Christian Thielemann

Christian Thielemann

Sunday, October 30, 2016

Jean Sibelius: Valse triste | Édouard Lalo: Symphonie espagnole in D minor | Johannes Brahms: Symphony No.2 in D major – Ray Chen, Orquesta Sinfónica Nacional, Christian Vásquez – Rebroadcast / Livestream














Rebroadcast from Palacio de Bellas Artes, Mexico City

Monday, October 31, 2016, from 1:00 - 3:00 am (EET, UTC+02:00)



Μαγνητοσκοπημένη μετάδοση από το Palacio de Bellas Artes της πόλης του Μεξικού

Δευτέρα 31 Οκτωβρίου 2016, από 1:00 - 3:00 πμ



Jean Sibelius (1865-1957)

♪ Valse triste, Op.44 No.1 (1903)



Édouard Lalo (1823-1892)


♪ Symphonie espagnole in D minor, Op.21 (1874)


i. Allegro non troppo

ii. Scherzando. Allegro molto
iii. Intermezzo. Allegro non troppo
iv. Andante
v. Rondo

Ray Chen, violín



Johannes Brahms (1833-1897)


♪ Symphony No.2 in D major, Op.73 (1877)


i. Allegro non troppo

ii. Adagio non troppo
iii. Allegretto grazioso
iv. Allegro con spirito


Orquesta Sinfónica Nacional
Conductor: Christian Vásquez

Sala Principal del Palacio de Bellas Artes, Mexico City, 2015

Live on Livestream
























See also

Live on Livestream: All Past Events

Saturday, October 29, 2016

Béla Bartók: Piano Concerto No.1 in A major – Yuja Wang, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen














The first evening concert at this year's Baltic Sea Festival in Stockholm brought together a veteran maestro, Esa-Pekka Salonen, with a rising star, pianist Yuja Wang, in a concert of two works from the first half of the 20th century featuring piano and orchestra, Bartók's Piano Concerto Νo.1 and Messiaen's Turangalîla-Symphonie.

In collaboration with the Swedish Radio Symphony Orchestra, Wang and Salonen's strategy was to emphasise, even exaggerate the key features of each piece. In the case of the Bartók, this served to make more plain than ever the concerto's wilful vagueness. Here, Salonen and Wang seemed to be colluding in a large-scale deception, the music continually promising or even appearing to deliver some semblance of clarity, only to be proven superficial, directionally ambiguous, constantly changing tack. Having established such a disorienting context, even more so in the austere second movement which threatens to reduce the soloist to an automaton, this only made the work's brusque tutti eruptions all the more fiery and exhilarating, albeit inscrutable. The strategy's pièce de résistance, though, was in the final movement where Salonen turned the unexpected moments of lyricism – emotional oases in a dry place of feverish momentum – into the lifeblood of the work's joyous concluding romp, somehow making Bartók sound like Gershwin, only with fewer tunes.

Source: Simon Cummings, August 31, 2016 (bachtrack.com)



Η διάσημη Κινέζα πιανίστρια Γιούτζα Ουάνγκ ερμηνεύει το Κοντσέρτο για πιάνο αρ. 1 σε Λα μείζονα, του σημαντικού Ούγγρου συνθέτη Μπέλα Μπάρτοκ. Τη Συμφωνική Ορχήστρα της Σουηδικής Ραδιοφωνίας διευθύνει ο διακεκριμένος Φινλανδός αρχιμουσικός Έσα-Πέκα Σάλονεν. Η συναυλία δόθηκε στην αίθουσα συναυλιών Berwaldhallen στη Στοκχόλμη, στο πλαίσιο του Φεστιβάλ Βαλτικής Θάλασσας, στις 28 Αυγούστου 2016.



Béla Bartók (1881-1945)

♪ Piano Concerto No.1 in A major, Sz. 83, BB 91 (1926)

i. Allegro moderato – Allegro
ii. Andante – attacca
iii. Allegro molto

Yuja Wang, piano

Swedish Radio Symphony Orchestra
Conductor: Esa-Pekka Salonen

Baltic Sea Festival, Stockholm, Berwaldhallen Concert Hall, August 28, 2016

(HD 720p)














The culmination of Béla Bartók's so-called "piano year", 1926, was his Piano Concerto No.1, which he premiered in Frankfurt, in July 1927, with Furtwängler conducting. The work was at best cautiously received; at worst, it met with incomprehension and derision, especially in the United States. Bartók had spent the summer of 1926 reworking his entire approach to composition, abandoning the traditional concept of theme. Instead, he sought to attain a more basic level of expression, working with motifs or note-cells, with narrow range and simple rhythmic impulses.

As he demonstrated in this concerto, however, the reduction was accomplished in order to bring about a new type of elaboration that was both independent of the post-Romantic compositional procedures of the recent past and fully participant in the modern spirit of musical innovation. This composition's close relation to the other major piano works of 1926, exemplified by the Out of Doors piano suite, is immediately evident in the first movement's repeated hammering notes in the lowest register of the piano. Percussion immediately comes to the fore in these introductory bars, where it collaborates with the piano (underscoring Bartók's recent thoughts on the percussive nature of the instrument), while horns blast a fortissimo theme so primitive that it seems less than a theme. Indeed, it is one of two note-cells from which the entire work grows with ever-greater elaboration. The driving pulse is unceasing throughout, while the themes themselves, augmented and extended through variation-style technique, remain somewhat neutral in their emotional cast.

Bartók employs a range of piano effects including glissandi that are not anchored in any tonality, as well as whole-tone scales and tight clusters based on the interval of the minor second (sometimes spaced over an octave). The strings are used sparingly, mostly for textural variety, playing in unison (occasionally in canon), with most of the harmonic work done by the winds. A ritornello of polyphonic fanfares in brass and winds is particularly striking, and its final appearance triggers the brief and uncompromising coda. The strings are silent during the second movement, which is scored for piano, winds, and percussion alone. The ever-present primitive rhythmic pulse is halved here, with piano and percussion opening the movement in stark harmonic black and white. Winds doubled at the octave state a gloomy theme in canon, which expands organically and is answered by the piano in sharp dissonance. Midway through the Andante, the piano slips into a dissonant ostinato in slow 3/8 (soft percussion accompanying), while the winds slowly weave a fine texture based on the main theme. The episode expands and fades, with percussion having the last, nearly inaudible, word.

The frenzied finale is launched by loud percussion, picking up almost attacca from the slow pulse of the preceding movement. Here, the strings join the pulse with a fast, primitive-sounding ostinato (open fifths) over which the martellato theme is pounded out by the piano. The percussive character of the movement, exemplified by a short, insolent trumpet solo, may indicate Bartók's awareness of some of the jazz-influenced works of the 1920s; however, the movement is essentially a wild Hungarian dance. The brass fanfares return, with "night music" (reminiscent of the "Musiques nocturnes", the Out of Doors piano suite), glissandi played by flutes and piano, and the concerto rushes to a spirited conclusion.

