To page turners everywhere: sometime before the performance, beg your pianists to take a couple of minutes to go through the score and pencil in a big X under the beat where they would like the page to be turned. That way, they know when you will act and you won't forget what they decided. Then, YOU count the beats in every measure (silently w/o moving your lips of course), keeping your eyes on each measure, and quickly "flip" the page on the specified beat. (Obviously, be sure the music doesn't drop onto the keyboard and the page stays put.) This makes it so much easier not to get lost or make a late turn. The pianists will resist at first, but if you can convince them to do this, things will go very smoothly and they will be very pleased at the end of the performance.
Two of the greatest pianists together. Pure fun by playing this for both pianists easy pieces. And this fun made the audience really happy. The whole concert was a sensation! This is the message of music.
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.
Strip club & Andras Schiff!!! 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! ..."
Georges Cancan Georges Cancan What a load of stuffy garbage. She may not be my favourite pianist of all time, but I don’t see Schiff ever sitting down to play with her if she was as bad of a pianist as you seem to want her to be. Incredible to think that one could be so upset about another person’s choice of clothing as to write something like that; to suggest that she in some way wishes to provoke Beethoven through the grave with a dress is beyond lunacy. I assume she wears the dresses because she likes them, and that’s about the end of that.
When two great musicians are receiving such obvious enjoyment from playing with each other, their enjoyment is contagious. The Verbier Festival is where top classical musicians gather annually to enjoy themselves among equals.
timothybolshaw, 1 year ago they are not playing with each other, they are playing together !!! Why are you so brainwashed with class, equals, steroids, what utter BS, maybe you may call it caliber, same caliber, but not equals.
I've watched hundreds of videos of Yuja on TH-cam and seen her in live concert once, and I honestly would have never given her clothing choices a passing thought if people weren't constantly commenting on it. It's so odd to me that people fixate on that.
There is one response to such people: "Honi sois qui mal y pense" - "Shame on him who thinks ill of it" those with a damaged outlook on talent and beauty. Feel sorry for them.
She certainly is not as indifferent to her dressing choices as you are, while I find it odd too that you watched hundreds of videos; when music is truly for the ears, not the eyes. A few times would have sufficed.....
Wow - an equal combination of fun and talent to lift the spirit. And by joining Yuja, Andras provided the best retort to the stupid trashy comments of some below. I pay a regular visit to feel happy - and have a smile at the silly amongst us. 🎵😊😊
Strip club??? 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! ..."
@@georgescancan7503 ha ha thanks for this ...she can wear what she likes because she's acknowledged for her music to the point criticism on her looks won't touch her
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.
"What a babe..."?! 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! ..."
Andras Schiff?! By old age, brain activity decreases, and sexual activity increases. The result is this duet! May they be happy !!! Yuya Wang - a product of Chinese education. The goal of this education is the indispensable achievement of the highest results! High results bring a lot of money! This principle works always and everywhere! Yuya Vang is making money! Money for yourself and a huge gang of businessmen who use it as a money making machine! In addition to the piano keyboard, she did not see anything! She has no clue about European culture that gave rise to classical music! The result is a lot of money and questionable interpretations! Her experiments with clothes (on the verge of a strip club) serve that purpose - making money! Her audience ?! Her audience is looking forward to when Yuya will undress completely! It is very sad when the culture falls under the influence of businessmen whose main goal is MONEY !!!
I feel like why this reminds me Christmas time....I thought they play so well, that its good for Christmas entertainment........Now I know her dress is like Christmas decor......but very nice.
i remember when andras schiff, along with pogorelich, gavrilov, peter serkin and zimmerman were among the young lions of piano. yuja wang and andras schiff's manner of playing is so well matched. its austerity is certainly not without emotion.
Yuja es extraordinaria. Mas alla de la imagen, su performance es magnifica. Aunque ya es hora que le digan que no le va ese "look"..... Hmmm.... o quizas sea tenga en ella un "efecto Sansón", jaja.... who knows!. Bravo Yuja!!
Yes, they produce a beautiful sound together, and transparently are happy to be playing with someone else of their class. Solo performance can be lonely, and playing with inferior musicians unsatisfying.
Strip club pianist! 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! ..."
