Yuja is the best pianist in the world. She could lay waste to Art Tatum and every jazz pianist since !
@luis4488
4 ай бұрын
No es buena ..es buenísimo y te hace volver a amar la musica clásica..❤😊
@antoniofurnari9558
3 жыл бұрын
La magnifica YUJA WANG nelle sue prodigiose esecuzione👋👋👋🎼🎼
@dmwm771
Жыл бұрын
She is simply fantastic. What an amazing artist.
@beckerhanshermann8372
11 ай бұрын
What nonsense! She is talented, but many young pianists play superbly. Wang is not unique. Her career has been helped by the numerous videos of her, and there we see her barely clothed. Sex sells, - that is her strategy. If you only heard her on the radio, she wouldn't have this success based on appearances.
@ronl7131
2 жыл бұрын
Love that YW has such a wide repertoire. She offers so many sound worlds for us…..
@harryboggon2608
6 жыл бұрын
Yuja is an amazing wonderful young lady and a fantastic gift to us all
@paradoxicparagraphs9448
2 жыл бұрын
When both men came in, I thought they were going to do magical things! That table with black fabric helped the whole atmosphere
@harryboggon8718
11 ай бұрын
Yuja is Absolutely Perfect in every way if only there was more people like Yuja The World would be a much better place to be in ❤️
@rogernguyen1273
7 жыл бұрын
I like Yuja Wang as a pianist and a person !
@Charles-qp5uh
5 жыл бұрын
hermosa y una Diva. La amo
@davidgo8874
4 жыл бұрын
One of my favorite pieces for piano and one of the best from Chopin.
@L.M1792
4 жыл бұрын
I like that they allow a little of their character to shine through. It is difficult from such a distance as these performers are at.
@amaurylopez5558
6 ай бұрын
Adorable Ms Yuja Wang👍😍👏🏼🎼🎶🫶🏼🫶🏼🫶🏼
@yvesorengo2985
4 жыл бұрын
Une artiste hors du commun, capable de tout jouer: de mozart à prokofiev en passant par brahms scriabine chopin avec une virtuosité qui ne tue pas la musicalité. Elle pourrait tout aussi bien jouer du jazz , elle le prouve dans Kapustin très jazzy. Elle nous charme yeux fermés ou grand ouverts. aussi agréable à écouter qu'à regarder.
@mitchmatthews6713
3 жыл бұрын
Yuja is a step above.
@ivannvillanueva4778
Жыл бұрын
I admire Yuja Wang simplicity. I spite of her world class concert pianist standing, she is so humble in her response. If you play a little bit of classical piano, you can appreciate Yuja Wang Incredible talent. What she plays is a universe of knowledge not reachable to the majority of people. Playing classical piano at her level is out of league
@bernadettedelahaye8248
6 жыл бұрын
Mesmerizing! Magic! and so sweet and decent and simple!
@sergiovictorballesterosmes4325
5 жыл бұрын
Yuja, lo que interpretes, los humanos del globo los dejaras con la boca abierta, nuevamente mis felicitaciones, te queremos escuchar el México, conocerás la calidez de sus ciudadanos, me da gusto en el corazón enviarte un fuerte abrazo.
@JeromeMainguet
Жыл бұрын
Yuja Wang est une pianiste subtile, puissante, brillante ….et belle femme. Je regrette qu’elle ne nous propose pas des interprétations de notre grand pianiste français Charles-Valentin ALKAN, ami de Franz Liszt et aussi brillant que lui. Elle pourrait briller elle-même dans ses interprétations !
@AngeloDeAngelis748
7 жыл бұрын
...Grande Yuja
@encantevole
7 жыл бұрын
Extraordinaria!!!
@huszarblasio9302
7 жыл бұрын
top female pianist ever...genius...
@pearson601
6 жыл бұрын
Bach 2 part inventions Please
@tansy69
4 жыл бұрын
@James Pearson what do you mean?...
@PS-kd1if
3 жыл бұрын
『The Young Pianist』I guess he disagrees.
@LogoFreak93
4 жыл бұрын
I love all the outfits she wears in her performances, reminds me of the kind of stuff I'd wear. Not saying I'm in the same league as her at all, even calling myself a discount version of Yuja Wang would be heaping too much praise on myself. I'm more like a "cheap piece of junk you win at an arcade after cashing in your tickets that you won at skee-ball" version of Yuja Wang.
@ronl7131
2 жыл бұрын
Don’t sell yourself short!!! 💐💐
@alexhamilton9758
2 жыл бұрын
The fact that you appreciate her so much makes you a clear cut individual with no need to apologize. How many millions in this world have no idea at all who she is?
@bloodgrss
Жыл бұрын
Oh my Robin, the things in my life I won with tickets from Skee-ball! Few pleasures in life equal scoring points and watching those tickets roll out!
@Detefa
2 жыл бұрын
Maravilhosa!!!
@paulodacosta4128
7 жыл бұрын
E fascinante ver e ouvir essa Deusa dos Dedos Velozes em qualquer apresentação. Obrigado pelo vídeo. Yuja Wang, VIDA LONGA e SUCESSO !
