed with the ability to share it and it is an honour and a blessing to do so. Your innocent audience, some donning masks to protect themselves from the potential Coronavirus, came to be in your presence for this sold-out concert, and to hear the music and extraordinary talent that you had to share.
Instead they experienced the rejection of an artist withholding the permission to share in the feeling, transcendence and the shared emotion of the beauty, joy, and humanity of music.
UPDATE: Yuja: I was humiliated
UPDATE2 Conductor apologises for dissing Yuja
@@mariodisarli1022 Such "Stars" live in scandals, they become famous thanks to scandals. If Ms. Yuja Wang did not go on stage in absolutely scandalous clothes, no one would need her. Her "pianism" is a Chinese-American acrobatics of a pianistic keyboard with elements of a half-naked body, musical depth is often lacking. All music critics of serious newspapers speak about this.
@Frank Lord Trudeau Junior failed his old man, to have jeopardized the historical bonding of these two biggest nations/peoples since WW2, forged by Dr. Norman Bethume, who was canonized by Chairman Mao in his eulogy of this Internationale Comrade/Martyr. Salute to Frank Lord's chivalry.
@@georgescancan7503 typical socialist Canadian type response .do as i want not as you want ..total control of everyone and everything ..no respect ..go to Canada .if you are not a socialist .expect to be treated like a dog ..here is proof ..plus total racism ..
F*, I didn't know this. F* Canada for this.
Brilliant. Beautiful. Stellar.
Sutor, ne ultra crepidam
From Wikipedia, the free encyclopedia
Vasari's home in Florence, Apelles
Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise.
Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying.
The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review:
1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.)
A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]
@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...
@@bloodgrss Hi Yuja! New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack
of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!
@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉
@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!
"That's cool!" said in the most German way ever xD
"Fun, discovery: I like to keep that mentality."
Gorgeous
58 years ago a teacher at Leeds GS, Joe Lee, asked me when I was going to grow up. Apparently I replied "tomorrow, Sir". But it didn't happen the next day - it may happen tomorrow! As for Yuja, body, mind or soul? Well, I lover her face, legs and the rest; her mind is top intellectual level expressing things which normal mortals cannot even conceptualise. But, her soul? What a most wondrous thing this is - I played her Rachmaninov after Khatia B and, allthough I hate comparisons, I was sent into wonderland!!!
She giggles like Betty Rubble at 1:44.
What a lady !
She is definitely the gift of the century.❤❤❤
If I have a daughter like her I don't have to worry !
If you had a daughter like her, you'd be Elrond Halfelven!
I really admire her skill as a pianist, but boy she is freaking HOT!!! And I'm a straight woman.
Gay men agree completely 😍🥵
Yuga Wang is a really Sharp Cookie. Yes, she is unquestionably extremely talented, but she has carefully created her public persona and her Stage Act to make herself very wealthy. She knows exactly what she is doing.
@@adamfstewart81 ... as do Dirty Old Men wearing raincoats, regardless of the weather.
I like this word Edgy.
Yuja Wang: I like fast cars and more powerful piano.
what is she playing around 5:40? sounds very Gershwin to me but i'm not sure. Could anyone give a clue?
N. Kapustin Etude Op. 40 No. 3 Toccatina
@@kruloon9381 Thank you! and just learned that Nicolai Kapustin passed away a few months ago... what a loss..
Martha Argerich's successor. Confident and great playing.
delightful
Good heavens......
Her look reminds me of a younger Karen Mok... The hair and outrageous outfit and the fashion
The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon. ruclips.net/video/jUl0ON_fx8Y/видео.html
@@mariodisarli1022 My Fascist friend-ban coming...
@@bloodgrss Clown???
The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be
The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times
By Joshua Barone
Feb. 12, 2019
In all seriousness: What can’t Yuja Wang do?
This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week.
But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski.
But there was - more.
She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
@@mariodisarli1022
bloodgrss
18 hours ago
@Mario DiSarli IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
@@bloodgrss
ruclips.net/video/lMUMd1ZEOHc/видео.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!
what is the piece she's playing at 5:40 ?
What is the song at 6:28
Found it lol. Prokofiev piano sonata no. 6
Ein Kaffee bitte!
I can see why they interview her. She is not a brick. She's a brick house.
🥰❤❤❤❤❤❤❤
i always wonder what she is saying or singing to herself while shredding the ivory
Talented beautiful woman
@bloodgrss "Heights and Achievements"???!!!
The New Yorker
By Janet Malcolm
August 29, 2016
... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience?
During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed.
As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...
Ни слова не понял, но было интересно.
She's Argerich 2.0
The camera shows the woman making coffee. It could just show her doing that--but oh, no: first it shows the coffee; then it moves the camera up to her head and cuts off the coffee. Gosh, that's skillful camera work--why should you hold the camera still, and letter the viewer look at the woman?
7:27 captions: so the loser festival..
lol
That's what I heard tho
I'll bet she can text really fast!
Klaus the conductor left her! Well klaus, we got to have a long hard talk.
4:53 - So fast... 😲
Does she always wear that outfit when trying out pianos.....? ; p
When it hit 3:46 I had to double check that it was her. That was the end of watching this video. The definition of 21st century.
I've never been so attracted to a woman as I am to Yuja Wang.
❤❤😢😅
She's a fan of Kapustin, Ligeti and skin-tight outfits. Maybe now is the time to move on from that almost purely pre-1950 canon.
Молотобоец, спортсмен а не музыкант.
Hmmm, so we missed your other troll such that you needed to post another? What a sad fool you are-This is troll, not intelligent musical acumen...
In an interview with the Neue Zürcher Zeitung (22.6.2019)
YW held out the prospect of stopping travelling and performing altogether,
maybe having a baby. Having a baby is a nice idea. It would give the Chinese
woman a sense of purpose in life. Pregnancy would be a fashion inspiration for
the fashionista
it's time to get dressed😅
i am very worried about some of her dressed falling down during play.
slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’
By norman lebrecht
on June 23, 2019
The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag:
‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’
‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’
Read on here.
The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’
@@mariodisarli1022IN DEFENCE OF YUJA WANG
By Norman Lebrecht
On June 24, 2019
Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses.
The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is.
Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail.
You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least.
Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists.
I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you.
Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.
That would be nice.!
There is no classical music here. There is a mechanical version. This is sport, not music.
Hmmm, so we missed your other troll such that you needed to post another? What a sad fool you are-This is troll, not intelligent musical acumen...