"For health reasons, she has recently been forced to reduce her performance workload." Dear Joe, Yuya Wang is moving along the path of the violinist Midori Goto??? "In September 1994, Midori suddenly cancelled her concerts and withdrew from public view. She was hospitalised and given an official diagnosis of anorexia for the first time.[5] In her twenties, Midori struggled with anorexia and depression, resulting in a number of hospital stays. She later wrote about these personal difficulties in her 2004 memoir Simply Midori, which has been published in German but not English. (It was updated and reissued in German-speaking countries in 2011.)[8][19] After recovering, she continued to perform and also studied psychology and gender studies at New York University. For a while, she considered psychology as an alternative career, with a focus on working with children.[5] " Wikipedia SLIPPED DISC By Norman Lebrecht on June 1, 2018 Message from the LA Phil: Pianist Yuja Wang‘s originally scheduled May 8, 2018 recital at Walt Disney Concert Hall, which was postponed because of illness, will not be rescheduled. Due to the artist’s busy schedule, a replacement date could not be identified. Regarding the cancellation, Wang has stated: I have been working hard to find a date in the next few months to play my postponed recitals in Vancouver, Portland, San Francisco, Los Angeles and Costa Mesa, but I’m sorry to tell my fans that it is simply impossible. I have been given strict instructions by my doctors that I’m trying very hard to follow to ensure that I remain healthy. I thank you all for your support and kindness and I look forward to performing for you again as soon as I am able. < Dear Joe Gallagher, Yuya Wang is moving along the path of the violinist Midori Goto???
I wish Verbier wouldn’t pair musicians this way, but it has always been doing this. They pair great pianists together for 4-hands, no matter whether their playing characters match or not. All they do is put two celebrities together so the names attract people. Yuja Wang is a very good pianist, and Maestro Schiff is unparalleled in every sense. Not saying that Yuja Wang is “not qualified” to play with Schiff, but their personality, playing style and tone colors are just too different…….
Jewish genius pianists are stunning. They are not only titans in piano world but can speak many languages. Rubinstein, Barenboim , Schiff, Kissincan speak about 5 to 7 languages
@@willdon.1279 Not a single implication about the quality of their playing, individually. They have totally opposite musical characters, and I do not like the outcome of their interaction.
Would you stop talking abt clothes please and listen to the music! Instead you could at least make compliments. I think Yuja is Beautyfull and sexy in that dress, if i was forced to make a comment. Sounds like woman in a gossip magazine in a coffe shop when you talk! xD Sry woman, some oldfashioned prejudices here:) The magic comes from Yuja in my opinion - though Schiff have made many other good recordings
Jo Stephenz Seems to me u belong in a gossip club of the wrong kind. Is Yuja a child? Using a word like that on people who comment on Yuja's dress is redicouliys. Not what I said. I don't blame people gossiping for other than moving away from the subject. Music. Typical boasters like you to hide ur picture:) U are mixing the issues here pal. Keep the tone clean here or step forward with picture and explain your self more clearly. Using the word pedo on other people here with no reason is low attitude of the worst kind
Strip club pianist & Schiff ?! Wow! 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! ..."
Andras Schiff?! By old age, brain activity decreases, and sexual activity increases. The result is this duet! May they be happy !!! Yuja Wang?! She is Amsterdam red light district , mediocre classical pianist, she and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads. :-)
Both of them are extraordinary artists. In this category they can allow themselves to not rehearse often. Playing four hand is the art of make it sound like one person with 2 hands. Especially the first dance was often not together and one can hear a lot of uncomfortable overlaps.
Jinho Chung I agree! There’s a lot of interesting textures going on in their playing and the parts feel more independent of each other. It certainly creates an interpretation more lively than others that focus on ‘being together’
Да, это не серьезная игра. Однако Yuja Wang одна и лучших сегодня. А как она одета меня не волнует. Послушайте 2-й Рахманинова с Тимеркановым или 3-й Прокофьева с Аббадо, Токката Прокофьева, соната 2 Скрябина и др Вот где Yuja
Yves Lemen This is the big secrete but I am 60 old: "не волнует". I am do not understand already what is a problem. BUT, she is really one of the bests (not here, in this record). My comment in russian was for some people writing "bad things" about her
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.
Strip club & Andras Schiff Wow!!! 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! ..."