Source: Mark Satola (allmusic.com)














Την 1η  Ιουλίου 1927, κατά τη διάρκεια του 5ου Διεθνούς Φεστιβάλ του ISCM (International Society for Contemporary Music) στη Φρανκφούρτη, γίνεται η πρεμιέρα του Κοντσέρτου για πιάνο αρ. 1 του Μπέλα Μπάρτοκ, υπό τη διεύθυνση του μεγάλου Γερμανού μαέστρου Βίλχελμ Φούρτβενγκλερ και σολίστ στο πιάνο τον ίδιο τον συνθέτη.

Μετά από μια περίοδο λιγοστής συνθετικής δραστηριότητας αλλά εκτεταμένης μελέτης, ο Μπάρτοκ επιστρέφει το 1926 εγκαινιάζοντας μια νέα δημιουργική περίοδο. Έχοντας μελετήσει σε βάθος την έντεχνη δυτική μουσική παράδοση (Μπαχ, Μπετόβεν, Ντεμπυσσύ) και έχοντας αποκομίσει πληθώρα εμπειριών από την προσωπική του έρευνα επάνω στη λαϊκή μουσική της πατρίδας του και άλλων χωρών της ανατολικής Ευρώπης, κι έχοντας επίσης δεχτεί επιρροές και από τα σύγχρονά του μουσικά ακούσματα (κυρίως από τον Στραβίνσκι), καταλήγει πλέον στη διαμόρφωση ενός απολύτως προσωπικού και δεξιοτεχνικού στυλ. Όλος αυτό ο «καμβάς» των επιρροών του, βρίσκεται πίσω από τις νότες του Κοντσέρτου για πιάνο αρ. 1: η μπαρόκ πολυφωνία, η κλασική μοτιβική επεξεργασία, οι σκληρές διαφωνίες, τα αιχμηρά ηχοχρώματα και τα ρυθμικά «σφυροκοπήματα» του 20ου αιώνα...

Η πρεμιέρα του Κοντσέρτου είχε μέτρια επιτυχία. Το έργο αποδείχτηκε αρκετά δύσκολο, τόσο για την ορχήστρα όσο και για το ακροατήριο. Ακόμη και ο ίδιος ο Μπάρτοκ παραδέχτηκε ότι το μέρος του πιάνου αποτελεί μεγάλη δοκιμασία για τον ερμηνευτή. Κι έτσι μετά από αυτή την εμπειρία του, φρόντισε ώστε το επόμενο Κοντσέρτο για πιάνο να είναι μελωδικότερο και με λιγότερες τεχνικές δυσκολίες.

Ο Μπέλα Μπάρτοκ γεννήθηκε στις 25 Μαρτίου 1881 στο Nagyszentmiklós, μια μικρή κωμόπολη που ανήκε τότε στην Αυστροουγγρική Αυτοκρατορία (σήμερα η πόλη ονομάζεται Sînnicolau Mare και ανήκει στη Ρουμανία), και πέθανε στις 26 Σεπτεμβρίου 1945, σε ηλικία 64 ετών, σε νοσοκομείο της Νέας Υόρκης. Εκτός από συνθέτης – ένας από τους σημαντικότερους του 20ού αιώνα , υπήρξε πιανίστας και εθνομουσικολόγος. Μεγάλωσε μέσα σ' ένα φιλόμουσο περιβάλλον και έλαβε τα πρώτα μαθήματα πιάνου από τη μητέρα του. Αργότερα σπούδασε πιάνο και σύνθεση στη Βασιλική Μουσική Ακαδημία της Βουδαπέστης. Το τραγούδι μιας γυναίκας από την επαρχία, που άκουσε τυχαία το 1904, πυροδότησε το δια βίου ενδιαφέρον του για την παραδοσιακή μουσική της Ουγγαρίας, της Ρουμανίας και των γύρω περιοχών. Συνέλεξε εκατοντάδες τραγούδια και χορούς, επιμελήθηκε την έκδοσή τους σε συλλογές και μελέτησε σε βάθος την παραδοσιακή μουσική. Επιπλέον ασχολήθηκε με την ενορχήστρωση αρκετών λαϊκών μελωδιών, συνέθεσε έργα βασισμένα σε κάποιες από αυτές και δανείστηκε στοιχεία από διάφορες μουσικές παραδόσεις τα οποία ενσωμάτωσε στις ορχηστρικές του δημιουργίες.

Γενικά, η μουσική του Μπάρτοκ είναι ένα πολύ ιδιαίτερο «μείγμα» στοιχείων τα οποία συνέλεξε και αφομοίωσε από τις «πηγές» που ο ίδιος θαύμαζε: τον Φραντς Λιστ, τον Ρίχαρντ Στράους, τον Κλωντ Ντεμπυσσύ, την παραδοσιακή μουσική και τον Ιγκόρ Στραβίνσκι. Η μελωδική γονιμότητα και η ρυθμική ζωντάνια είναι τα κύρια χαρακτηριστικά που εξασφάλισαν την αθανασία σε όλο το έργο του.

Πηγή: Άρης Δημοκίδης (lifo.gr)


Photo by Norbert Kniat
Yuja Wang was born in Beijing on February 10, 1987, and encouraged at a young age to make music by her dancer mother and percussionist father, starting the never-ending thirst for knowledge that has sustained her musical development. Yuja began piano lessons at the age of six and her progress was accelerated by studies at Beijing's Central Conservatory of Music. In 1999 she moved to Canada to participate in the Morningside Music summer programme at Calgary's Mount Royal College and thereafter enrolled as the youngest ever student at Mount Royal Conservatory. Wang's exceptional gifts were widely recognised in 2001 with her appointment as a Steinway Artist, and again the following year when she was offered a place at Philadelphia's prestigious Curtis Institute of Music where she studied with Gary Graffman.

By the time Yuja graduated from the Curtis Institute in May 2008, she had already gathered momentum following the spectacular success of her debut three years earlier with the National Arts Center Orchestra in Ottawa. Wang attracted widespread international attention in March 2007 when she replaced Martha Argerich on short notice in performances of Tchaikovsky's Piano Concerto No.1 with the Boston Symphony Orchestra, and within the span of just a few seasons she was working with conductors of the highest calibre. Over the past ten years of her career, she has worked with such pre-eminent Maestros as Claudio Abbado, Daniel Barenboim, Valery Gergiev, Michael Tilson Thomas, Antonio Pappano, Charles Dutoit, and Zubin Mehta.

