This Intermezzo has one of the most beautiful ABA structures in history. The music is probably the most sentimental thing ever.
@GypsyEncounters Жыл бұрын
I'm gonna ask my silly question, and hope you'll be nice. What does intermezzo mean? And could you shed some light on ABA structure. (The "for dummies" response will do, as you might have already guessed 😃).
@brandon.allison Жыл бұрын
@@GypsyEncounters Intermezzo is the name given to this particular movement. One of the definitions for Intermezzo is "a short piece of music for a solo instrument." ABA is the form of the music. There are 3 sections to this piece labeled as A-B-A A: 0:00 - 2:10 B: 2:10 - 3:50 A: 3:50 - 5:42
@willdon.12793 жыл бұрын
As an old retired broadcast TV engineer, I'm fascinated by how this was put together - but as a music lover, of Yuja and Andreas especially, I just want to enjoy their magic... Thanks, DG. One objection - I don't want the ending spoilt by unwanted "recommendations" plastered over the scene...
@fierywomanpacnw70048 ай бұрын
Do you mean, how did they create the acoustic we hear and besides, there are no microphones? My guess is that they recorded it in a studio and "lip-synched" it on the water .....😄
@j.j.99008 ай бұрын
@@fierywomanpacnw7004Yes, just like some musians in the concert, 😂
@lukeskywalker68095 жыл бұрын
Beautiful scenery - check Beautiful people - check Beautiful playing - check
@yi-bt8ko4 жыл бұрын
This is the most beautiful version.
@michaelschefold32995 жыл бұрын
Finally serious classical musicians make beautiful music videos! Long overdue!
@mariodisarli10225 жыл бұрын
The Classical Review Wang’s powerful virtuosity stronger on flash than depth in Boston recital May 13, 2018 By Aaron Keebaugh Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres ... There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping. ... Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style. Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored. Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music. ... The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.
@b_nadams5 жыл бұрын
Mario DiSarli We don’t need your biases here. It makes no sense for you post that article under this video, as the type of music and showmanship demonstrated in their new album counteracts this claim of Yuja being simply ‘technique’ and nothing more. You literally comment on every single video there is of her, please just get over this obsession and find something more worthwhile to do.
@mariodisarli10225 жыл бұрын
Hi Mr Ben Adams! Who is Yuja Wang? Product PR and show industry! An absolutely ordinary pianist who is being dragged onto the stage by mafia structures for the sexual entertainment of a bored crowd! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We all must finally say: enough !!!
@mariodisarli10225 жыл бұрын
Is this ocean liner owned by Deutsche Gramophon?
@michaelschefold32995 жыл бұрын
@@b_nadams It makes no sense to answer this troll! Read what he's writing or read it not....laugh about it...he's not worth a single word...
@Desireyso583 жыл бұрын
I Love Brahms Music! And I Gladly hear every single rendition on Yuja's lovely and talented hands!!! And now... The location and the whole idea are Stunning! BRAVO YUJA! Bravo Andreas! Vielen Danke Deutsche Grammophon!
@eldergeektromeo9868 Жыл бұрын
Yuja is always magnificent! ❤
@NoName-zn1sb3 жыл бұрын
WOW! What a brilliant transcription, I would never have thought to couple those two instruments... they're perfectly suited for this gem!
@levidonato40662 жыл бұрын
The most beautiful sound I've ever heard from the two most beautiful talented musician....bravo.♥️👏♥️
@ausencio2225 жыл бұрын
...one beautiful woman on red dress..two souls playing together...three sharps ...just perfect..!!
@mariodisarli10225 жыл бұрын
kzfaq.info/get/bejne/oLucY7J_xMzcaI0.html
@blintscav5 жыл бұрын
for the clarinet, no sharps! :)
@mariodisarli10225 жыл бұрын
@@blintscav Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
@YUMINLEE35145 жыл бұрын
How wonderful it is... My tears falling down at 1:27
@stevencox8771 Жыл бұрын
3 of the most beautiful notes in the history of music
@renaudmoutier19083 жыл бұрын
C’est génial. Excellent arrangement. J’adore.
@usefulstuff84352 жыл бұрын
Traducir al Español por favor
@matthewpickering82182 жыл бұрын
Oui je suis d'accord
@chageek5 жыл бұрын
Amazing. Une interprétation d'une grande beauté par 2 musiciens d'une grande beauté
@sicapiano4 жыл бұрын
O my heart! Such beauty!
