Scarlatti's Sonatas in E and B minor, and Ravel's La Valse. Yuja Wang's ability to take her music by storm is tempered by a sophisticated musicality that never distorts the line. Transformation highlights Yuja Wang's penchant for piecing together high concept programs the public adores. She seems to have everything: speed, flexibility, pianistic thunder and interpretive nuance.
Producer, Engineer – Helmut Burk. Recorded By, Mastered By – Emil Berliner Studios. Publisher: Édition Russe de Musique/Boosey & Hawkes, London (Stravinsky).
Critics could barely find enough superlatives to praise this 2010 recital album from pianist Yuja Wang, recorded when she was in her early 20s. For her sophomore release, Wang carefully selected and constructed the solo programme featuring Brahms, Ravel, Scarlatti and Stravinsky. 96 kHz, 24-bit PCM – Deutsche Grammophon GmbH, Berlin Studio Masters
Yuja Wang, piano & Andreas Ottensamer, clarinet. Solo, Rachmaninov, Scriabin, Ligeti, Prokofiev. Compilation featuring Yuja Wang, Martha Argerich, Yevgeny Kissin, Mikhail Pletnev, Bryn Terfel and Daniil Trifonov among others. Verbier Festival – 25 Years of Excellence. Tonhalle-Orchester Zürich, Lionel Bringuier, conductor. Solo, Chopin, Ligeti, Scriabin, Liszt. Sonatas & Études.
Transformation: Stravinsky, Scarlatti, Brahms. Composer, Transcription.
For instance, Stravinsky’s Three Movements from Petrouchka traces the transformation of puppet to human and back. The Brahms piece, Variations on a Theme by Paganini is bound up in thematic transformations of one of music’s most famous themes. The Scarlatti sonatas (K 380 and K 466) are oases of quiet in an often tempestuous program. A mighty tempest closes this recital – Ravel’s La Valse, which can be viewed as a transformation of this dance-form. This 1920s piece was written for the Ballets Russes but was rejected
Yuja Wang's ability to take her music by storm is tempered by a sophisticated musicality that never distorts the line. Transformation: Stravinsky, Scarlatti, Brahms.
Brahms of course transforms Paganini, but Yuja Wang transforms Brahms by taking the (always permissible, but these days pretty unfamiliar) course of reshuffling the 24 variations to bring out a new range of contrasts and perspectives. In her own words, ‘transformation’ is evident in ‘Brahms transforming his theme 27 times; Ravel transforming the waltz by testing it to oblivion; and Stravinsky’s puppet.
Transformation highlights Yuja Wang’s penchant for piecing together high concept programs the public adores. As The New York Times observes, She seems to have everything: speed, flexibility, pianistic thunder, and interpretive nuance. She’s also a clever programme builder, successfully mixing shape-shifting works by Stravinsky, Brahms and Ravel with two Scarlatti sonatas. New York Times 26th November 2010. approaches repertory staples with original, illuminating ideas.