In January 2009 Yuja Wang became an exclusive Deutsche Grammophon recording artist. Her debut album, Sonatas & Etudes, prompted Gramophone to name her as its 2009 Young Artist of the Year. Her 2011 release of Rachmaninov's Second Concerto and Paganini Rhapsody with the Mahler Chamber Orchestra and Claudio Abbado was nominated for a Grammy Award in the Best Classical Instrumental Solo category. Subsequent releases for the yellow label include Fantasia, an album of encore pieces by Albéniz, Bach, Chopin, Rachmaninov, Saint-Saëns, Scriabin, and others; a live recording of Prokofiev's Concertos Nos. 2 and 3 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra, and an acclaimed coupling of Ravel's two piano concertos with Fauré's Ballade, recorded with the Tonhalle Orchestra Zurich and Lionel Bringuier. Reviewers around the world have documented the full range of Wang's work, capturing the essence of her musicianship and observing the development of an artist blessed with consummate technical prowess, an inexhaustible creative imagination, and an unmatched stamina.

She was recently described by the New York Times as "one of the best young pianists around" and hailed by the Sydney Morning Herald for her "blistering technique". In July 2015 the Los Angeles Times declared: "Hers is a nonchalant, brilliant keyboard virtuosity that would have made both Prokofiev (who was a great pianist) and even the fabled Horowitz jealous". The combination of critical acclaim, audience ovations, return engagements at leading international venues, and an exclusive recording relationship with Deutsche Grammophon confirm the 29-year old pianist's status as one of this century's most compelling artists.

The international reach and artistic breadth of Yuja Wang's 2016-2017 schedule reflects the strong demand for her work. She unveils her new season in the summer of 2016 with a run of recitals, chamber concerts and concerto performances at the Salzburg, Wolftrap, Tanglewood, Verbier and Baltic Sea festivals including collaborations with Matthias Goerne, Leonidas Kavakos, Lionel Bringuier, Gustavo Gimeno and the Boston Symphony Orchestra. Following her initial NCPA residency concerts, Wang embarks on an extensive recital tour of China and Japan in September before traveling to the United States to open the Philadelphia Orchestra's season with three performances of Chopin's Piano Concerto No.2 in partnership with Yannick-Nézet-Séguin.

Yuja's way of making music connects with a strikingly broad audience. It appeals to everyone, from newcomers to the concert hall to devoted pianophiles, and has attracted an exceptionally youthful following. Her love for fashion, recently recognised by her induction into Giorgio Armani's Sì Women's Circle, has also contributed to the popular appeal of an artist who is armed with the ability to challenge convention and win fresh converts to classical music. She is set to broaden her audience throughout the 2016-2017 season, not least through her term as Artist-in-Residence at China's National Centre for the Performing Arts as well as the Konserthuset in Stockholm. The Beijing-born pianist returns to her home city in August for the first of six specially curated concerts at the NCPA, where she will explore programmes of Romantic and 20th-century repertoire in solo, chamber, and orchestral concerts. Her time in Stockholm will be filled by chamber music with Leonidas Kavakos, Bartok with the Royal Stockholm Philharmonic Orchestra and Maestro Sakari Oramo as well as a recital programme.

Other bold highlights of Yuja Wang's 2016-2017 season include a nine-concert Asian tour with the San Francisco Symphony Orchestra and Michael Tilson Thomas; performances of Ravel's Piano Concerto in G with the London Symphony Orchestra and Gianandrea Noseda at New York's Lincoln Center and the New Jersey Performing Arts Center, and an extensive spring tour of Europe with the Orchestra dell'Accademia Nazionale di Santa Cecilia and Antonio Pappano. In December she joins forces with percussionist Martin Grubinger for concerts in Vienna, Munich, Zurich, and Tel Aviv, and marks the new year with extensive recital tours of Europe and the United States with violinist Leonidas Kavakos. Wang will also undertake a major solo European recital tour in March and April, complete with concerts in Amsterdam, Berlin, Paris, Vienna and London, and many other cities.

Over the next season's course, Yuja will explore everything from chamber works by Beethoven and Brahms to concertos by Chopin and Shostakovich. Her profound affinity for Bartók falls under the spotlight when she explores each of the composer's three piano concertos, with performances of individual works in Beijing, Cleveland, Dallas, Guangzhou, Stockholm, Taiwan and Toronto, and of the complete set with the Los Angeles Philharmonic Orchestra and Gustavo Dudamel over two consecutive weeks in May and June.

Source: yujawang.com


Photo by Katja Tähjä
Esa-Pekka Salonen (b. 1958, Helsinki) has a restless innovation that marks him as one of the most important artists in classical music. Salonen is the Principal Conductor and Artistic Advisor of the Philharmonia Orchestra and Conductor Laureate for the Los Angeles Philharmonic, where he was Music Director from 1992 until 2009. This season will find him as the Marie-Josée Kravis Composer-in-Residence at the New York Philharmonic, a three-year position. He is Artistic Director and cofounder of the annual Baltic Sea Festival, which invites celebrated artists to promote unity and ecological awareness among the countries around the Baltic Sea.

Salonen takes the Philharmonia Orchestra to the Edinburgh International Festival, the BBC Proms, on tour in Switzerland and France, and will lead the Myths and Rituals festival, an exploration of Stravinsky's work that continues into next season. He will make guest appearances with the North German and Bavarian radio symphony orchestras; the New York, Vienna, and Los Angeles philharmonics; the Orchestre de Paris; the Chicago Symphony Orchestra, and the joint forces of the Swedish Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra, united for the first time, in addition to conducting Strauss's Elektra at the Metropolitan Opera and Bartók's Le Château de Barbe-Bleue and Poulenc's La Voix Humaine at the Paris Opera.

Salonen's work combines intricacy and technical virtuosity with playful rhythmic and melodic innovations. His pieces for symphony orchestra include LA Variations (1996), Foreign Bodies (2001), Insomnia (2002), Wing on Wing (2004), and Nyx (2011), as well as two concertos: for pianist Yefim Bronfman and for violinist Leila Josefowicz. The latter was awarded the prestigious Grawemeyer Award and was featured in a 2014 international Apple ad campaign for iPad. In 2014 the Tonhalle Zurich Orchestra, where he was the first-ever Creative Chair, premiered Karawane for orchestra and chorus, to great acclaim. Karawane will be performed this season by the Swedish Radio Symphony Orchestra, the Bavarian Radio Symphony Orchestra, the Los Angeles Philharmonic, and the New York Philharmonic.

Salonen and the Philharmonia have curated landmark multi-disciplinary projects, such as the award-winning RE-RITE and Universe of Sound installations, which allow the public to conduct, play, and step inside the Philharmonia with Salonen through audio and video projections. Salonen also drove the development of an app for iPad, The Orchestra, which allows the user unprecedented access to the internal workings of eight symphonic works.