Que haya tantos comentarios machistas me recuerda que en el mundo de la música clásica también hay gente basura. La mayoría de esos comentarios enviados por un impresentable, que se cree conocer la cultura europea y que Yuja no, pues se equivoca porque esta gran cultura no consiste en criticar a alguien o algo de que no sabe nada. Aprende a respetar, o a callar, que callado está usted menos machista y más humano.
Schiff ist grossartig, Yuya ist großartig, beide habe ich schon live gesehen (Schiff: Köln, Yuya: Essen). Aber irgendwie harmonieren sie hier nicht so gut, finde ich. Die Feinabstimmung fehlt. Man sehe z.B. Mozart 4-händig mit Argerich und Kissin hier auf youtube, denen gelingt das perfekt z.B.
Stimmt. Empfinde ich genau so. Aber sie harmonieren nicht nur nicht gut, auch die Interpretation lässt Wünsche offen. Hätte Wang oder Schiff die Tänze 2ms solo gespielt, wäre wahrscheinlich musikalisch Wertvolleres herausgekommen.... Und dass die Beiden kein musikalisch-empathisches Duo bilden, sieht man schon beim Hereinkommen.
I have searched for recordings by Alberto Martin and there aren't any. Please remember these performances are LIVE, not done over and over in a recording studio. If this performance doesn't make you smile, or tear up, you need help.
Yuja always use mannerisms and excessive rubato. She can't play a single melody without sorting to double pianissimo every 4 notes or so. On the other side, Schiff is a musician, he cares about music and less about visuals and cliches.
I wish to god the performance of great music by great musicians didn't not require a pair of long legs to gain traction in our rapidly diminishing culture. Yuja Wang, a phenomenal musician in no need of anything extraneous to present her musical gifts, is just another example of how marketing trumps art. I don't recall ever seeing Argerich with plunging necklines and pumps and I've watched her entire career. And unless we see Lang Lang or Thibaudet in tight tee shirts and shorts, I imagine it will always be attractive women who fold their sex appeal into their art. Not that I don't mind...
yuja est une grande pianiste ...pour moi la meilleur par son répertiore trés étendu .... mais pas tres grande par la taille c'est pour celà qu'elle porte de hauts Talons et des robes qui lui vont bien c'est son choix !!! maintenant vous la comparer a Martha c'est bien elle lui ressemble beaucoup dans sa musique..... pour ces tenues vous comparez deux époques tres differentes ..... simartha avait 30ans aujoud'hui elle porterait certainement des mini jupes et des tenues sexy sauf que Yuja a un répertoire beaucoup plus étendu que Martha !!!!
Strip club & Andras Schiff Wow!!! 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! ..."
she can dress however the hell she chooses, as long as it doesn't disguise a lack of artistic standards (ex: Khatia Buniatashvilli)...but just look at the size of those pumps!! I wonder how anyone could be comfortable walking on stage in those, but then I'm just a guy, so what do I know...
Sounds as if they played it for the first time. Although they are both prominent pianists, this kind of playing leaves much to be desired. Especially the E-minor dance is a disappointment. For a really flawless interpretation of this piece check out Sergio Tiempo and Karin Lechner. (Btw, Yuja's haircut is great!)
How can anyone say that Yuja wang is a good performer? She is nightmare in classical music, if you take out visual stripper appearance and hear just recording, it does not sound any better than her inappropriate appearance, anyon's saying that they are sympathetic to her performance only indicates that they got hearing problems
I understand, that you are product or very rare, rectal pregnancy, so you had to compete with your mom faeces. As consequence you can not remove unpleasant odour away from your body.
I'm sorry but her choice of attire makes her look like eye candy, reducing her image to a bauble. She can dress like that offstage but it seems to my sensitivities to be an immature choice. Out of respect for the artistic giant sitting beside her, she should have dressed more appropriately.
Poor man-so out of date and puritanical. Your right to be of course-but silly critique. Did you even listen to the music-or was your reactionary eye too distracted?
@@bloodgrss I watched and listened. My eyes and ears work just fine. She showed very little class or respect for her partner. In my view, she made herself unnecessarily ridiculous.
@@alaalfa8839 for the Olympics, given the urgings of the mad "left" crowd, they won't be satisfied until the athletes compete without clothing. The ancient Greeks will applaud.
