Matthew Bourne

Matthew Bourne

Saturday, October 15, 2016

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












Gala concert at the Barbican Centre in London to celebrate Michael Tilson Thomas's 70th birthday! The conductor is invited by the London Symphony Orchestra and interprets with pianist Yuja Wang some of his favorite music.

When a concert has the London Symphony Orchestra and Michael Tilson Thomas as the main performers – celebrating the conductor's 70th birthday – you know it is going to be good. Add Yuja Wang to the billing, and the expectations will be even higher, as she is an exceptional pianist. At tonight's concert, none of the musicians disappointed, delivering impressive performances of works by Gershwin and Shostakovich.

With similarly high energy and a quintessentially American sound, the Gershwin's Piano Concerto in F major allowed the musicians to embrace these elements further. The London Symphony Orchestra's playing was both lyrical and strongly rhythmic, with some stunning moments in both the higher and lower registers. Principal trumpet Philip Cobb stole the show more than once, his dazzling solos making an indelible impression. His performance was matched by the soloist, as Yuja Wang gave an enthralling account of this jazzy, spirited concerto.

The LSO and Wang played together excellently, but there were a few moments where the orchestra seemed too powerful. Tilson Thomas allowed the orchestra and Wang to make the music swing as much as it possibly can, and I am sure that I was not the only listener left with a big smile on my face. The encore, with Tilson Thomas joining Wang on the piano, was similarly fun, the quatre-mains by Poulenc receiving a raucous applause.

Shostakovich's Symphony No.5 is a concert hall staple, and one might be worried that performances of it can become predictable. This was no such performance, however, as Tilson Thomas and the LSO gave an intense reading. The interval after Gershwin's Piano Concerto was very welcome, as the first and second halves of the concert offered a crucially different atmosphere.

One of the extraordinary features of the Fifth Symphony is its vast aural space. The landscape that we hear is not crowded, but is vast, sometimes desolate, sometimes inhabited, but always reaching far in every direction. This sense of space was ever-present in Tilson Thomas' reading of the symphony, and never more so than in the third movement, a solemn Adagio. It was this movement that transformed the LSO's performance from very good to excellent, as the quiet, unnerving music was delivered with such poignancy and emotional depth that it seemed to create a whole world of its own, transporting us from the concert hall into Shostakovich’s creation. The fourth movement brought us back down to earth with an exuberant finale that once again was exemplary of the energy and joy that Tilson Thomas and the LSO radiated throughout the evening.

Source: Renée Reitsma, 14/3/2015 (bachtrack.com)



Ο διάσημος Αμερικανός μαέστρος Μάικλ Τίλσον Τόμας διευθύνει τη Συμφωνική Ορχήστρα του Λονδίνου σε δύο πολύ σπουδαία έργα: το Κοντσέρτο για πιάνο σε Φα μείζονα του Τζορτζ Γκέρσουιν, και τη Συμφωνία αρ. 5 σε Ρε ελάσσονα, έργο 47, του Ντμίτρι Σοστακόβιτς. Το Κοντσέρτο για πιάνο σε Φα μείζονα του Τζορτζ Γκέρσουιν ερμηνεύει η Κινέζα πιανίστρια Γιούτζα Ουάνγκ. Η συναυλία, με την οποία εορτάστηκαν τα εβδομηκοστά γενέθλια του Μάικλ Τίλσον Τόμας, δόθηκε στην αίθουσα συναυλιών του Κέντρου του Μπάρμπικαν στο Λονδίνο, στις 12 Μαρτίου 2015.



George Gershwin (1898-1937)

♪ Piano Concerto in F major (1925)

i. Allegro
ii. Adagio – Andante con moto
iii. Allegro agitato

Yuja Wang, piano


[At present, this video is unavailable]


Dmitri Shostakovich (1906-1975)

♪ Symphony No.5 in D minor, Op.47 (1937)

i. Moderato
ii. Allegretto (Scherzo)
iii. Largo
iv. Allegro non troppo


London Symphony Orchestra
Conductor: Michael Tilson Thomas

London, Barbican Hall, March 12, 2015

Directed by Olivier Simonnet

(HD 720p)















George Gershwin: Piano Concerto in F major Τζορτζ Γκέρσουιν: Κοντσέρτο για πιάνο σε Φα μείζονα