Source: esapekkasalonen.com



Ο Έσα-Πέκκα Σάλονεν (γενν. 1958, Ελσίνκι) σπούδασε κόρνο, σύνθεση και διεύθυνση ορχήστρας στην Ακαδημία Σιμπέλιους της γενέτειράς του κι έκανε το ντεμπούτο του ως αρχιμουσικός με τη Συμφωνική Ορχήστρα της Φινλανδικής Ραδιοφωνίας το 1979. Το 1985, ανέλαβε τη θέση του βασικού αρχιμουσικού της Συμφωνικής Ορχήστρας της Σουηδικής Ραδιοφωνίας όπου παρέμεινε για μια δεκαετία, ενώ την ίδια χρονιά ανέλαβε τη θέση του βασικού προσκεκλημένου μαέστρου της Φιλαρμόνια, την οποία διατήρησε ως το 1994. Υπήρξε διευθυντής του Φεστιβάλ του Ελσίνκι (1995-1996) και μουσικός διευθυντής της Φιλαρμονικής Ορχήστρας του Λος Αντζελες από το 1992. Την καλλιτεχνική περίοδο 2008-2009, ανανέωσε τη συνεργασία του με τη Φιλαρμόνια του Λονδίνου, αναλαμβάνοντας τη θέση του μόνιμου μαέστρου και καλλιτεχνικού συμβούλου της Ορχήστρας.

Έχει τιμηθεί με πολλά σημαντικά βραβεία διεθνώς και έχει να επιδείξει πλούσια δισκογραφική δραστηριότητα, ενώ είναι γνωστός, μεταξύ άλλων, για τις ερμηνείες έργων σύγχρονης μουσικής, πολλά από αυτά σε παγκόσμια πρεμιέρα. Παράλληλα, είναι καλλιτεχνικός διευθυντής του Φεστιβάλ Βαλτικής Θάλασσας, του οποίου υπήρξε συνιδρυτής (2003). Πρόκειται για την ετήσια διοργάνωση που διεξάγεται κάθε Αύγουστο στη Στοκχόλμη και στην ευρύτερη περιοχή της Βαλτικής, φιλοξενώντας διάσημες ορχήστρες, αρχιμουσικούς και σολίστες, με στόχο την προώθηση των δεσμών φιλίας και αφύπνισης της οικολογικής συνείδησης των χωρών αυτών.

Παράλληλα με την καριέρα του ως αρχιμουσικός, ο Έσα-Πέκκα Σάλονεν έχει αναπτύξει αξιόλογη δραστηριότητα ως συνθέτης – πέρα από τις σχετικές σπουδές του στο Ελσίνκι, αργότερα συνέχισε στην Ιταλία – και κάθε νέο έργο του αναμένεται με ιδιαίτερο ενδιαφέρον από την παγκόσμια μουσική κοινότητα.

Πηγή: greekfestival.gr










































































More photos / Περισσότερες φωτογραφίες


See also / Δείτε επίσης


Sergei Rachmaninov: Piano Concerto No.3 in D minor | Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel (Audio video & Download 96kHz/24bit)

George Gershwin: Rhapsody in Blue – Yuja Wang, Camerata Salzburg, Lionel Bringuier


Maurice Ravel: Piano Concerto in G major – Yuja Wang, Camerata Salzburg, Lionel Bringuier


George Gershwin: Piano Concerto in F major | Dmitri Shostakovich: Symphony No.5 in D minor – Yuja Wang, London Symphony Orchestra, Michael Tilson Thomas


Sergei Rachmaninov: Piano Concerto No.2 in C minor – Yuja Wang, Verbier Festival Orchestra, Yuri Termikanov (HD 1080p)


Yuja Wang and the Art of Performance


Maurice Ravel: Piano Concertos – Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier (Audio video)


Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Berliner Philharmoniker, Paavo Järvi


Yuja Wang plays Robert Schumann, Maurice Ravel and Ludwig van Beethoven at Verbier Festival 2016


Yuja Wang, the pianist who will not go quietly


Sergei Prokofiev: Piano Concerto No.3 in C major – Yuja Wang, Lucerne Festival Orchestra, Claudio Abbado



Leonidas Kavakos, violin & Yuja Wang, piano

Friday, October 28, 2016

Sergei Rachmaninov: Piano Concerto No.3 in D minor | Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel (Audio video & Download 96kHz/24bit)






















Caracas, February 2013. The Simón Bolívar Symphony Orchestra, now the international flagship of Venezuela's transformative network of music schools and youth orchestras known as El Sistema, has assembled in the concert hall of its Centro de Acción Social por la Música. Here Yuja Wang, the young Chinese virtuoso, has taken on a challenge substantial enough to make any pianist flinch. She is performing in one concert two of the most demanding piano concertos in the repertoire: Prokofiev's second and Rachmaninov's third.

On the podium is Venezuela's dynamic superstar conductor Gustavo Dudamel; and the orchestra, made up of young players mainly in their 20s, is ready to respond with all their habitual vitality, in one of the concerts that are celebrating the 38th anniversary of El Sistema's founding.

Making her first visit to Caracas, Wang declares herself enchanted by the place and the people. "It's so adorable, lovable and warm – and I don't just mean the weather", she says. "Everything feels very spontaneous and that totally fits with my temperament." She and Dudamel, well aware of each other as musicians before they ever met, had hoped to work together some day; and according to Dudamel the opportunity arrived sooner than expected. "It came about as if by magic", he declares. "Our schedules looked really full – but I was in Los Angeles at the Hollywood Bowl and they said, ‘We have a soloist you might be interested in...’" And so, in summer 2012, Dudamel conducted Wang in Tchaikovsky's Piano Concerto No.1. "Now, just a few months later, here she is, working with us in Caracas."

Prokofiev's Second Piano Concerto is less popular than his third, which presents perhaps a greater challenge to the soloist, particularly in the long and ferociously complex first-movement cadenza. This highly concentrated, four-movement work occupies a dark sphere in its composer's psyche: Prokofiev wrote it in 1912-1913 in memory of a friend from the St Petersburg Conservatory, Maximilian Schmidthof, who had taken his own life. The original score was destroyed in a fire after the Russian Revolution of 1917: Prokofiev subsequently redrafted it, and gave the new version's première himself in 1924. "It's very powerful emotionally,” says Wang. "The piece is really demanding for both me and the orchestra. But I love playing it because there's so much character and so much colour. There are qualities that are unique to this concerto: sinister, sarcastic, abstract ideas that can come off only when we're playing absolutely together." Dudamel adds: "For us, it's also a big technical challenge – and it's an amazing piece, very compact and very well constructed".

Rachmaninov's Piano Concerto No.3 is the longest, most ambitious and most notoriously complex in technical terms of his works for piano and orchestra. It was written just three years before the Prokofiev concerto, in 1909, yet its romanticism seems to breathe the air of the 19th century rather than the 20th, to which Prokofiev's so evidently belongs. "This of course is one of the most famous of all piano concertos", says Dudamel, "and the important thing is to have a soloist who really connects with the orchestra. It can sometimes be a piece in which the pianist feels inspired in the moment, does his or her own thing and the orchestra has to follow – but Yuja has a wonderful quality in that she listens to us all the time. We connect as if we were playing chamber music".