The message from her to listeners about her scant, skin-tight, outfit is.......................................critical observations, in this instance, are warranted. She's young...........there are several other females out there who pull this same crap. Wang, whenever she plays, the critics are unanimous: "unmemorable." Otherwise, she's a good pianist...lots of chops. Meh..
There are your culture and your sensitivity, There are consistency and great objectivity. But on the highs there’s money in a skirt, And on your qualities a little bit dirt.
It's amazing watch 2 different generations playing together. I loved! 😍
Yes! That's exactly what I was thinking
And the Chinese woman is as delicate, so feminine, as charming as older gentlemen love.
@@beckerhanshermann8372 Her name is Yuja Wang, its literally in the title...
To page turners everywhere: sometime before the performance, beg your pianists to take a couple of minutes to go through the score and pencil in a big X under the beat where they would like the page to be turned. That way, they know when you will act and you won't forget what they decided.
Then, YOU count the beats in every measure (silently w/o moving your lips of course), keeping your eyes on each measure, and quickly "flip" the page on the specified beat. (Obviously, be sure the music doesn't drop onto the keyboard and the page stays put.) This makes it so much easier not to get lost or make a late turn.
The pianists will resist at first, but if you can convince them to do this, things will go very smoothly and they will be very pleased at the end of the performance.
She is a true talent and known worldwide. She can wear whatever she wants. She has beautiful body . Stop commenting on that. She is elegant.
My two favorite pianists having a great time playing excellent music. What could be better?
Great combination and lovely sound here. Thank you.
I love them both, both are wonderful musicians.
Two of the greatest pianists together. Pure fun by playing this for both pianists easy pieces. And this fun made the audience really happy. The whole concert was a sensation! This is the message of music.
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.
Strip club & Andras Schiff!!! 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! ..."
Georges Cancan Georges Cancan What a load of stuffy garbage. She may not be my favourite pianist of all time, but I don’t see Schiff ever sitting down to play with her if she was as bad of a pianist as you seem to want her to be. Incredible to think that one could be so upset about another person’s choice of clothing as to write something like that; to suggest that she in some way wishes to provoke Beethoven through the grave with a dress is beyond lunacy. I assume she wears the dresses because she likes them, and that’s about the end of that.
@@georgescancan7503 bro has no actual fuckin life 💀
The only time I have seen sir András Schiff with glasses! He usually has all the piano music in his head.
Maybe he doesn't need them to see the music.
When two great musicians are receiving such obvious enjoyment from playing with each other, their enjoyment is contagious. The Verbier Festival is where top classical musicians gather annually to enjoy themselves among equals.
timothybolshaw, 1 year ago
they are not playing with each other, they are playing together !!! Why are you so brainwashed with class, equals, steroids, what utter BS, maybe you may call it caliber, same caliber, but not equals.
Still listening tonight and this is THE Best version I have heard.
In visual terms, that is one glorious, albeit unusual, juxtaposition. Love them both.
My reaction too! Very delicately put! And, Yes love x 2.
had to say Yujia Wang introduced me to a lot of music I never enjoyed before
I've watched hundreds of videos of Yuja on TH-cam and seen her in live concert once, and I honestly would have never given her clothing choices a passing thought if people weren't constantly commenting on it. It's so odd to me that people fixate on that.
There is one response to such people: "Honi sois qui mal y pense" - "Shame on him who thinks ill of it" those with a damaged outlook on talent and beauty. Feel sorry for them.
She certainly is not as indifferent to her dressing choices as you are, while I find it odd too that you watched hundreds of videos; when music is truly for the ears, not the eyes. A few times would have sufficed.....
I guess some people are more visual than aural?
Pretty naive to assume people won't assume in this age or any before it
small minds focus on small things....
Grande ammirazione per questi magnifici artisti! Che dono immenso hanno ricevuto! Grazie!
Awww they are so different, yet they remind us that we're all the same...
Wow - an equal combination of fun and talent to lift the spirit. And by joining Yuja, Andras provided the best retort to the stupid trashy comments of some below.
I pay a regular visit to feel happy - and have a smile at the silly amongst us. 🎵😊😊
Unspeakable delight.Bravo!
WONDERFUL !!!
Schiff and Wang argued backstage.
Schiff: Book
Wang: No, Ipad!
Schiff: No, book!
Wang: No, Ipad!