Gershwin successfully combined the sweep and mood of the typical Russian concerto with the blues, jazz, and rag elements he brought from his successful pop music career. And why not? His family had recently immigrated from Russia when he was born in 1898. He had, of course, been immensely successful as a pop tune composer and as a Broadway show composer before he wrote this 1925 concerto. It was, specifically, the success of his Rhapsody in Blue which led Walter Damrosch and the New York Symphony Society to commission this concerto. Gershwin resolved to orchestrate it himself (Grofé had done both the jazz band and the symphonic arrangements of the rhapsody.) Even if he had to delve into textbooks to learn orchestration and even to discover what the form of a concerto might be, he created an entirely successful work. Although some critics thought the concerto was derivative of Debussy and other composers, it is in fact a remarkably original and personally characteristic work for being any composer's first unassisted piece.

Gershwin was not ready for formal innovation; the three-movement form of the concerto is in fact textbook. The introduction is fresh, breezy, and contemporary, based on the rhythm of the very popular dance Charleston by James P. Johnson. A bassoon introduces the sprightly first theme, while the piano itself has the warm-hearted contrasting theme. Throughout the movement – and the concerto as a whole – the themes have jazz-like syncopations and make liberal use of the "blues scale".

The second movement is remarkable for its muted trumpet theme, a nocturnal, wistful tune with the potential to haunt the memory. It is contrasted with an upbeat, strolling theme on piano. The form of the movement is reminiscent of the slow movement of Dvorak's New World Symphony, and possesses the same kind of passionate outburst shortly before its conclusion.

A virtual fanfare for timpani, cymbals, and bass drum launches the highly energetic finale in rondo form. Like many of the fast themes of the whole concerto, its main subject makes good use of aggressively repeated notes. There is a lyrical theme which manages not to slow things down, initially. Gershwin recollects the second theme of the first movement and yet another melodic idea for muted trumpet with strings. Gershwin ends this high-energy romp with a brief coda.

Source: Joseph Stevenson (allmusic.com)



Το 1925, ο γερμανικής καταγωγής Αμερικανός μαέστρος και συνθέτης Walter Damrosch (1862-1950) ανέθεσε στον Τζορτζ Γκέρσουιν τη σύνθεση ενός κοντσέρτου, για τη συμφωνική ορχήστρα της Νέας Υόρκης. Για το σκοπό αυτό, ο Γκέρσουιν έγραψε το Κοντσέρτο σε Φα μείζονα, έργο για πιάνο και ορχήστρα, που αποτελείται από τρία μέρη (Allegro, Adagio – Andante con moto, και Allegro agitato) και συνιστά τη μεγαλύτερη σε διάρκεια σύνθεσή του. Αν και δεν γνώρισε την ίδια αποδοχή σε σύγκριση με το Rhapsody in Blue, θεωρείται ένα από τα σημαντικότερα έργα του, γραμμένο για συμφωνική ορχήστρα χωρίς όργανα της τζαζ, και αποτελεί πιθανώς το δημοφιλέστερο κοντσέρτο για πιάνο Αμερικανού συνθέτη.














Dmitri Shostakovich: Symphony No.5 in D minor, Op.47 / Ντμίτρι Σοστακόβιτς: Συμφωνία αρ. 5 σε Ρε ελάσσονα, έργο 47

We have learned much about Shostakovich since his death in 1975, from reminiscences of friends, from letters and documents, from his now discredited autobiography Testimony, and from our deeper knowledge of life in the Soviet Union. The one thing that comes through clearly is that for any artist under Stalin’s regime the most prized skill was that of dissembling. For Shostakovich, who was inordinately shy and who hated appearing in public, it became second nature to keep his thoughts to himself, to play his cards with the utmost circumspection, to lie when necessary, and to choose his friends with care. A composer in such circumstances has the blessing of his own music, for who can say what his music is about? Like Beethoven, Shostakovich could string his audience along, letting them believe one message and then (perhaps) delivering a different one. Or perhaps the same one?

