Yuja Wang - Rachmaninov: Prelude in B-Minor, Op.32 No.10 (Live at Philharmonie, Berlin / 2018)
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- Опубликовано: 31 мар 2019
- Yuja Wang - Rachmaninov: Prelude in B-Minor, Op.32 No.10 (Live at Philharmonie, Berlin / 2018)
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Yuja Wang’s philosophy of music is both simple and profoundly complex. “I want to relate all life to music,” she recently told veteran British critic Fiona Maddocks. The Beijing-born pianist’s latest album for Deutsche Grammophon captures the white heat of solo works by Rachmaninov, Prokofiev, Scriabin and Ligeti, a trio of Russians together with one of the late 20th-century’s greatest composers. The Berlin Recital was recorded live this summer at the Berlin Philharmonie’s Kammermusiksaal during Yuja’s extensive solo tour of North America and Europe.
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Видеоклипы
Thank you.
Thank YOU!
10/10
You have played it beautifully...
This performance brought tears to my eyes. You carried my soul from the first note to the last.❤
your skills are perfect
No thank you for this pretty much perfect interpretation!
BRING ME THE REAL SAD MUSIC
lingling wannabe
which video?
@@TheAskald RIP pinky
i just saw the video and searched for the piece
True! My friend who played it describes it as Sounding like “waves of grief”.
14 years of listening to Rachmaninoff recordings on RUclips led to this being recommended on my homepage (since everyone is sharing the how they came to be here...)
Lost count of how many time I have watched this and other pianists and without any bias Yuja reigns supreme, this lady is in Rachmaninoff's head.
When will people realise that, at this level of playing, simply because 'they' dont like an interpretation does not mean its bad. Nothing could be more pretentious - more immature. This is how SHE interprets the piece. Its HER feeling for it. if you don't like it, then fair enough but it does not mean its bad. I've read people's bad-negative opinions on here on some of the greatest pianists the world has known. How many of those people can manage a Czerny scale.
I know - there are some interpretations that just frankly don't do it for me AT ALL - but calling them "bad" is obnoxious - as if MY preferences determine what is "good" or "bad". Best to say, if you're going to say anything at all. "It wasn't my taste."
Well said!
good point , I certainly dont think its bad - even though i dont like her interpretation ,
You are absolutely right.
You don't have to be a chef to know that food tastes like crap. Although I agree with every statement preceding your last.
So far I had listened to Yuja Wang engaged in pyrotechnic and spectacular musical stunts, but here she appears able to play in a more profound and expressive way. A welcome surprise
My favorite Rachmaninoff prelude. 2:33 will forever be my favorite part.
glad it's your fav! I played this in church when I was in high school! Fond memories.
Yuja plays this piece wonderfully, no surprise there. Her performance is full of emotion and beauty and a wonderful sense of "peace".
Soulful playing. Excellent style.
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.
Wow! ruclips.net/video/jUl0ON_fx8Y/видео.html
One of the best pianist of this decade, her ability to interprate so many composeres is legendary.
Thanks DG most appreciated
To say that Yuja Wang "plays" the piano is an understatement. She COMMANDS it, and it carries out her will.
I like Yuja too, but this is so cringe
I feel like Yuja Wang just transported me to another world! I have no words to say how beautifully this performance touched me.
What a brilliant way to celebrate the birthday of Rachmaninov! Thank you for publishing this piece with #neverseenbefore quality!
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.
This prelude is surely one of Rachmaninov's greatest inspirations. Yuga Wang gives a fine contemporary account of this great prelude.
I think this is the best prelude of all Rach's 24.
I like more C sharp minor
It was his favourite of them as well
@@lonewolfmusic4585 That's right.
It was one of his favourites. Longing for his home country. It's my favourite too, along with op.23 no.4 and 7... I used to play.
According to moiseiwitsch, the composer told him the b minor is his favorite
Yuja is one of the greatest performers on this Century, and she will be remembered as Long as music goes on!!!
I was secretly waiting for this one. Finally an iterpretation of yuja... wonderfull!!
The sheer beauty of the middle section alone is absolutely astounding!!!
Ling Ling shed a tear :'(
Hazel Peach Ling Line’s Real name is Yuja 😉
My favorite part about Yuja is that she doesn't overdo the facial expressions, yet still has the same emotional power as someone who might. You can tell she's emotionally invested in the performance, and that she puts it all out there. I love this prelude, it reminds me of the pandemic winter learning this while reading Crime and Punishment. It doesn't get more Russian than that ;).
@PianistKate🎹 in fact anyone should learn from HER bows!
I dont rhink There isnt such a thing that overdoing the facial expressions
I make the worst faces when I play. I can't help it unless I overdo other expressions
She is fantastic the way that she brings out the emotion of this piece. For me it is so sad, and yet at the same time truly brilliant.
This was so beautiful... thanks for sharing!