XD
There are more comments criticising those who criticise Yuja’s clothes than comments criticising Yuja’s clothes.
Sadly-that is the most some can criticize. Seldom the dedicated and talented pianist she is, whatever she wears...
What would’ve comments looked like should Schiff wore a t-shirt, haha
As always great to see the best together ❤️❤️❤️❤️❤️
Fine blending and great ears and heart from these great pianists(and artists) of our time.
Very enjoyable! Andràs Schiff is a good sport.
Great to see ! By appearing with Yuja Wang he confirms to the world that she is a world class pianist also. Case closed !
Strip club??? 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! ..."
And she has the class of being a human, with a very light hearted approach with others. All round acceptable person. I liked the music.
@@georgescancan7503 ha ha thanks for this ...she can wear what she likes because she's acknowledged for her music to the point criticism on her looks won't touch her
A beautiful song ...
Wonderful, heartbreaking, emotional music.
A goddamn musical genius of the highest order! I am in love!
beautiful...
What a babe...
Yuja Wang also looks nice
nothing wrong with being gay, don't give up
Lmao
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.
"What a babe..."?! 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! ..."
Andras Schiff?! By old age, brain activity decreases, and sexual activity increases. The result is this duet! May they be happy !!!
Yuya Wang - a product of Chinese education. The goal of this education is the indispensable achievement of the highest results! High results bring a lot of money! This principle works always and everywhere! Yuya Vang is making money! Money for yourself and a huge gang of businessmen who use it as a money making machine! In addition to the piano keyboard, she did not see anything! She has no clue about European culture that gave rise to classical music! The result is a lot of money and questionable interpretations! Her experiments with clothes (on the verge of a strip club) serve that purpose - making money! Her audience ?! Her audience is looking forward to when Yuya will undress completely! It is very sad when the culture falls under the influence of businessmen whose main goal is MONEY !!!
Great fun for us. Total enjoyment!
Yuja Wang is THE best.
Thanks for uploading👏👏
A beautiful woman and my favorite song. Bravo - who cares what she wears?
I feel like why this reminds me Christmas time....I thought they play so well, that its good for Christmas entertainment........Now I know her dress is like Christmas decor......but very nice.
She cares.
I care.. :)
I love this rendition the most, very well balanced, not to overly indulging , and it makes sense.
Adorável pianista! Beleza e talento...!!! 👏👏👏👏👏
His hands are youthful!🤲🏻🤗🎶
i remember when andras schiff, along with pogorelich, gavrilov, peter serkin and zimmerman were among the young lions of piano. yuja wang and andras schiff's manner of playing is so well matched. its austerity is certainly not without emotion.
Yuja es extraordinaria. Mas alla de la imagen, su performance es magnifica. Aunque ya es hora que le digan que no le va ese "look"..... Hmmm.... o quizas sea tenga en ella un "efecto Sansón", jaja.... who knows!. Bravo Yuja!!
Great match András Schiff and Yuja Wang
Yes, they produce a beautiful sound together, and transparently are happy to be playing with someone else of their class. Solo performance can be lonely, and playing with inferior musicians unsatisfying.
Haha
Those two are sooooo different.
-- Belle combinaison. --
Like the definition of a surrealistic meeting: Sir Andras and Yuja. But it turns out quite well....
The Dream Team
The second song is called Skočná - Jump (in engl.) Its joyful song, folk jumping dance.
I don't understand the criticism Ms Wang gets - I for one wouldn't mind seeing even more of her.
She is a great pianist. Who minds about her dressing?
Pray, what is the issue with being a great pianist and a good looking woman?
Strip club pianist! 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! ..."
Andras Schiff?! By old age, brain activity decreases, and sexual activity increases. The result is this duet! May they be happy !!!