@MrGer22955 жыл бұрын
LOVE IT ! VERY MOVING ! THANK YOU FOR SHARING THIS WITH US 🎹❤❤❤
@mariodisarli10225 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! ..."
@mariodisarli10225 жыл бұрын
Listen to Wagner, dear MrGer2295! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
@michaelaschneider38755 жыл бұрын
WONDERFUL 🎶😊 (More words are not needed)
@marie-clairetoublanc10804 жыл бұрын
Magnifique, ils jouent si bien, de plus ils sont beaux !
@barbelmartin35022 жыл бұрын
Wunderschön, Ton und Bild gleichermaßen! Danke.
@noffyzzz3 жыл бұрын
My heart is exploding from listening to this... especially at 03:19
@simartristao3142 ай бұрын
Simplesmente Bravíssimo!!!
@wisdomtoknowthedifference4 жыл бұрын
Thank you. That's all that I can say.
@camillebouchard64365 жыл бұрын
Magnifique !
@cinziavidali4113 жыл бұрын
Un brano fantastico !
@KP-vl6hu5 жыл бұрын
OMG ❤️ so amazing
@AthSamaras4 жыл бұрын
Thank You Deutsche Grammophon...
@paulhague8963 Жыл бұрын
My Sweet Hummingbird Yuja Wang 🎹 🥰🥰🥰
@dawnarabesque2 жыл бұрын
Wang YuJia! Gorgeous!😍😍😍
@connypiano50383 жыл бұрын
Oh wie cool... Brahms-Arrangements auf einem Ponton. Da muss man erstmal drauf kommen. Goodness, that's very special.. Brahms-arrangements on a water-stage
@yukaviguier93965 жыл бұрын
Trop beau...
@mariodisarli10225 жыл бұрын
Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
@christianvennemann90085 жыл бұрын
If Squidward were good... All joking aside, this is absolutely beautiful. Thank you for this.
@mariodisarli10225 жыл бұрын
Great clown!!! The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times By Joshua Barone Feb. 12, 2019 In all seriousness: What can’t Yuja Wang do? This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week. But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski. But there was - more. She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.
Just to feel in peace with oneself and dream and dream
@robertjames5758 Жыл бұрын
Pure aesthetic.
@oscarmicheli82605 жыл бұрын
Amazing!
@mariodisarli10225 жыл бұрын
kzfaq.info/get/bejne/nNCBrNJ1mNGrp3U.html This masterpiece of American-Canadian-Chinese culture presents everything you said! But this is not European culture, it is a shame for the greatest Russian composer! His famous piano concerto is used to make money and give sexual entertainment to a bored crowd! This is the American-Canadian culture ??? I can understand the Chinese - they are exploring the world of a foreign culture! This is not classical music, this “event” can be called like this: “A Chinese sewing machine sews American dollars for the realization of the“ American Dream ”!
@solbriller14 жыл бұрын
Very beautyful and magic - mostly because of Yuja Wang though. I find it a little strange that the Album Blue hour have only Ottensamer at the front cover
@euomu4 жыл бұрын
Because he’s hot
@dabbetularzful2 жыл бұрын
Gorgeous
@DaBabyDoll1 Жыл бұрын
Relaxing
@whoisthispianist015 жыл бұрын
I am wondering how DG got such a beautiful sound on this video - which looks terrific! The video appears to go out of sync with the music at 4:18 , (i'm guessing they used a studio recording for sound, and made the video afterwards - is that right?) It doesn't really matter... I think seeing these extraordinary musicians play on the water is very soothing. Great job all and thanks.
@euomu4 жыл бұрын
Other way around. You film first and then record over the footage
@colleen8997 Жыл бұрын
I don't hear that at all... What do you mean out of sync?
@whoisthispianist01 Жыл бұрын
@@colleen8997 it’s funny. I don’t see it now either. I wonder if they edited the film after I made this comment. Not sure.
@carrotjoy Жыл бұрын
Bliss. 🎶 🎵 🎶
@eieieiie5 жыл бұрын
L O V E T H E M
@vicente10492 жыл бұрын
Que bellinte
@honigschlecker15 жыл бұрын
Brahms ist zwar nicht so ganz meine Musik, aber trotzdem: Toll gemacht von allen Beteiligten!