The Fifth Symphony was composed at a critical juncture in Shostakovich's career, since for the first time (and not the last) he had to confront the peril of Stalin's displeasure. This was aroused by his opera Lady Macbeth of Mtsensk, whose expressionistic intensity and brutal narrative offended the Great Leader. In January 1936 Pravda devoted a ferocious column to condemning the opera. In Stalin's world such criticism was life-threatening, not merely career-threatening, which would explain why Shostakovich withheld the exploratory Fourth Symphony he was then working on, and composed instead the Fifth.

The Fifth Symphony, first performed in November 1937, was received with huge enthusiasm and relief since it possessed all the qualities needed to rehabilitate the composer: a simple and direct musical language, extended well-shaped melodies, and above all a positive fanfare at the end, erasing all shadows and doubts. At the same time it has a seriousness and complexity that lifts it well above the level of bland self-abasement which might have been his response.

Shostakovich publicly described the new work as "a Soviet artist's reply to just criticism". Privately he said (or is said to have said) that the finale is a satirical picture of the dictator, deliberately hollow but dressed up as exuberant adulation. It was well within Shostakovich's power to present a double message in this way, and is well beyond our means to establish whether the messages are true or false. The listener must read into this music whatever meaning he may find there; its strength and depth will allow us to revise our impressions at every hearing.

The shadows of both Beethoven and Mahler hang over the first two movements, the first movement displaying great ingenuity in the control of tempo and the second couched in a folksy idiom. The third movement is notable for the fine quality of the string writing and its intensity of expression. In contrast the finale gives the brass and percussion a chance to flex their muscles and hammer home the message of... what? Triumph in the major key, perhaps; pride in a populist regime, perhaps; the mask of jollity concealing the agony beneath, perhaps. The language of music remains forever inscrutable.

Source: Hugh Macdonald (laphil.com)



Το 1936 ο Ντμίτρι Σοστακόβιτς περιήλθε σε δυσμένεια από το σταλινικό καθεστώς, αντιμετωπίζοντας την κατηγορία του «φορμαλισμού» για τις νεωτεριστικές τάσεις που ακολουθούσε στη μουσική του· αμέσως, οι παραστάσεις της επιτυχημένης όπεράς του «Λαίδη Μάκβεθ του Μτσενσκ» διεκόπησαν, ενώ στα τέλη του ίδιου έτους ο συνθέτης έλαβε την απόφαση να αποσύρει τη «στρυφνή και αινιγματική» Τέταρτη Συμφωνία του, λίγο πριν από την πρώτη της παρουσίαση. Από τον Απρίλιο του 1937, εντούτοις, άρχισε να εργάζεται συστηματικά πάνω στην επόμενη συμφωνία του, την οποία και ολοκλήρωσε εγκαίρως τον Οκτώβριο, προκειμένου αυτή να παρουσιαστεί σε πανηγυρική συναυλία για την 20ή επέτειο της Οκτωβριανής Επανάσταση, που δόθηκε στο Λένινγκραντ την 21η Νοεμβρίου του ίδιου έτους, υπό την διεύθυνση του – ανερχόμενου τότε αρχιμουσικού – Εβγκένι Μραβίνσκι. Το κοινό υποδέχτηκε αυτήν την Πέμπτη Συμφωνία με τόσο ενθουσιασμό, που λέγεται ότι τα ξέφρενα χειροκροτήματα διήρκεσαν περίπου όσο και το ίδιο το έργο! Επρόκειτο για τον απόλυτο θρίαμβο, ο οποίος λειτούργησε και ως «εξιλέωση» του στιγματισμένου συνθέτη, αφού οι κριτικοί διέκριναν στο νέο αυτό έργο μια στροφή προς την αιτούμενη απλότητα και αισιοδοξία του «σοσιαλιστικού ρεαλισμού», ενώ και ο ίδιος ο Σοστακόβιτς φερόταν να το χαρακτηρίζει ως τη «δημιουργική απάντηση ενός σοβιετικού καλλιτέχνη στη δίκαιη κριτική». Σε κάθε περίπτωση, γεγονός παραμένει ότι η Πέμπτη Συμφωνία γνώρισε πάμπολλες επανεκτελέσεις και τεράστια απήχηση στη Σοβιετική Ένωση μέσα σε μία μόλις καλλιτεχνική περίοδο, από τα τέλη της δεκαετίας του 1930 άρχισε να γίνεται γνωστή και στο εξωτερικό, και έτσι κατέστη γρήγορα ένα από τα αντιπροσωπευτικότερα έργα του Σοστακόβιτς αλλά και ένα από τα δημοφιλέστερα στο διεθνές συναυλιακό ρεπερτόριο.