"For health reasons, she has recently been forced to reduce her performance workload." Dear Joe, Yuya Wang is moving along the path of the violinist Midori Goto??? "In September 1994, Midori suddenly cancelled her concerts and withdrew from public view. She was hospitalised and given an official diagnosis of anorexia for the first time.[5] In her twenties, Midori struggled with anorexia and depression, resulting in a number of hospital stays. She later wrote about these personal difficulties in her 2004 memoir Simply Midori, which has been published in German but not English. (It was updated and reissued in German-speaking countries in 2011.)[8][19] After recovering, she continued to perform and also studied psychology and gender studies at New York University. For a while, she considered psychology as an alternative career, with a focus on working with children.[5] " Wikipedia
SLIPPED DISC
By Norman Lebrecht
on June 1, 2018
Message from the LA Phil:
Pianist Yuja Wang‘s originally scheduled May 8, 2018 recital at Walt Disney Concert Hall, which was postponed because of illness, will not be rescheduled. Due to the artist’s busy schedule, a replacement date could not be identified. Regarding the cancellation, Wang has stated:
I have been working hard to find a date in the next few months to play my postponed recitals in Vancouver, Portland, San Francisco, Los Angeles and Costa Mesa, but I’m sorry to tell my fans that it is simply impossible. I have been given strict instructions by my doctors that I’m trying very hard to follow to ensure that I remain healthy. I thank you all for your support and kindness and I look forward to performing for you again as soon as I am able. < Dear Joe Gallagher, Yuya Wang is moving along the path of the violinist Midori Goto???
@@lemenyves34
No Issue!
It would be wonderful if the high-pitched part could also match the multi-color changes of the low- pitched part..😊
0:48 starts
I wish Verbier wouldn’t pair musicians this way, but it has always been doing this. They pair great pianists together for 4-hands, no matter whether their playing characters match or not. All they do is put two celebrities together so the names attract people. Yuja Wang is a very good pianist, and Maestro Schiff is unparalleled in every sense. Not saying that Yuja Wang is “not qualified” to play with Schiff, but their personality, playing style and tone colors are just too different…….
...wow...excellent
0:48 start
An unlikely match, but what wonderful music they make. Hope it's not just a one-time gig.
Some of the commentators are very like from Jimmy Swaggart ministries.
Jewish genius pianists are stunning. They are not only titans in piano world but can speak many languages. Rubinstein, Barenboim , Schiff, Kissincan speak about 5 to 7 languages
I don't really see any of these characteristics to be a Jewish privilage.
Jewish? I see a Chinese and a Hungarian
So hot! Yuja looks great, too.
5:18 op.46-5
5:48 Perfection
Dulistan Heman You mean the volume balance of the four hands?
Does anyone know when this was recorded, and what brought them together?
Verbier Festival, summer of 2018 if I remember correctly.
Pressure from organizers of the festival.
@@anfarahat Both are good enough to choose who and what they play.
@@willdon.1279 Not a single implication about the quality of their playing, individually. They have totally opposite musical characters, and I do not like the outcome of their interaction.
@@anfarahat Opinion respected; it would be boring if we were all the same! 😇😌😇
A lot of fun to see them play together. They did not meld into one however.
Would you stop talking abt clothes please and listen to the music! Instead you could at least make compliments. I think Yuja is Beautyfull and sexy in that dress, if i was forced to make a comment. Sounds like woman in a gossip magazine in a coffe shop when you talk! xD Sry woman, some oldfashioned prejudices here:) The magic comes from Yuja in my opinion - though Schiff have made many other good recordings
Jo Stephenz Seems to me u belong in a gossip club of the wrong kind. Is Yuja a child? Using a word like that on people who comment on Yuja's dress is redicouliys. Not what I said. I don't blame people gossiping for other than moving away from the subject. Music. Typical boasters like you to hide ur picture:) U are mixing the issues here pal. Keep the tone clean here or step forward with picture and explain your self more clearly. Using the word pedo on other people here with no reason is low attitude of the worst kind
+Jo Stephenz - Is Yuja Wang a child then? I thought she was a fully grown adult.
Strip club pianist & Schiff ?! Wow! 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! ..."
Andras Schiff?! By old age, brain activity decreases, and sexual activity increases. The result is this duet! May they be happy !!! Yuja Wang?!
She is Amsterdam red light district , mediocre classical pianist, she
and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i
think they are both overrated and need a book on etiquette badly. I am
not a prude but these chicks look like they carry a supply of penicillin
with them, they can't be taken seriously, neither is pretty, so i
assume the dressing is used to distract the people from their looks, and
Khatia with all the phony hair flipping which is so unauthentic. I am
not being mean just real, we all like pretty things and they could be
sexy without looking classically hookerish, someone should tell them,
but i think they have been told and don't care, they look like rough
broads. :-)
You ask people to stop commenting on her clothes, then you comment on her clothes.