@mariodisarli10225 жыл бұрын
Natürlich, lieber Sigi, kann Brahms und alle anderen Komponisten wie Gemüse im Laden verkauft werden! Dies ist unser Exportschlager, wie Volkswagen, Audi, Mercedes, ...! Das Problem ist, dass diese Autohersteller die gesamte Gesellschaft mit kriminellen Techniken betrügen. Dieselbe Technik wird von Unternehmen verwendet, die CDs und DVDs herstellen. Ein auffallendes Beispiel ist dieser Video: Collaboration strip club pianistin und Klarinettist, der seinen Titel geerbt hat!
@honigschlecker15 жыл бұрын
@@mariodisarli1022 Der Vergleich mit der Autoindustrie hinkt aber gewaltig. Ich bin nicht mal sicher, ob er sich überhaupt auf den Beinen halten kann. ☺ Denn im Gegensatz zu dieser hat man hier ein sehr gutes Produkt geliefert. Damit sollen natürlich Kunden angezogen werden, klar. Aber genau so sollte es ja auch funktionieren.
@mariodisarli10225 жыл бұрын
@@honigschlecker1 kzfaq.info/get/bejne/oLucY7J_xMzcaI0.html Klar, lieber Sigi "genau so sollte es ja auch funktionieren": Torsten Schaefer Süddeutsche Zeitung @t 04. Juni 2009Aus Heft 23/2009Musik Schönheit reicht nicht In der klassischen Musik wird heute niemand mehr ein Star, der nicht mindestens aussieht wie ein Supermodel. Aber mal ehrlich - das ganze Gelärme um die Schönheit nervt. Denn unerhört sollte vor allem eines sein: das, was wir da zu hören kriegen. Von: Tobias Haberl Danielle de Niese, 28, Sopran (Foto: Decca) Jonas Kaufmann, 39, Tenor (Foto: Decca/Uli Webber) Alice Sara Ott, 20, Klavier (Foto: Felix Broede/DG) Nikolai Tokarew, 25, Klavier (Foto: Uwe Arens/Sony Classical) Lisa Batiashvili, 29, Geige (Foto: Esther Haase) Annette Dasch, 33, Sopran (Foto: Manfred Bauman Martin Stadtfeld, 28, Klavier (Foto: Adrian Schmidt) Anna Netrebko, 37, Sopran (Foto: Decca) David Garrett, 27, Geige (Foto: Constantin Köhnke/DEAG) Mojca Erdmann, 33, Sopran (Foto: Felix Broede) Elina Garanča, 32, Mezzosopran (Foto: Gabo/DG) Janine Jansen, 31, Geige (Foto: Decca) Johannes Moser, 30, Cello (Foto: Manfred Esser/Hänssler Classic) Kate Royal, 29, Sopran (Foto: EMI Classical) ....... Vor zehn Jahren kannte man die drei Tenöre, Anne-Sophie Mutter, den blinden Andrea Bocelli und vielleicht noch den Geigen-Punk Nigel Kennedy, der übrigens wirklich eine anarchische Gesinnung und deswegen bald keine Lust mehr auf diese alberne Inszenierung hatte. Der Rest fand außerhalb der Klassikzirkel nicht statt. Als wegen des Internets die CD-Verkäufe wegbrachen, setzten die Plattenfirmen auf äußere Reize: Seitdem hat Anna Netrebko allein in Deutschland eine Million CDs verkauft. Die Aufnahmen von Villazón oder Mutter erreichen regelmäßig Gold- und Platinstatus, David Garrett verkauft an einem Tag 1000 Konzertkarten und 8000 CDs. Ein System ist entstanden, von dem scheinbar alle profitieren: die Plattenfirmen, weil sie mehr CDs verkaufen, die Künstler, weil sie für entbehrungsreiche Jahre belohnt werden; die Magazine freuen sich über neue Gesichter, die Werbeindustrie auch und die Menschen da draußen, weil sie mitreden können, wenn sie Paul Potts im Open Air gehört haben, den sie für einen großartigen Tenor halten. Anna Netrebko wird von Escada ausgestattet, Jonas Kaufmann von Strenesse, der Geiger David Garrett trägt ständig ein ziemlich großes Kreuz um den Hals, weil er einen Vertrag mit einem Schmucklabel unterschrieben hat. Es geht um Unverwechselbarkeit. Der Künstler muss eine Marke werden, die sich abhebt, die wiedererkannt wird: Anneliese Rothenberger, eine der bedeutendsten Sopranistinnen des 20. Jahrhunderts und auch schon 82 Jahre alt, riet einer jungen Sängerin, dass es sicher kein Nachteil sei, wenn sie bei Liederabenden kurze Röcke statt Abendkleid trage. Dem Weltklasse-Cellisten Johannes Moser, einem der Besten seines Fachs, einem Mann, der sein halbes Leben mit Cellospielen verbrachte, wurde jüngst erklärt, er wäre noch einen Tick erfolgreicher, wenn er bei jedem Auftritt rote Strümpfe anzöge. Er hat abgelehnt: »Wenn das Publikum nur noch auf Primärreize reagiert«, sagt er, »hat die Musik ein Problem.