Wang's accounts of the work around the world have been praised in no uncertain terms, with the San Francisco Chronicle, for one, noting "the depth and imagination she brought to the entire score, and the way she made the piece's virtuosic angle just one part of its purpose".

The pianist herself remarks that one of this concerto's greatest challenges for the soloist is how to maintain the narrative line across the music's substantial span. "It's a long story, very Russian", she says, "and full of every kind of emotion. It's been recorded many times, but I'm happy that this recording captures the energy levels of our live performance. I think it's a little explosive, but controlled and very communicative".

Wang first heard the Simón Bolívar Symphony Orchestra at Carnegie Hall, New York, a few years ago, and she recalls being bowled over by the energy, enthusiasm and power of its young players. "I think it was the most exciting concert I've been to", she says. "It made people feel like they're living in another world. And that's what music should do to people, it's the essence of music."

Working with them did not disappoint: "They are all around my own age, which doesn't happen often, and what has really struck me is how responsive they are. In the rehearsals I found that if I asked them to do something in the music, they'd not only do it at once, but they'd do it about a thousand times better than I'd imagined. I could have gone on rehearsing for hours and hours because I was having so much fun".

Dudamel feels that this is a landmark recording for the Simón Bolívar Symphony Orchestra: "It is the first album we've recorded with a soloist", he says, "and that's something important, because previously the orchestra has always recorded symphonic music – Mahler, Beethoven, Stravinsky... We were waiting to record with a soloist who could connect with us in this way. Yuja is very young and very talented, we're of the same generation and together we are all building a new generation of musicians and audiences. It's great that we are recording with her in Simón Bolívar Hall in our centre here in Caracas".

Source: Jessica Duchen (CD Booklet)



Η διάσημη Κινέζα πιανίστρια Γιούτζα Ουάνγκ ερμηνεύει το Κοντσέρτο για πιάνο αρ. 3 σε Ρε ελάσσονα, έργο 30, του Σεργκέι Ραχμάνινοφ, και το Κοντσέρτο για πιάνο αρ. 2 σε Σολ ελάσσονα, έργο 16, του Σεργκέι Προκόφιεφ. Τη Συμφωνική Ορχήστρα Σιμόν Μπολιβάρ της Βενεζουέλας διευθύνει ο σπουδαίος Βενεζουελανός αρχιμουσικός Γκουστάβο Ντουνταμέλ. Η ζωντανή ηχογράφηση έγινε στην Αίθουσα «Σιμόν Μπολιβάρ» στο Εθνικό Κέντρο Κοινωνικής Δράσης μέσω της Μουσικής (Centro de Acción Social por la Música) στο Καράκας της Βενεζουέλας, τον Φεβρουάριο του 2013.



Sergei Rachmaninov (1873-1943)

♪ Piano Concerto No.3 in D minor, Op.30 (1909)

i. Allegro ma non tanto
ii. Intermezzo. Adagio
iii. Finale. Alla breve


Sergei Prokofiev (1891-1953)

♪ Piano Concerto No.2 in G minor, Op.16 (1912-1913)

i. Andantino – Allegretto
ii. Scherzo. Vivace
iii. Intermezzo. Allegro moderato
iv. Finale. Allegro tempestoso


Yuja Wang, piano

Simón Bolívar Symphony Orchestra of Venezuela
Conductor: Gustavo Dudamel

Live Recording: Sala Simón Bolívar, Centro de Acción Social por la Música, Caracas, February 2013

Deutsche Grammophon 2013

(HD 1080p – Audio video)

&

Download the CD using torrent | Κατεβάστε το CD χρησιμοποιώντας torrent

Link

(Size: 1.27 GB – 96kHz/24bit)


Photo by Nohely Oliveros






















Deutsche Grammophon's dramatic pairing of Sergei Rachmaninov's Piano Concerto No.3 in D minor with Sergei Prokofiev's Piano Concerto No.2 in G minor makes this CD a brilliant showcase for pianist Yuja Wang and maestro Gustavo Dudamel, two of the biggest sensations on the label. Wang previously released Rachmaninov's Rhapsody on a Theme of Paganini and the Piano Concerto No.2 with Claudio Abbado conducting the Mahler Chamber Orchestra, an ensemble that seemed nearly ideal for accompanying her delicate and often intimate style of playing. However, the usually robust sound of the Simón Bolívar Symphony Orchestra of Venezuela is reined in somewhat on this recording of the Third, if not to be more subdued for Wang's playing, then perhaps to control the effect of Rachmaninov's thick orchestral writing. For whatever reason, Wang's playing is clear and generally well-balanced in the audio mix, though there is some artificial boosting of the volume. In terms of clarity and orchestral density, the Prokofiev Second is a different matter entirely, for the solo part is always audible, and the accompaniment is, for the most part, quite transparent. Wang is shown to better advantage here, and Dudamel has more options to work with, so this exciting performance really deserves top billing, despite the overwhelming popularity of the Rachmaninov work.

Source: Blair Sanderson  (allmusic.com)


Photo by Leila Méndez
Yuja Wang was born in Beijing on February 10, 1987, and encouraged at a young age to make music by her dancer mother and percussionist father, starting the never-ending thirst for knowledge that has sustained her musical development. Yuja began piano lessons at the age of six and her progress was accelerated by studies at Beijing's Central Conservatory of Music. In 1999 she moved to Canada to participate in the Morningside Music summer programme at Calgary's Mount Royal College and thereafter enrolled as the youngest ever student at Mount Royal Conservatory. Wang's exceptional gifts were widely recognised in 2001 with her appointment as a Steinway Artist, and again the following year when she was offered a place at Philadelphia's prestigious Curtis Institute of Music where she studied with Gary Graffman.

By the time Yuja graduated from the Curtis Institute in May 2008, she had already gathered momentum following the spectacular success of her debut three years earlier with the National Arts Center Orchestra in Ottawa. Wang attracted widespread international attention in March 2007 when she replaced Martha Argerich on short notice in performances of Tchaikovsky's Piano Concerto No.1 with the Boston Symphony Orchestra, and within the span of just a few seasons she was working with conductors of the highest calibre. Over the past ten years of her career, she has worked with such pre-eminent Maestros as Claudio Abbado, Daniel Barenboim, Valery Gergiev, Michael Tilson Thomas, Antonio Pappano, Charles Dutoit, and Zubin Mehta.