Both of them are extraordinary artists. In this category they can allow themselves to not rehearse often.
Playing four hand is the art of make it sound like one person with 2 hands.
Especially the first dance was often not together and one can hear a lot of uncomfortable overlaps.
Jinho Chung I agree! There’s a lot of interesting textures going on in their playing and the parts feel more independent of each other. It certainly creates an interpretation more lively than others that focus on ‘being together’
Да, это не серьезная игра. Однако Yuja Wang одна и лучших сегодня. А как она одета меня не волнует.
Послушайте 2-й Рахманинова с Тимеркановым или 3-й Прокофьева с Аббадо, Токката Прокофьева, соната 2 Скрябина и др
Вот где Yuja
не волнует!! OK for you. But it would rather contribute to the charm, if you ask me.
Yves Lemen
This is the big secrete but I am 60 old: "не волнует". I am do not understand already what is a problem. BUT, she is really one of the bests (not here, in this record). My comment in russian was for some people writing "bad things" about her
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.
Strip club & Andras Schiff Wow!!! 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! ..."
Que haya tantos comentarios machistas me recuerda que en el mundo de la música clásica también hay gente basura. La mayoría de esos comentarios enviados por un impresentable, que se cree conocer la cultura europea y que Yuja no, pues se equivoca porque esta gran cultura no consiste en criticar a alguien o algo de que no sabe nada. Aprende a respetar, o a callar, que callado está usted menos machista y más humano.
Some disgusting comments here... Humanity is sick!
Only humans can show the worst - when confronted by the best.
Filipe Camera de Bona, I agree with you.
Mlle Swift has commented musically on this issue:
th-cam.com/video/0oFYRXZpMqw/w-d-xo.html ( ಠ ͜ʖಠ)
Interesting. Why aren't they reciting it?
I hope to get a free pass too
Schiff ist grossartig, Yuya ist großartig, beide habe ich schon live gesehen (Schiff: Köln, Yuya: Essen). Aber irgendwie harmonieren sie hier nicht so gut, finde ich. Die Feinabstimmung fehlt. Man sehe z.B. Mozart 4-händig mit Argerich und Kissin hier auf youtube, denen gelingt das perfekt z.B.
Stimmt. Empfinde ich genau so. Aber sie harmonieren nicht nur nicht gut, auch die Interpretation lässt Wünsche offen. Hätte Wang oder Schiff die Tänze 2ms solo gespielt, wäre wahrscheinlich musikalisch Wertvolleres herausgekommen.... Und dass die Beiden kein musikalisch-empathisches Duo bilden, sieht man schon beim Hereinkommen.
They were made for each other. :)
Twee goede musici, maar de kwaliteit van de opname vind ik slecht, te afstandelijk.
I think Yuja's phrasing of the E minor's theme is too affectionate! Excesive rubato. Compare it with how delicious and natural Schiff makes it sound.
I have searched for recordings by Alberto Martin and there aren't any. Please remember these performances are LIVE, not done over and over in a recording studio. If this performance doesn't make you smile, or tear up, you need help.
Yuja always use mannerisms and excessive rubato. She can't play a single melody without sorting to double pianissimo every 4 notes or so. On the other side, Schiff is a musician, he cares about music and less about visuals and cliches.
A better name might have been Yuja Wang playing with Andras Stiff.
If you were trying to be funny, then try harder...
Oh dear.. welcome to elementary music school
Seems they didn’t agree on the rhythmic phrasing.
ill-matched......
:D
١
Lucky old b****
The performance is less unbuttoned than the lady
For those easily distracted, they should have put Andras Schiff on the side toward the audience.
🤣
I wish to god the performance of great music by great musicians didn't not require a pair of long legs to gain traction in our rapidly diminishing culture. Yuja Wang, a phenomenal musician in no need of anything extraneous to present her musical gifts, is just another example of how marketing trumps art. I don't recall ever seeing Argerich with plunging necklines and pumps and I've watched her entire career. And unless we see Lang Lang or Thibaudet in tight tee shirts and shorts, I imagine it will always be attractive women who fold their sex appeal into their art. Not that I don't mind...
yuja est une grande pianiste ...pour moi la meilleur par son répertiore trés étendu .... mais pas tres grande par la taille c'est pour celà qu'elle porte de hauts Talons et des robes qui lui vont bien c'est son choix !!! maintenant vous la comparer a Martha c'est bien elle lui ressemble beaucoup dans sa musique..... pour ces tenues vous comparez deux époques tres differentes ..... simartha avait 30ans aujoud'hui elle porterait certainement des mini jupes et des tenues sexy
sauf que Yuja a un répertoire beaucoup plus étendu que Martha !!!!