« Und wenn zu viele Künstler auf solche Angebote eingehen, haben sie selbst ein Problem. Markenzeichen sind austauschbar. Heute rote Socken, morgen kommt einer mit grünen Schuhen daher. Johannes Moser ist überzeugt, dass die Strategien der Plattenfirmen die CD-Verkäufe nicht ankurbeln, sondern ausbremsen. Auch die Geigerin Julia Fischer hat lange versucht, sich zu wehren. Ein Playboy-Angebot für Nacktfotos konnte sie parieren; mit dem Wunsch, nicht auf den Covern ihrer CDs zu erscheinen, scheiterte sie. Inzwischen hat sie eingesehen, dass mehr CDs verkauft werden, wenn sie im Kleidchen und nicht Bach mit gepuderter Perücke auf dem Cover zu sehen ist. Der Musikkritiker Joachim Kaiser sagt: »Wir haben keine Geduld, wir wollen jeden Tag einen neuen Star, ein neues Jahrhundertgenie präsentiert bekommen. Doch so viele Genies gibt es nicht.« Trotzdem wollen uns Plattenfirmen das weismachen: »Sopranistin der Stunde«, »Vokaler Stern«, »Heldin des Abends« - jeder wird in den Himmel gehoben. »Denen gehen bald die Superlative aus«, sagt Kaiser, »jeder ist atemberaubend, jeder superb, jeder gehört zu den Besten. Ja, weiß denn keiner mehr, dass das Wesen des Superlativs darin besteht, dass er sich nur auf einen beziehen kann?« Was perfekt, immer verfügbar oder, noch schlimmer, im Überfluss vorhanden ist, verliert seinen Reiz. Das merken auch die Kulturredakteure. Früher haben sie in ihren Porträts geschrieben, der oder die mache auch abseits der Bühne bella figura. Heute schreiben sie über die Gleichen, der oder sie wolle unter keinen Umständen auf Äußerlichkeiten angesprochen werden, da reagierten sie allergisch, das hassten sie. Ergebnis: Es geht wieder ums Aussehen. Goethe hat gesagt: »Die Wirklichkeit hat gegen die Schönheit keine Chance.« Aber Schönheit allein reicht eben auch nicht. Was wir - aber auch diese Musiker - brauchen, sind Geduld und Genauigkeit. Diese jungen Stars sind keine Genies, auch keine Jahrhundertmusiker und noch lange keine Legenden. Das waren Arrau, Gulda, Gould, Horowitz. Ihre Karrieren haben Jahrzehnte überdauert, sie selbst haben ein ganzes Jahrhundert geprägt. Lang Lang, Kaufmann, Netrebko, Stadtfeld können dahin kommen, können aber auch in ein paar Jahren ausgetauscht sein. Noch fehlt ihnen die letzte Hingabe an das Werk, noch wirken sie zu wenig unvergesslich, zu oft wie Handlungsreisende mit einer Stimme, einer Geige im Gepäck. Der Markt giert nach schnellem Wechsel, neuen Namen und Gesichtern. Musik giert nach überhaupt nichts. Neulich verschickte eine PR-Agentur eine E-Mail, in der sie auf Konzerte der Pianistin Olga Scheps hinwies: »Liebe Journalisten«, stand da, »dass sie sehr hübsch ist und tatsächlich auch hervorragend Klavier spielen kann, hat Olga Scheps auf eindrucksvolle Weise bewiesen.« Ein Satz, der nur noch von dem übertroffen wurde, der danach kam: »Olga Scheps’ Credo ist es, langfristig über Können und Leistung zu punkten, statt auf Äußeres reduziert zu werden.« Die Wahrscheinlichkeit, dass ich ein Konzert von Olga Scheps besuchen werde, hat sich durch diese E-Mail nicht erhöht.