In January 2009 Yuja Wang became an exclusive Deutsche Grammophon recording artist. Her debut album, Sonatas & Etudes, prompted Gramophone to name her as its 2009 Young Artist of the Year. Her 2011 release of Rachmaninov's Second Concerto and Paganini Rhapsody with the Mahler Chamber Orchestra and Claudio Abbado was nominated for a Grammy Award in the Best Classical Instrumental Solo category. Subsequent releases for the yellow label include Fantasia, an album of encore pieces by Albéniz, Bach, Chopin, Rachmaninov, Saint-Saëns, Scriabin, and others; a live recording of Prokofiev's Concertos Nos. 2 and 3 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra, and an acclaimed coupling of Ravel's two piano concertos with Fauré's Ballade, recorded with the Tonhalle Orchestra Zurich and Lionel Bringuier. Reviewers around the world have documented the full range of Wang's work, capturing the essence of her musicianship and observing the development of an artist blessed with consummate technical prowess, an inexhaustible creative imagination, and an unmatched stamina.

She was recently described by the New York Times as "one of the best young pianists around" and hailed by the Sydney Morning Herald for her "blistering technique". In July 2015 the Los Angeles Times declared: "Hers is a nonchalant, brilliant keyboard virtuosity that would have made both Prokofiev (who was a great pianist) and even the fabled Horowitz jealous". The combination of critical acclaim, audience ovations, return engagements at leading international venues, and an exclusive recording relationship with Deutsche Grammophon confirm the 29-year old pianist's status as one of this century's most compelling artists.

The international reach and artistic breadth of Yuja Wang's 2016-2017 schedule reflects the strong demand for her work. She unveils her new season in the summer of 2016 with a run of recitals, chamber concerts and concerto performances at the Salzburg, Wolftrap, Tanglewood, Verbier and Baltic Sea festivals including collaborations with Matthias Goerne, Leonidas Kavakos, Lionel Bringuier, Gustavo Gimeno and the Boston Symphony Orchestra. Following her initial NCPA residency concerts, Wang embarks on an extensive recital tour of China and Japan in September before traveling to the United States to open the Philadelphia Orchestra's season with three performances of Chopin's Piano Concerto No.2 in partnership with Yannick-Nézet-Séguin.

Yuja's way of making music connects with a strikingly broad audience. It appeals to everyone, from newcomers to the concert hall to devoted pianophiles, and has attracted an exceptionally youthful following. Her love for fashion, recently recognised by her induction into Giorgio Armani's Sì Women's Circle, has also contributed to the popular appeal of an artist who is armed with the ability to challenge convention and win fresh converts to classical music. She is set to broaden her audience throughout the 2016-2017 season, not least through her term as Artist-in-Residence at China's National Centre for the Performing Arts as well as the Konserthuset in Stockholm. The Beijing-born pianist returns to her home city in August for the first of six specially curated concerts at the NCPA, where she will explore programmes of Romantic and 20th-century repertoire in solo, chamber, and orchestral concerts. Her time in Stockholm will be filled by chamber music with Leonidas Kavakos, Bartok with the Royal Stockholm Philharmonic Orchestra and Maestro Sakari Oramo as well as a recital programme.

Other bold highlights of Yuja Wang's 2016-2017 season include a nine-concert Asian tour with the San Francisco Symphony Orchestra and Michael Tilson Thomas; performances of Ravel's Piano Concerto in G with the London Symphony Orchestra and Gianandrea Noseda at New York's Lincoln Center and the New Jersey Performing Arts Center, and an extensive spring tour of Europe with the Orchestra dell'Accademia Nazionale di Santa Cecilia and Antonio Pappano. In December she joins forces with percussionist Martin Grubinger for concerts in Vienna, Munich, Zurich, and Tel Aviv, and marks the new year with extensive recital tours of Europe and the United States with violinist Leonidas Kavakos. Wang will also undertake a major solo European recital tour in March and April, complete with concerts in Amsterdam, Berlin, Paris, Vienna and London, and many other cities.

Over the next season's course, Yuja will explore everything from chamber works by Beethoven and Brahms to concertos by Chopin and Shostakovich. Her profound affinity for Bartók falls under the spotlight when she explores each of the composer's three piano concertos, with performances of individual works in Beijing, Cleveland, Dallas, Guangzhou, Stockholm, Taiwan and Toronto, and of the complete set with the Los Angeles Philharmonic Orchestra and Gustavo Dudamel over two consecutive weeks in May and June.

Source: yujawang.com


Watch the trailer / Δείτε το trailer (2013, HD 1080p)



Watch the trailer for Yuja Wang's new album with Gustavo Dudamel and the Simon Bolivar Symphony Orchestra of Venezuela. The album contains Rachmaninov's Piano concerto No.3 and Prokofiev's Piano concerto No.2 and is released on Deutsche Grammophon.

The album captures the extraordinary energy levels of a very special evening in Caracas. Rachmaninov's hugely popular Piano Concerto No.3 is his longest, most ambitious and most technically complex work for piano and orchestra. Prokofiev's Piano Concerto No.2 is phenomenally emotional and intense music that also presents huge technical challenges for the soloist – particularly in the long and ferociously complex first movement cadenza.


Photo by Harald Hoffmann






















Photo by Nohely Oliveros






















Photo by Nohely Oliveros






















More photos


See also


Béla Bartók: Piano Concerto No.1 in A major – Yuja Wang, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen

George Gershwin: Rhapsody in Blue – Yuja Wang, Camerata Salzburg, Lionel Bringuier

Maurice Ravel: Piano Concerto in G major – Yuja Wang, Camerata Salzburg, Lionel Bringuier

George Gershwin: Piano Concerto in F major | Dmitri Shostakovich: Symphony No.5 in D minor – Yuja Wang, London Symphony Orchestra, Michael Tilson Thomas


Sergei Rachmaninov: Piano Concerto No.2 in C minor – Yuja Wang, Verbier Festival Orchestra, Yuri Termikanov (HD 1080p)


Yuja Wang and the Art of Performance


Maurice Ravel: Piano Concertos – Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier (Audio video)


Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Berliner Philharmoniker, Paavo Järvi


Yuja Wang plays Robert Schumann, Maurice Ravel and Ludwig van Beethoven at Verbier Festival 2016


Yuja Wang, the pianist who will not go quietly


Sergei Prokofiev: Piano Concerto No.3 in C major – Yuja Wang, Lucerne Festival Orchestra, Claudio Abbado



Leonidas Kavakos, violin & Yuja Wang, piano

Wednesday, October 26, 2016

George Gershwin: Rhapsody in Blue – Yuja Wang, Camerata Salzburg, Lionel Bringuier













Under the baton of French conductor Lionel Bringuier, one of the most promising conductors of his generation, the Camerata Salzburg performs the "Rhapsody in Blue" by American composer George Gershwin, interpreted by Chinese pianist Yuja Wang. Yuja is especially recognized for her playing which combines the fearless imagination of youth with the discipline and precision of a mature artist.



