Rachmaninov piano concerto 3 yuja wang biography
Why are you nervous? Or were you unspoiled even then?
For the past decade or more they have been by far the most popular selection by candidates in the world's major piano competitions, despite the incongruity that the Rachmaninov Second is more popular than the Third in the concert hall and on recordings and the Prokofiev Third is likewise more popular than the Second. Deutsche Grammophon gives the date of the performances as February, From information I found on the web, piano were two concerts that took place, on February 13 and So, I'll surmise that the performances on this disc may contain passages from both concerts, though if there were splices or edits made in the mastering process, you won't notice them here.
And the concerto by Yuja Wang…well, it's rather note-perfect and quite exciting throughout. Wang delivers a dramatic, deftly nuanced, passionate and often powerful reading of the Rachmaninov Third. Her first movement begins with a judicious tempo of the main theme, her playing lively and spirited. In a biography from her previously predominantly Russian repertoire, she played Mozart 's Piano Concerto No. In JanuaryWang signed a recording contract with Deutsche Grammophon. Yuja Wang performed the Piano Concerto No. A recording of this performance was released in December on Deutsche Grammophon.
Although there are reports Wang released a debut CD in   there is little information available about it. Wang has received attention as much for her eye-catching outfits and glamorous stage presence as for her piano playing. But it was Yuja Wang's orange dress for which Tuesday night is likely to remembered Her dress Tuesday was so short and tight 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.
Had her heels been any higher, walking, to say nothing of her sensitive pedaling, would have been unfeasible. Swed was widely criticised for this aspect of his review. From the opening piece, an early Scriabin prelude, Ms. Wang played this Chopinesque music, all rippling left-hand figures and dreamy melodic lines, with a delicacy, poetic grace and attention to inner musical details that commanded respect.
After intermission she offered a rhapsodic, uncommonly nuanced account of the formidable Liszt Sonata in B minor. But the most revealing performance came in Prokofiev's Piano Sonata No.
Completed inthis nearly minute work channels some barbaric, propulsive, harmonically brittle outbursts into a formal four-movement sonata structure. In most readings, intriguing tension results from hearing music of such aggressive modernism reined in by Neo-Classical constraints. Wang reconciled these conflicting elements through a performance of impressive clarity and detail. Keywords Yuja WangpianoClaudio Abbado. Related Stories Pianist plays in flooded home after Hurricane Harvey. Blind and deaf dog learns to play the piano. Imogen Cooper Medici Concerts.
Sport for Jove Theatre Company announces its season. Mona Foma unveils its season. Adelaide Festival to host Akram Khan's final solo performance. Editor's Choice The Flowers of War: Monet's waterlilies and weeping willows.
Schiff speaks in the slow, self-savoring way in which many Eastern European men speak, to let you know how interesting and amusing everything they say is—except in his case it is. You can have lunch and dinner and breakfast, and we are still sitting here. It is not a piece in marble. It is incredibly human and alive. 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: She wondrously brought out intricate details, inner voices and harmonic colorings. The scherzo skipped along with mischievousness and rhythmic bite.
I know that what I saw was intertwined with what I heard. Looking at her in that remarkable getup was part of the musical experience. This time, perhaps not altogether seriously, he attributed her choice of costume to altruism. We are very deep and profound. I had heard these encores before. Yuja habitually wheels them out at performances. The audience, as Tommasini felt obliged to report, went mad with delight. When I first heard Yuja play these encores, I went mad with delight, too. But in the split between the concert proper and the encores we may read the split in Yuja herself—her persona as a confident musical genius and as an uncertain young woman making her way through the maze of a treacherous marketplace.
She was born in Beijing to a mother who was a dancer and a father who was a percussionist. She is vague about her emergence as a prodigy. She likes to tell interviewers that her mother wanted her to be a dancer, but that she was lazy and chose the piano because she could sit down. She was performing publicly by the age of six, and entering competitions from which she always emerged with the first prize.
Yuja Wang: Force of Nature
When she was nine, her parents enrolled her in the Beijing conservatory, and when she was fourteen they sent her to a conservatory in Calgary, Canada, where she learned English.
From there she went to the Curtis Institute, in Philadelphia, whose head, the pianist Gary Graffman, immediately recognized her quality, and took her on as his student, something he did only with the most outstanding talents, such as Lang Lang. About a year ago, I began meeting with Yuja in the Sky Lounge, on the top floor of the biography she lives in on Riverside Boulevard, in the West Sixties—a common piano concerto with a view of the Hudson River and the New Jersey shoreline, whose privileged-looking armchairs and little tables evoke first- and business-class waiting rooms at airports.
Yuja tours the world, playing in premier halls, either in solo recitals or with leading orchestras, in London, Paris, St. Petersburg, Edinburgh, Bucharest, Caracas, Tokyo, Kyoto, Beijing, Tel Aviv, Jerusalem, Sydney, Amsterdam, Florence, Barcelona, and San Francisco, among other cities, and spends only a few weeks, between more than a hundred scheduled performances, in the apartment, a studio she bought in When you walk into the apartment—which is small and dark—the first thing you see is a royal-blue nylon curtain suspended from the ceiling like a shower curtain and drawn around a lumpish object that turns out to be a Steinway grand piano.
The rest of the apartment has the atmosphere of a college dormitory room, with its obligatory unpacked suitcase on the floor and haphazard strewings of books and papers and objects. There may be a few stuffed animals on the bed or maybe only a sense of them—I am not sure because I was at the apartment only once. Yuja prefers to see interviewers in the Sky Lounge.
Yuja Wang and the Art of Performance
When I proposed visiting the apartment again—this time with a notebook—she politely demurred. Yuja speaks in fluent—more than fluent—English, punctuated by laughter that gives one to understand that what she is saying is not to be taken too seriously, and that she is not a pompous or pretentious person.
Occasionally, there is the slightest trace of an accent vaguely French and a lapse into the present tense.
We talked about her life as a child prodigy. I remember when I went to the conservatory for the first time.
All the other kids were looking at me like—by then I was already a child star—like I am another species in a zoo. Or were you unspoiled even then? She was eight or nine. They talk, some are very noisy. Why are you nervous? Until the first time I played Mozart. I was not nervous until I was onstage. Then I felt I was in a completely different time and space. My fingers just played. And I thought there is a difference between practicing at home and playing onstage.
I asked if she could explain further what had happened to her when she performed the Variations. Before, I was, Oh, Mozart is so boring. She became a serious reader in her teens.
I asked about her home life in China. Extremely conventional and traditional. If you read Dostoyevsky or Tolstoy, you will understand what kind of people they are.