May God bless Rachmaninoff's soul.
I found you again! :D
This is an incredible performance. I just played this a few months ago, and I am blown away by her concept of it. Wow.
Heartmelting beautiful interpretation!
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.
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.
Hello little Marito jsjaja. Still trying??? Poor, Poor boy!
First time I heard this Prelude was in college. A graduate student was performing, I was just a freshman...it brought me to tears and still does. So powerful and moving. Filled with sadness and joy...
This is very nice, she portrayed the emotions very well ❤️
Beautiful, thank you so much!
Physicists say that mere observation changes the energy field around a particle. I wonder how a prodigy would play the piece differently if alone than being observed by an audience. I sense that being alone frees one, to be more authentic. What do the pianists says about this?
I,ve experienced a freedom sensation on stage too. The Power that a performance can give amplify The motivation of expression. So for me, being listened makes me feel the opportunity to communicate with other People what I feel.
She once said that music is born on stage, in interaction with the public's feeling. So what she plays for herself is for herself alone; she doesn't like studio recordings, she says that's killing the magic.
That's a very interesting point you make there. Can't speak as a musician as I'm only a newbie violinist but I do recall once filming while walking, a 'personal what's going on in my life' vid and actually voiced that, although my performance was solo it could potentially be also for an audience... even for my kidz after I pass on... so the whole tone/manner of speaking changed knowing this... thus making it less authentic...
That doesn't necessarily make it less authentic -- rather, it can serve to intensify a performer's focus.
Ganz grosse Klasse! Super Stimmführungen, Contemplation, Passion... Great performance!
Lovely touch & voicing. Love this short Masterpiece
Yuja is the best thing to happen in Music 😍
Ah, Rachmaninoff & Yuja?! 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.
After mah yes
This piece is mentioned in a conversation in Chapter 92 of James Ellroy's novel Perfidia. One speaker, a corrupt cop, mentions that the piece is a treatise on exile. I had no idea what to expect. It is beautiful and could make one remember that place you left which you will never see again.
It's the opposite. In a conversation with Benno Moiseiwitsch, Rach agreed with him that this prelude is about "return". Return from an exile maybe? But not about remembering a place you left which you will never see again. But everybody's free to think whathever he wants about it, Rachmaninoff only wrote it, nobody owns it.
@@TheAskald Interesting! Thanks for this information.
@@a.a.murphy4530 No problem. I also prefer your interpretation, though, I think it fits the piece much better
This is exquisite. What an amazing moment.
Haters be dammed!! When a performance can make me evaluate my life so profoundly. You know it's coming from a special place in my heart. 🎹😹💕
Two set
Omg, I'm here for them too 😂
Two set Crew, woooooo!
I gotchu
lmao
@@meek0076 haha
beyond perfection, otherworldly beautiful
3 years later if anything even more so!
Anyone else here from TwoSet Violin? So often they mention a piece which I then check out... What outstanding playing; the emotion wrung from every note.
Replying to my own comment! Checking below, I see many of you guys were in fact here some 12 months ago which was when the referenced vid was uploaded...
Sehr schön! Danke
THE NEW YORKER by Janet Malcolm " What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven! ..."
yuya wang is like breathe of nature infront of the piano..her hands sweep over the keys like a breath of the wind through the branches...
Per moiseiwitsch's account, Rachmaninoff said this was his favorite prelude
Two set anyone?
Yeees
yess
Here
yess
👍
La versión más limpia y clara ...oh Yuya
58 people became overwhelmed by emotion and hit the dislike button by mistake. or they prefer ashkenasy, which I understand
so beautiful and deep...
Marvelous !
I played it in 1991 need to polish again after a long time.
王小姐請記得來马來西亞表演🇲🇾👍🙏谢谢妳！
We are witnessing one of the greatest pianists and musical communicators of all time. The greatest virtuoso I have seen in my lifetime. But more than just a virtuoso, a deeply thoughtful poetic musician who understands all the complexities and nuances of every composer's inner most thoughts.
Wonderful! She brings out the tune and chord tension perfectly for me on the second page, and makes the fast jumps on page 3 seamlessly nothing - they are really difficult. Love her interpretation of this music, inspired by Boecklin's painting: en.wikipedia.org/wiki/The_Homecoming_(painting).
HER DYNAMIC IS SUPERB
Gracias por tu musica; es una oracion en el universo
I am here because I wanted to hear a rare instance of the Locrian Mode incorporated into classical music. What makes compositions like this difficult to play is that the pianist has to overcome the purposeful dissonance. Musicians are used to "nice notes" and the Locrian Mode is among the unfriendliest. Full marks for the performance. Bravo!
STRIKINGLY BEAUTIFUL!
I'm learning this piece and it always makes me sad. When I perform this I already know I'm gonna be crying 🙃😂
the /*real*/ sad music
The TwoSetters are here I see...