Υπό τη διεύθυνση του Γάλλου μαέστρου Lionel Bringuier, ενός από τους πλέον υποσχόμενους διευθυντές ορχήστρας της γενιάς του, η Καμεράτα του Σάλτσμπουργκ παρουσιάζει τη «Γαλάζια Ραψωδία» του Τζορτζ Γκέρσουιν. Ερμηνεύει η διάσημη Κινέζα πιανίστρια Γιούτζα Ουάνγκ. Η συναυλία δόθηκε στο πλαίσιο του Φεστιβάλ του Σάλτσμπουργκ στην Αυστρία, στο θέατρο Haus für Mozart, στις 12 Αυγούστου 2016.



George Gershwin (1898-1937)

♪ Rhapsody in Blue (1924)

Yuja Wang, piano

Camerata Salzburg
Conductor: Lionel Bringuier

Austria, Salzburg Festival, Haus für Mozart, August 12, 2016

(HD 720p)














Late at night on 3 January 1924, George Gershwin, his brother Ira and lyricist Buddy DeSylva were having a game in the Ambassador Billiard Parlor at 52nd Street on Broadway, when an item in the amusement section of the New York Tribune caught Ira's attention. It was about a concert of new American music to be given by Paul Whiteman and his Palais Royal Band at Aeolian Hall on 12 February – Abraham Lincoln's birthday.

"George Gershwin is at work on a jazz concerto", ran the article, "Irving Berlin is writing a syncopated tone poem…"

It was all news to George. His musical comedy, Sweet Little Devil, was set to open in just three weeks. And now he had to write a concerto by 12 February as well?

Paul Whiteman was the most popular bandleader of the 1920s and enjoyed the title "King of Jazz" – although this was no jazz band; rather it was a large dance orchestra that used jazz musicians from time to time.

But Whiteman twisted Gershwin's arm that all he had to do was supply a piano score. Ferde Grofé, Whiteman's brilliant in-house arranger, would be able to orchestrate the work tailored to the band's line-up.

While he was on the train to Boston for rehearsals of his musical, Gershwin sketched out a framework for the new piece, which he began writing on 7 January. Over the next few days, while he also made last-minute changes to ready Sweet Little Devil for its New York opening on 24 January, the genius completed a two-piano score.

What Gershwin produced was not a "jazz concerto" but a rhapsodic work for "piano and jazz band" incorporating elements of European symphonic music and American jazz with his inimitable melodic gift and keyboard facility.

Gershwin's original title for it was American Rhapsody. But, by chance, Ira had been to an exhibition of Whistler's paintings and saw the painter's Nocturne In Blue And Green of the Thames at Chelsea. Why not call the new piece Rhapsody In Blue instead, he suggested. The title would reflect the European and American influences. Also at Ira's suggestion, George contrasted the syncopated character that dominates the tune with an expressive romantic theme the composer had previously improvised at a party.

The Rhapsody, with its composer as soloist, was premièred in front of a packed house that included such musical luminaries as the composer Rachmaninov , the violinist Fritz Kreisler and the conductor Leopold Stokowski.

Despite not yet having written down much of the piano part, Gershwin scored a triumphant success with the work which today is hailed as a landmark in American music.

Source: Jane Jones (classicfm.com)













Η «Γαλάζια Ραψωδία» για πιάνο και ορχήστρα, του Τζορτζ Γκέρσουιν, αποτελεί  το «σήμα κατατεθέν» της συνθετικής ιδιοφυΐας του σπουδαίου Αμερικανού δημιουργού, που έφυγε νωρίς από τη ζωή, το 1937, σε ηλικία μόλις 39 ετών. Το εισαγωγικό μέρος με το γκλισάντο* του κλαρινέτου είναι τόσο οικείο στο αφτί του μέσου ακροατή, όσο οι πρώτες νότες της «Πέμπτης» του Μπετόβεν.

Ο  πρωτότυπος τίτλος του έργου στα αγγλικά είναι "Rhapsody in Blue". Στα ελληνικά αποδόθηκε εσφαλμένα ως «Γαλάζια Ραψωδία», αλλά επικράτησε. Το "blue" του τίτλου παραπέμπει στις λεγόμενες «μπλου νότες» (blue notes) του μπλουζ και της τζαζ, που για εκφραστικούς λόγους παρεκκλίνουν από το τονικό ύψος μιας νότας της μείζονος κλίμακας.

Η «Γαλάζια Ραψωδία» γράφτηκε σε διάστημα τριών εβδομάδων το 1924, κατόπιν παραγγελίας του Πολ Ουάιτμαν, διακεκριμένου μαέστρου τζαζ μπάντας, που ζήτησε από τον Γκέρσουιν ένα τζαζ κοντσέρτο και εκείνος του παρέδωσε μία ραψωδία, δηλαδή μια μουσική σύνθεση με σχετική δομική και μελωδική ελευθερία. Ο συνθέτης εμπνεύστηκε το έργο μέσα σ' ένα τρένο στη διαδρομή Νέα Υόρκη - Βοστόνη. «Μέσα από τους θορύβους ενός τρένου πάντα ακούω μουσική», έλεγε στον βιογράφο του.

Η πρώτη εκτέλεση του έργου δόθηκε από την μπάντα του Πολ Ουάιτμαν στις 12 Φεβρουαρίου 1924 στη Νέα Υόρκη, με καταπληκτική επιτυχία. Αργότερα, ο συνεργάτης του Γκέρσουιν, Φερντ Γκροφέ (1892-1972), το μετέγραψε για συμφωνική ορχήστρα, όπως είναι σήμερα γνωστό.

Ο Γκέρσουιν στο έργο του συνδυάζει τρία βασικά στοιχεία της βορειοαμερικανικής μουσικής: τη βασισμένη στο πιάνο λαϊκή παράδοση, τη μουσική για το θέατρο ποικιλιών (βαριετέ) και ό,τι περιλαμβάνεται στην ατμόσφαιρα της αφροαμερικανικής μουσικής (μπλουζ και τζαζ).

* Το «γκλισάντο» είναι η εντύπωση της ολισθήσεως που παράγεται όταν παίζονται σε γρήγορη διαδοχή παρακείμενες νότες.

Πηγή: sansimera.gr













Yuja Wang was born in Beijing on February 10, 1987, and encouraged at a young age to make music by her dancer mother and percussionist father, starting the never-ending thirst for knowledge that has sustained her musical development. Yuja began piano lessons at the age of six and her progress was accelerated by studies at Beijing's Central Conservatory of Music. In 1999 she moved to Canada to participate in the Morningside Music summer programme at Calgary's Mount Royal College and thereafter enrolled as the youngest ever student at Mount Royal Conservatory. Wang's exceptional gifts were widely recognised in 2001 with her appointment as a Steinway Artist, and again the following year when she was offered a place at Philadelphia's prestigious Curtis Institute of Music where she studied with Gary Graffman.