@honigschlecker15 жыл бұрын
@@mariodisarli1022 Hallo, warum kommst Du immer wieder mit diesem zehn Jahre alten Artikel an, den Du jetzt schon wie häufig gepostet hast? Die Informationen darin werden ja dadurch nicht aktueller...
@video12485 жыл бұрын
Sigi Kunisch what does that mean?
@user-dp4hc8ni3q Жыл бұрын
와우 멋져요
@axelcastillo52454 жыл бұрын
Que buen crossover de artistas xd
@user-cg1ih5ys6r3 ай бұрын
Время романтики Юйцзи Ванг. Снимитесь в кино. Это будет великолепно.
@litoboy55 жыл бұрын
COOL
@mariodisarli10225 жыл бұрын
COOL: 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.
@video12485 жыл бұрын
Mario DiSarli kzfaq.info/get/bejne/kMCpos5zvc2peo0.html it’s great!
@video12485 жыл бұрын
Mario DiSarli how long did it take to write all of that stuff?!
@video12485 жыл бұрын
Mario DiSarli please enjoy kzfaq.info/get/bejne/kMCpos5zvc2peo0.html!
@mariodisarli10225 жыл бұрын
@@video1248 Listen to Wagner, dear Mr. PianoLover! Wagner's flight of the walküren (der Ritt der Walküren von Richard Wagner). Here, in this video, the whole society about which you write: Yuya, Khatia, Lola, Alice, ... and you, and your mom, and your dad! Look, listen and enjoy !!! player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player
@jasonw6409 Жыл бұрын
The only question I have is... how are they going to bring that piano back?
@jennywages5 жыл бұрын
I like.
@marcospeedo54125 жыл бұрын
Wearing buoyant is much more safety, at least for Ms Wang... ;)
@nncat44043 жыл бұрын
She is already in swimware. :-) Sorry. This is really beatiful music.
@marcius73084 жыл бұрын
🌜✨ Szép!
@GerdLinden4 жыл бұрын
I don´t think that the piano we see sounds like this. Nice lake. Would like to know where it is.
@mauricemusician76363 жыл бұрын
As you can see there're no microphones on the barge. Like most music videos this's the performers pantomiming to the studio recording.
@christopherczajasager90302 жыл бұрын
Indeed...the visual era......music is for the ears! But the two are very pretty
@ruialex15 жыл бұрын
❤️
@lsbrother4 жыл бұрын
There does not appear to be a microphone so presumably what we are hearing is not them playing on this platform.
@euomu4 жыл бұрын
Duh
@little_lollisweird_uncle54085 жыл бұрын
they don't get seasick while playing?
@mariodisarli10225 жыл бұрын
Of course! Does this ocean liner belong to the Deutsche Gramophon? No icebergs at all! Do you think this "Titanic" can go to the bottom?
@MadaduxumАй бұрын
Interesting with the clarinet, Brahms would have liked it, I'm sure.
@n.b19133 жыл бұрын
GMO ✌🏻✌🏻👍👍🙏🙏👏🏻👏🏻
@marcius73084 жыл бұрын
🙂
@zhenyuw25423 жыл бұрын
💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙💙
@Hajnikovmuz5 жыл бұрын
absolutely uncalled for... there is no need to add images to this music
@om0005 Жыл бұрын
it is going to rain.
@seancloser3 жыл бұрын
Clara, clarinet...
@ColocasiaCorm5 жыл бұрын
This guy. BARF
@nengdayu28125 жыл бұрын
Does anyone know where is it?
@luiioiu8865 Жыл бұрын
...yeap God must be very proud with some of its creations 😏
@archierice3334 жыл бұрын
THE VIDEO IS NICE - BUT JUST LISTEN AND CLOSE YOUR EYES - AND IT GOES WAY BEYOND TWO PEOPLE ON A RAFTER...
@tsfiru80934 жыл бұрын
Может быть еще на люстре или стоя в гамаке?
@christopherczajasager90302 жыл бұрын
The silliest music venue ......