Πηγή: Ιωάννης Φούλιας, 2008















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 Art Streiber
Michael Tilson Thomas is Music Director of the San Francisco Symphony, Founder and Artistic Director of the New World Symphony and Conductor Laureate of the London Symphony Orchestra. Born in Los Angeles, he is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer in the Mercury Theater Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures.

Mr. Tilson Thomas began his formal studies at the University of Southern California where he studied piano with John Crown and conducting and composition with Ingolf Dahl. At age nineteen he was named Music Director of the Young Musicians Foundation Debut Orchestra. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles' Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.

In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. His guest conducting includes appearances with the major orchestras of Europe and the United States.

His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. He recently finished recording the complete orchestral works of Gustav Mahler with the San Francisco Symphony.

Mr. Tilson Thomas's television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People's Concerts from 1971 to 1977 and numerous productions on PBS Great Performances. Mr. Tilson Thomas and the San Francisco Symphony produced a multi-tiered media project, Keeping Score, which includes a television series, web sites, radio programs and programs in schools.

In February 1988 he inaugurated the New World Symphony, an orchestral academy for graduates of prestigious music programs. In addition to their regular season in Miami Beach, they have toured in Austria, France, Great Britain, South America, Japan, Israel, Holland, Italy and the United States. Prior to their January, 2007 appearance at Carnegie Hall, the New World Symphony was profiled in a feature story in The New York Times. New World Symphony graduates have gone on to major positions in orchestras worldwide. In 1991 Mr. Tilson Thomas and the orchestra were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narrator of From the Diary of Anne Frank, composed by Mr. Tilson Thomas and commissioned by UNICEF. This piece has since been translated and performed in many languages worldwide.

In August 1995 he led the Pacific Music Festival Orchestra in the premiere of his composition Showa/Shoah, commemorating the 50th anniversary of the bombing of Hiroshima. Thomas Hampson premiered his settings of poetry by Walt Whitman, Renee Fleming premiered his settings of the poetry of Emily Dickinson and the San Francisco Symphony premiered his concerto for contrabassoon entitled Urban Legend. As a Carnegie Hall Perspectives Artist from 2003 to 2005, he had an evening devoted to his own compositions which included Island Music for four marimbas and percussion, Notturno for solo flute and strings and a new setting of poems by Rainer Maria Rilke. Other compositions include Street Song for brass instruments and Agnegram, an overture for orchestra.

As Principal Conductor of the London Symphony Orchestra from 1988 to 1995, Mr. Tilson Thomas led the orchestra on regular tours in Europe, the United States and Japan as well as at the Salzburg Festival. In London he and the orchestra have mounted major festivals focusing on the music of Steve Reich, George Gershwin, Johannes Brahms, Toru Takemitsu, Nicolai Rimsky-Korsakov and the School of St. Petersburg, Claude Debussy and Gustav Mahler. As Principal Guest Conductor of the LSO, he continues to lead the orchestra in concerts in London and on tour.

His eighteen-year tenure as Music Director of the San Francisco Symphony has been broadly covered by the international press with feature stories in Time, Newsweek, The Wall Street Journal, The New York Times, Los Angeles Times, The Times of London and The Frankfurter Allgemeine Zeitung among many others. With the San Francisco Symphony he has presented eight summer festivals including ones devoted to the music of Mahler, Stravinsky, Wagner and American Mavericks. With the San Francisco Symphony he has made numerous tours of Europe, United States and the Far East.

Mr. Tilson Thomas is a Chevalier dans l'ordre des Arts et des Lettres of France, was Musical America's Musician of the Year and Conductor of the Year, Gramophone Magazine's Artist of the Year and has been profiled on CBS's 60 Minutes and ABC's Nightline. He has won eleven Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010, President Obama awarded him with the National Medal of Arts, the highest award given to artists by the United States Government.

Source: michaeltilsonthomas.com































































More photos


See also

Frédéric Chopin: 24 Préludes, Op.28 – Yuja Wang (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)

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

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

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



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Dmitri Shostakovich – All the posts

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