@bobbymimiandtom
4 жыл бұрын
Après énormément de travail et de sacrifice, le GENIE
@MrBallarin23
5 жыл бұрын
You are the best, that's all
@thevoiceoftruth1052
4 жыл бұрын
Yuja!!!!
@daimanhquach9734
3 жыл бұрын
tiếng đàn.tài năng tuyệt vời.ngưỡng mô em
@anthonydinunzio
7 жыл бұрын
To me Yuja you are n. in the world. I would like you to play un sospiro from Listz.
@chisesotomura
7 жыл бұрын
stylish lady
@lawanwanglee6686
6 жыл бұрын
通行人E 9
@andyanderson9824
5 жыл бұрын
Poor Yuja!!!!!! having to struggle through an "Interview" with those two. Almost as bad as us trying to segregate the voice of the yapping female translator, just to try hearing what the interview contained that could be described as of interest.
@keithwinter7721
6 жыл бұрын
Givenchy
@jerryli821
4 жыл бұрын
A jazz take on stravinsky 31:30 Carmen Fantasy 53:30
@jpcdelorme9970
6 жыл бұрын
Un.e pianiste classique qui joue du jazz comme ça, ça n'existe pas! Ça n'est pas possible! En plus elle joue du jazz russe qui n'existe pas non plus ;-) Ça commence à 30:50
@yannickguillon9003
6 жыл бұрын
Elle est en effet exeptionnelle. Viendra-t-elle un jour à Bruxelles?
Genial/ Mais pourquoi le titre en francais et le doublage en espagnol ?
@ajarnwordsmith628
Жыл бұрын
Has Yuja left her Harley-Davidson parked outside?
@johnsmith-mo1yc
7 жыл бұрын
Those are the most clothes that I have ever seen her performing in! Shoes are typical though. Her Spanish ain't very good though!
@andyanderson9824
5 жыл бұрын
How's your Chinese?
@georgescancan7503
7 жыл бұрын
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! ..." Und in diesem Fall bin ich mir ziemlich sicher, dass es ihm (Beethoven) in jeder Hinsicht gefallen würde ... Wir sind im 21.Jahrhundert! Das wohl bekannteste Musikstück aus Wagners Ring des Nibelungen, der "Ritt der Walküren". Yuja Wang ist dabei, auch eine gesamte >Westliche Konsumgesellschaft
@georgescancan7503
7 жыл бұрын
New York CLASSICAL REVIEW by Eric Simpson Sun May 15.2016 Concerts are, to some extent, an expectations game in one way or another: we go to a major venue to hear a leading artist expecting a great performance, and often that bar is met or even exceeded. Or we witness a very fine performance that stands out all the more for being by someone we’ve scarcely heard of. The least pleasant of all worlds has to be the experience of disappointment from the performers from whom we expect the most. Over the past several years, it has been a thrill to watch the continued development of Yuja Wang, who has shed her reputation as a flashy technician and demonstrated herself to be a sensitive musician of real substance. It was surprising, then, to hear her on Saturday at Carnegie Hall, in her most mature recital program to date, sound so far out of her element. The first two of Brahms’s Op. 10 Ballades provided just the first example of what would become a recurring problem throughout Wang’s recital: chronic over-pedaling. While some judicious blurring can help give color to a piece, Wang’s heavy foot seemed here to be more of a tic, fussing with textures without finding much in the way of meaningful expression. Neither Ballade showed much specificity of intention, giving instead a broadly generic account of the music without a strong feel for its style or significance. There was a more virtuosic feel that one often hears in her rendering of Schumann’s Kreisleriana, yet Wang still relied too heavily on her pedaling, her playing often feeling rote. For all the fire with which she ended the third movement, there was no focus in it, so that it took on the shape of general bluster. There were moments throughout of superb playing-the last movement was marked by striking contrasts between passion and playful coyness, but even these felt like momentary effects rather than elements of a complete interpretation. Most perplexing of all was her take on Beethoven’s magisterial “Hammerklavier” Sonata. In the early going it was quite impressive, a truly majestic majestic opening followed by extraordinary freedom in her interpretation of the rest of the first movement. Wang’s fingerwork at times felt a little drowsy, a problem that carried over into her Scherzo, and kept it from ever approaching its requisite crispness. As so often before, Wang’s account of the pensive Adagio sostenuto showed moments of superb playing-her delicate touch floated shining tones out of the piano, and individual phrases were sublimely crafted. What she lacked, though was the ruminative Beethovenian spirit of the music-the romantic preciousness with which she shaped the movement would have been more suited to a Chopin nocturne. The finale showed plenty of determination in the “Allegro risoluto,” but more excessive pedaling and sluggish fingerwork muddied what ought to have been a crystal-clear fugue. A different pianist, it seemed, emerged for the curtain calls. Wang tossed off all of her usual encores, and they were brilliant: the Gretchen am Spinnrade transcription had the perfect combination of Schubertian sensitivity and Lisztian bombast. Arcadi Volodos’s cheeky riff on Mozart’s Rondo alla Turca elicited laughter at every witty turn and the Horowitz “Carmen” Variations were accomplished with supreme flair. Where was this self-assured, limpid playing on the rest of the program?