Man I have nothing against this beautiful presentation but just listen Richters.
Thank you for directing me to Richter’s performance. He does indeed nail this piece, especially the climax. We are so privileged to be able to compare the great performances on RUclips and comment on their nuances. Another great performance, maybe the greatest, is Lugansky’s. He uses the pedal to create a monumentality and emotional intensity that other pianists don’t quite reach.
I love Askhenazy's interpretation.
Richter’s interpretation is good but Ashkenazi is another level
Brilliant!
Oh Yuja......astonishing!!
Excellent
My son reckons she’s is the best. He played this for his half yearly exam he got 20/20 but he says she is the best and he says he loves watching her, think he has a crush. 😆
Cute xD
Well, if we have to have a crush, she's not a bad one to have!
she s not the best im afraid!
You play as was palying my teacher plays. Jautrite Putnina. Where the same feeling of russian orthodox church bells, late autumn, and no leafs on the trees, and loneliness.
Feels like you love someone, I mean the true love of your life, but it's meant not to be. That's the feeling of this sadly charming Prelude.
Bravo!
Berlin Recitals. Love it, not a bad sonata to be found.
真好！
In short, I'll refrain from a comment which attempts to rope in unsuspecting listeners ( who are in just awe of listening to the music and came to the comment section to confirm if everyone else is equally amazed at them or not), by posting a comment that compares the brilliance of this piece or the pianist with some real / unreal metaphor which at the end would only show my ability to come up with a grandeur comment and do no justice to this piece since in reality I'm just a mere mortal when comparing anything to immortals like Yuja or Rachmaninoff
SUPERB!!!!!!!!!
I love this prelude even more than his g minor prelude(wich is one of my favorites)
Brillant ❤
Profundo.
This IS Rachmaninov!
Only in french
Soo, real said music🎶
The real sad music from two set🤣
I'm here to hear it for myself too... Just posted a comment to say how Yuja wrings the emotion from every note...
She can't be human. A goddess, for sure! 😍
twoset brought me here
Pizza Sub me too
Pizza Sub Which vid?
WorstPianist R.i.p pinky (on lingling 40hrs)
Jim Barley thanks
Sameeee
The theme reminds me of Schubert's 'Moment Musicaux'.
This is perfection.
Hello fellow twosetters 😂
hi
Helloooo
What video?
❤️❤️❤️❤️
A very powerful performance. Lola Astanova also gave a memorable performance but I can no longer find it on RUclips. There was a special frisson, a manic hopelessness, after the climax between 3:05 and 3:30 that Lola nailed but I missed it in Yuja’s performance.
She is good, but I still prefer that Ashkenazy recording.
Would be even better if she made the 3rd note of the 4-note motif a little bit longer -- sounds rushed, or toppling forward. This may be considered as her way of interpretating this prelude, but one should always be faithful, to a large extent, to what the composer was creating. The mood, leading to the cadenza, was very good.
is there a recording on youtube of Rachmaninoff playing it? I never listened to recordings of the music when I learned piano music. hahaha
I don't believe there is a recording of Rachmaninoff playing the B minor prelode. But, I would recommend hearing Moiseiwitsch on RUclips, since I rate him as one of the top 10 of all romantic pianists.@@voidisyinyangvoidisyinyang885
Emoções deliciosas !
Eine, die den Mut hat, frei und persönlich zu spielen, auch wenn es mal angreifbar ist. Und mit männlich-architektonisch-strukturellen Ansätzen/Einflüssen (Gary Grafman....)
3:37
This piece makes me existentially paranoid. Reminds me how mysterious being alive is.
My dream is to learn this piece
really? I learned it as a teenager and I played it in church! Awesome fun.
1:37
If you can play it slowly, you can play it quickly.
wait a second 0.O
So the TwoSetters ARE here! Coming late to this one as I'm still trying to catch up on old vids! Some piece though. They were right.
What Steinway model is?
I’d like to know too
Yan Tung Chen it’s a Steinway Model D
Hamburg Steinway D
Wong how you doing bud
01:41
*"P e r f e c t i o n"*
Porque arpegia los acordes.?.??( algunos)
Es un recurso empleado bastante a menudo por pianistas cuyas manos no pueden abarcar determinados acordes.
Por otra parte, hay algún acorde que en la partitura tiene una indicación de arpegio, tal y como sucede en la mano izquierda en el minuto 2:25.
1:40
Personally I think it sounds better in C# minor
Lovely touch though
reco from two set not dissapointed
Мне кажется она торопится
Richter played this at Maria Yudina's funeral.
en.wikipedia.org/wiki/Maria_Yudina
Beautiful playing but sounds like she was too heavy on pedal. Listen to Berezhovsky...
Can anyone please explain to me why the playing of this pianist is superior? - because I just don't get!
I'm just looking for the one who suggested this to me