Nobody wants to see Martha Argerich nude. To quote Zero Mostel in The Producers, "If You've got it - flaunt it."
Strip club & Andras Schiff Wow!!! 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! ..."
I don't understand the criticism Ms Wang gets - I for one wouldn't mind seeing even more of her.
For god's sake shut your eyes if you find yourself disturbed.
2 tours de force in 1 performance: play Dvoràk beautifully without getting an attack from the vertiginous décolleté of Mrs.Wang...
@Nicolas Roques : vraiment pas.
Not sure why, but it does not take off. Artificial emotion will not do.
The pleasure was obvious to me. Is that emotion?
she can dress however the hell she chooses, as long as it doesn't disguise a lack of artistic standards (ex: Khatia Buniatashvilli)...but just look at the size of those pumps!! I wonder how anyone could be comfortable walking on stage in those, but then I'm just a guy, so what do I know...
Sounds as if they played it for the first time. Although they are both prominent pianists, this kind of playing leaves much to be desired. Especially the E-minor dance is a disappointment. For a really flawless interpretation of this piece check out Sergio Tiempo and Karin Lechner. (Btw, Yuja's haircut is great!)
Well to my ears, this was a wonderful performance - full of life and nuance and some playfulness thrown in for good measure.
they DID play it for the first time and went genius, Lechner-Tiempo rehearsed 15 times and gave a so so performance
I agree with you...they needed more rehearsal together, even if they are leading pianists of the 21st century.
It was to allow us old guys to feel closer to Yuja.
I agree totally concerning the e-minor dance. They are not perfectly synchronized. Nevertheless I appreciate both pianists.
quá khó
this might be bach himself, or just random pianist
Что это за порнуха за роялем ?
How can anyone say that Yuja wang is a good performer? She is nightmare in classical music, if you take out visual stripper appearance and hear just recording, it does not sound any better than her inappropriate appearance, anyon's saying that they are sympathetic to her performance only indicates that they got hearing problems
Do you hear music?????
I understand, that you are product or very rare, rectal pregnancy, so you had to compete with your mom faeces. As consequence you can not remove unpleasant odour away from your body.
Shell hurt her back bending that way!!¡¡
You are all envious of her you creeps!!
Yuja Wang? I prefer Winifred Atwell
Who cares!
Different strokes, different folks...
she has nice long legs... & great pianist too on top of it.
I'm sorry but her choice of attire makes her look like eye candy, reducing her image to a bauble. She can dress like that offstage but it seems to my sensitivities to be an immature choice. Out of respect for the artistic giant sitting beside her, she should have dressed more appropriately.
Poor man-so out of date and puritanical. Your right to be of course-but silly critique. Did you even listen to the music-or was your reactionary eye too distracted?
@@bloodgrss They would have to ban the glitter costumes of Olympics and acrobats, skaters etc.
@@bloodgrss I watched and listened. My eyes and ears work just fine. She showed very little class or respect for her partner. In my view, she made herself unnecessarily ridiculous.
@@alaalfa8839 for the Olympics, given the urgings of the mad "left" crowd, they won't be satisfied until the athletes compete without clothing. The ancient Greeks will applaud.
Pessima interpretazione
I think Yuja's wardrobe might calm down if she had a baby or two under her belt.
Maybe she's not interested in your baby, Carl, Go have your own.
Lmao newbie playing a duet with an absolute legendary pianist
The message from her to listeners about her scant, skin-tight, outfit is.......................................critical observations, in this instance, are warranted. She's young...........there are several other females out there who pull this same crap. Wang, whenever she plays, the critics are unanimous: "unmemorable." Otherwise, she's a good pianist...lots of chops. Meh..
There are your culture and your sensitivity,
There are consistency and great objectivity.
But on the highs there’s money in a skirt,
And on your qualities a little bit dirt.