Chopin Cello Sonata op 65 Yuja Wang piano, Gautier Capuçon cello
ฝัง
- เผยแพร่เมื่อ 19 พ.ย. 2021
- I. Allegro moderato
II. Scherzo
III. Largo
IV. Finale. Allegro
January 20, 2020 Philharmonie de Paris
The Cello Sonata in G minor, Op. 65, was written by Frédéric Chopin in 1846. It is one of only nine works of Chopin published during his lifetime that were written for instruments other than piano (although the piano still appears in every work he wrote). The last three movements were first publicly performed by Franchomme and Chopin at the composer's last public concert, at the Salle Pleyel on 16 February 1848. Work on the G minor Sonata took up the autumn days of 1846 at Nohant. It was work filled with doubts and hesitation, difficult decisions and arduous labours. Those labours are attested by almost two hundred pages of sketches for this work, not counting the thirty-page manuscript. It was not until the summer of 1847 that Chopin considered work on the G minor Sonata to be completed. - เพลง
Several awkward parts for the piano that don’t fall into the hands. Yuja makes it look ridiculously easy. Really enjoy this duo.
00:00. : I. Allegro moderato
15:15 : II. Scherzo
19:45 : III.Largo
23:34 : IV. Finale. Allegro
Yuja sets up the introduction masterfully! I believe Chopin would have been thrilled to hear it played like this.
멋진 연주 감사합니다
Bonsoir. Merci. Quel talent. Interprétation magistrale et majestueuse.
🌿✨🌄
Com a leveza, dinâmica e tempo que essa sonata pede! 🎉
exquisite
bravo!
Perfect-wonderful Yuja -This sonata reminds me of Rachmaninov op 19 also in g minor and with similar temperament.
I just had that cross my mind as well
Rachmaninov's cello sonata was clearly influenced by Chopin's.
@@inraid Oh yes I would think so too.
Beautiful clear sound from both 👍👏🏼👏🏼👏🏼🎼🫶🏼🎶
Belíssima Sonata com destaque para o Largo!
Brilhante Duo!⭐️⭐️⭐️⭐️⭐️
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.
Too much COUGHING from the audience!!! Can't those people just stay at home?
need to bring the hypodermic with you :-)
Best cellist in the world...
now don‘t get ahead of yourself
The cellist is pressing down too hard. His voice isn't nuanced and the bow grit is very audible. Beautifully played otherwise, though.
Maybe he was just tense because of how hot the Pianist is
@@WudanTzeze HAHAHA trueee
Try to listen Mischa Maïsky.