@Ikapoika
6 жыл бұрын
Nonsense. Here is what I elsewhere have written about Yuja´s interpretation of Beethoven´s Hammerklavier Sonata: As for a concert performance, I believe that it is not possible to conduct a very thorough analysis on the basis of a single hearing. It will be a question of having a video or a CD to better understand the whole of the interpretation. However, Yuja Wang's exceptional interpretation of ”Hammerklavier” gained a very positive attention already at the concert from many music experts. Janet Malcolm writes in The New Yorker: ”At Carnegie, Yuja did not play the piece quite at Beethoven’s tempi [however faster than traditional tempi] - these days, few pianists do apart from Schiff - but I found myself responding to it as I had not responded to recordings by the great Maurizio Pollini and Mitsuko Uchida. I had not been able to get past the music’s unprettiness. But now I was electrified. The forty- or fifty-minute-long piece (depending on how ponderously or not ponderously you play it) seemed almost too short. A communication from another audience member, the pianist Shai Wosner, helpfully explained the inexplicable: why a piece that is about struggle and difficulty should have given the pleasure it gave in Yuja’s interpretation. ´There is hardly any passage in it that is truly comfortable to the hand,´ he wrote, along with ´a certain harmonic tension that runs pretty much throughout the piece between B-flat major and B minor, Beethoven’s ‘dark, forbidden’ key.´ He went on: ´With all the Beethovenian struggle, this piece is also a very “cleanly” conceived sonata, more faithful to the Classical sonata model than any of Beethoven’s other late Sonatas. So what I loved about Yuja’s performance was how this other aspect of the piece came across . . . her effortless approach brought out the brilliant, clear structure of Hammerklavier and highlighted it from another angle. Like a great monument that’s not made of stone but of light-reflecting glass.´ Anthony Tommasini, reviewing the performance in the Times, wrote, ´Ms. Wang’s virtuosity goes well beyond uncanny facility. . . . She wondrously brought out intricate details, inner voices and harmonic colorings. The first movement had élan and daring. The scherzo skipped along with mischievousness and rhythmic bite.´” Mark Swed in the L. A. Times compared Yuja Wang to Murray Perahia: ”Perahia’s understanding, feeling and urgency produce a ‘Hammerklavier’ for the ages, while Wang, with a flick of her dazzling fingers on the keys, sends an electric current through the ‘Hammerklavier’ that makes it modern music, Beethoven for the 21st century.” www.newyorker.com/magazine/2016/09/05/yuja-wang-and-the-art-of-performance So, many professional music writers had drawn very positive attention to Yuja Wang's exceptional interpretation of the ”Hammerklavier” on one performance. David B. Goldman has been deeply focused on Yuja Wang's interpretation on the video and goes further in his conclusions: Wang is a reformist who shows the right way to interpret the "Hammerklavier". “Ms Wang played Beethoven’s most difficult piano work better than any Westerner has played it. Not just better: I am convinced that Ms Wang is the only pianist who has ever played it correctly, possibly excluding Franz Liszt, who gave its premiere in the 1830s.” “"Yuja Wang has penetrated to the inner sanctum of the Western soul, including its nasty side, and understood us better than we understand ourselves." www.atimes.com/article/two-transgressors-milos-yiannopolous-yuja-wang/ That Wang is a reformist of the interpretation had already said, for example, David Kan: " To me Yuja is a reformist. Of course she has both expressive tone color and an incredibly big technique that is far greater than her physique. But her real strength is the bigger vision - her own conception and determination in making a statement with every work she performs, be it a romantic concerto or a virtuoso encore. Like the violinist Hilary Hahn whose greatest strength is conceptual (which embraces tone and technique both), Yuja is able to formulate and project her unique vision on her repertoire.” www.6moons.com/musicreviews/2009_november/yujawang.html So I think it may not be too overwhelming to say that Chinese Wang can teach us Westerners how Beethoven will be playing. Näytä vähemmän VASTAA
+Ilkka Tammisola Don't worry. The only meaningfull response to this cretin is "cretin"
@Ikapoika
6 жыл бұрын
Chris Banyan - "Yuja shows familiar flash but a lack of depth in Carnegie recital." - Eric Simpson, who said that, is obviously an old dumbbell that does not understand Beethoven's deepest essence. Here is what pianist András Schiff (according to The New Yorker) says about "Hammerklavier" Sonata: "Schiff characterized the work as “the greatest” and “most monumental” of Beethoven’s sonatas, “a work that everybody respects and reveres but very few people love.” Schiff’s object was to communicate his own “deep love for this piece,” and he began by talking about Beethoven’s metronome markings, which are “incredibly fast” and are ignored by most pianists, who play the piece slowly and ponderously. The piece “is not pretty,” but it is not “heavy-handed . . . not made of lead.” =>>Schiff mocked the pianists who protract the long third movement to show that “we are very deep and profound. . . . You can have lunch and dinner and breakfast, and we are still sitting here.” Schiff went on to say, “If you play this piece at Beethoven’s tempi, then it’s not ponderous anymore. . . . It is not a piece in marble. . . . It is incredibly human and alive.”
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