By the time Yuja graduated from the Curtis Institute in May 2008, she had already gathered momentum following the spectacular success of her debut three years earlier with the National Arts Center Orchestra in Ottawa. Wang attracted widespread international attention in March 2007 when she replaced Martha Argerich on short notice in performances of Tchaikovsky's Piano Concerto No.1 with the Boston Symphony Orchestra, and within the span of just a few seasons she was working with conductors of the highest calibre. Over the past ten years of her career, she has worked with such pre-eminent Maestros as Claudio Abbado, Daniel Barenboim, Valery Gergiev, Michael Tilson Thomas, Antonio Pappano, Charles Dutoit, and Zubin Mehta.

In January 2009 Yuja Wang became an exclusive Deutsche Grammophon recording artist. Her debut album, Sonatas & Etudes, prompted Gramophone to name her as its 2009 Young Artist of the Year. Her 2011 release of Rachmaninov's Second Concerto and Paganini Rhapsody with the Mahler Chamber Orchestra and Claudio Abbado was nominated for a Grammy Award in the Best Classical Instrumental Solo category. Subsequent releases for the yellow label include Fantasia, an album of encore pieces by Albéniz, Bach, Chopin, Rachmaninov, Saint-Saëns, Scriabin, and others; a live recording of Prokofiev's Concertos Nos. 2 and 3 with Gustavo Dudamel and the Simón Bolívar Symphony Orchestra, and an acclaimed coupling of Ravel's two piano concertos with Fauré's Ballade, recorded with the Tonhalle Orchestra Zurich and Lionel Bringuier. Reviewers around the world have documented the full range of Wang's work, capturing the essence of her musicianship and observing the development of an artist blessed with consummate technical prowess, an inexhaustible creative imagination, and an unmatched stamina.

She was recently described by the New York Times as "one of the best young pianists around" and hailed by the Sydney Morning Herald for her "blistering technique". In July 2015 the Los Angeles Times declared: "Hers is a nonchalant, brilliant keyboard virtuosity that would have made both Prokofiev (who was a great pianist) and even the fabled Horowitz jealous". The combination of critical acclaim, audience ovations, return engagements at leading international venues, and an exclusive recording relationship with Deutsche Grammophon confirm the 29-year old pianist's status as one of this century's most compelling artists.

The international reach and artistic breadth of Yuja Wang's 2016-2017 schedule reflects the strong demand for her work. She unveils her new season in the summer of 2016 with a run of recitals, chamber concerts and concerto performances at the Salzburg, Wolftrap, Tanglewood, Verbier and Baltic Sea festivals including collaborations with Matthias Goerne, Leonidas Kavakos, Lionel Bringuier, Gustavo Gimeno and the Boston Symphony Orchestra. Following her initial NCPA residency concerts, Wang embarks on an extensive recital tour of China and Japan in September before traveling to the United States to open the Philadelphia Orchestra's season with three performances of Chopin's Piano Concerto No.2 in partnership with Yannick-Nézet-Séguin.

Yuja's way of making music connects with a strikingly broad audience. It appeals to everyone, from newcomers to the concert hall to devoted pianophiles, and has attracted an exceptionally youthful following. Her love for fashion, recently recognised by her induction into Giorgio Armani's Sì Women's Circle, has also contributed to the popular appeal of an artist who is armed with the ability to challenge convention and win fresh converts to classical music. She is set to broaden her audience throughout the 2016-2017 season, not least through her term as Artist-in-Residence at China's National Centre for the Performing Arts as well as the Konserthuset in Stockholm. The Beijing-born pianist returns to her home city in August for the first of six specially curated concerts at the NCPA, where she will explore programmes of Romantic and 20th-century repertoire in solo, chamber, and orchestral concerts. Her time in Stockholm will be filled by chamber music with Leonidas Kavakos, Bartok with the Royal Stockholm Philharmonic Orchestra and Maestro Sakari Oramo as well as a recital programme.

Other bold highlights of Yuja Wang's 2016-2017 season include a nine-concert Asian tour with the San Francisco Symphony Orchestra and Michael Tilson Thomas; performances of Ravel's Piano Concerto in G with the London Symphony Orchestra and Gianandrea Noseda at New York's Lincoln Center and the New Jersey Performing Arts Center, and an extensive spring tour of Europe with the Orchestra dell'Accademia Nazionale di Santa Cecilia and Antonio Pappano. In December she joins forces with percussionist Martin Grubinger for concerts in Vienna, Munich, Zurich, and Tel Aviv, and marks the new year with extensive recital tours of Europe and the United States with violinist Leonidas Kavakos. Wang will also undertake a major solo European recital tour in March and April, complete with concerts in Amsterdam, Berlin, Paris, Vienna and London, and many other cities.

Over the next season's course, Yuja will explore everything from chamber works by Beethoven and Brahms to concertos by Chopin and Shostakovich. Her profound affinity for Bartók falls under the spotlight when she explores each of the composer's three piano concertos, with performances of individual works in Beijing, Cleveland, Dallas, Guangzhou, Stockholm, Taiwan and Toronto, and of the complete set with the Los Angeles Philharmonic Orchestra and Gustavo Dudamel over two consecutive weeks in May and June.

Source: yujawang.com














































More photos


See also


George Gershwin: Rhapsody in Blue & Summertime – Fazıl Say, Junge Norddeutsche Philharmonie, Alexander Shelley (HD 1080p)

&

Béla Bartók: Piano Concerto No.1 in A major – Yuja Wang, Swedish Radio Symphony Orchestra, Esa-Pekka Salonen

Sergei Rachmaninov: Piano Concerto No.3 in D minor | Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel (Audio video & Download 96kHz/24bit)

Maurice Ravel: Piano Concerto in G major – Yuja Wang, Camerata Salzburg, Lionel Bringuier

George Gershwin: Piano Concerto in F major | Dmitri Shostakovich: Symphony No.5 in D minor – Yuja Wang, London Symphony Orchestra, Michael Tilson Thomas


Sergei Rachmaninov: Piano Concerto No.2 in C minor – Yuja Wang, Verbier Festival Orchestra, Yuri Termikanov (HD 1080p)


Yuja Wang and the Art of Performance


Maurice Ravel: Piano Concertos – Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier (Audio video)


Sergei Prokofiev: Piano Concerto No.2 in G minor – Yuja Wang, Berliner Philharmoniker, Paavo Järvi


Yuja Wang plays Robert Schumann, Maurice Ravel and Ludwig van Beethoven at Verbier Festival 2016


Yuja Wang, the pianist who will not go quietly


Sergei Prokofiev: Piano Concerto No.3 in C major – Yuja Wang, Lucerne Festival Orchestra, Claudio Abbado