@ronaldbeield79466 ай бұрын
Hate to be the skunk at the garden party, but since this is one of Brahms greatest masterpieces, I don't think the addition of a clarinet adds to or enhances in any way Brahms' original and most personal music which he played mostly for himself in the autumn of his life. He was first and foremost a pianist and I think he would say it is totally unnecessary. I would love to hear Yuja play this on her own someday.
@wrdrennan3 жыл бұрын
I don't see a microphone... hmm. ;-) Lovely nonetheless.
@user-go8yl3nu9d2 жыл бұрын
🇰🇷🇰🇷🇰🇷👍👍🙂😇🙏🙏🙏
@pierrer8145 жыл бұрын
ce contre jour n'est pas genial !! heureusement la musique est là !!
@mariodisarli10225 жыл бұрын
Is it the Atlantic Ocean or the Arctic Ocean? No icebergs at all! Do you think this "Titanic" can go to the bottom?
@pianissimist5 жыл бұрын
As Irving Berlin once wrote, "I know a fine way / to treat a Steinway," and this isn't it. Whoever decided to put this piano on a barge came damned near to committing a Class-C felony. Second, the playing is gorgeous and the arrangement is very much in the spirit of the Brahms clarinet sonatas, but I think Wang could have brought out the countermelody a little more in the trio (first part second time through and third part, before the return).
@flutesgalaxy4 жыл бұрын
haha İf piano fools to sea, ı would jump and try to save it..
@Transition3332 жыл бұрын
Why did you ruin the beautiful, tender ending with pasted videos all over the screen? Please do it over if possible.
@christopherczajasager90302 жыл бұрын
Hope the grand piano was insured.?...and the sound acoustic...not from outdoors
@thricegreatart4 жыл бұрын
NOOOO!!! ROGUE WAVE!!!!!
@nottingham_ChrisAllison4 жыл бұрын
interesting location..lol
@SlobboVideo5 жыл бұрын
A bit over the top innit?
@mariodisarli10225 жыл бұрын
kzfaq.info/get/bejne/oLucY7J_xMzcaI0.html
@capblood30465 жыл бұрын
Oh, my, my-Mario! [etc.-still posting with your multiple YT personalities;-)]? Still sexually confused and sexist over Yuja I see...poor man-I thought by now therapy and drugs would have helped you...
@Bet-vx3fg2 жыл бұрын
volume ratio between instruments isn't good mixed at all. more automation on mix next time
@olivia76875 жыл бұрын
21297
@brkahn3 жыл бұрын
Yuja Wang is a fantastic pianist, that I admire also because she is an independent mind who chooses the pieces she interprets according to her artistic tastes, some in the repertoire and some completely off the beaten track. Here... Brahms' Op. 118 no 2 is certainly not a minor and fashionable choice, but - arranged into a clarinet duo? It does sound good, but a bit... how to say... watered down? Which cannot have anything to do with playing it on a raft, of course. Sorry, but I could not appreciate it, and I find the venture too commercial. This is just my personal reaction.
@s.c.14943 жыл бұрын
Yes Bruno I know what you meant by saying the recording felt commercial. I would said it felt packaged for me, packaged to create a certain ambiance of "beauty". I guess it's done to appeal to the mass and to increase the bottom line, I.e. the album sell (commercial). I am saying this not as a critism to Yuja and Andreas; they both are wonderful musicians. Yuja once said that she would like to share more pieces that she was curious and exploring to her audience but at the same time had to take into consideration of what the audience wanted to hear and what the venue wanted to showcase. The balance of public arts and of that which in a major way sustains it in a capitalist world is always a challenge.
@TSSbaula Жыл бұрын
@@s.c.1494 truly agree both musicians highly respect the art and did not make any exaggeration when interpreting this piece and still respect the art of Brahms and is serious in their performance. ❤
@cliveparaschis2 жыл бұрын
Mozart
@jgdta4 жыл бұрын
much more impressive if the playing was under water....with bubbles...
@staffanolofsson82014 жыл бұрын
This is the most ridicculous thing I´ve ever seen. Playback on a pontoon. No microphones in sight.
@euomu4 жыл бұрын
Your birth was ridiculous
@robertmicelli29462 жыл бұрын
you are ridiculous
@robertmicelli29462 жыл бұрын
um..........wait a minute here, you mean he is alone with Yuja on a raft in the middle of the ocean. i truly hate him