[Mr Trev]

Brothers - Lucas & Arthur Jussen (a little surprised that they don't bang heads during this performance )

Hey, a little extra percussion (or is that concussion) couldn't hurt.

 

[Christer]

The 1st time i ever saw YW perform, ('2012), was this piece. And this is the slower version. There is another somewhere on Utube, that is the actual concert that i watched in Israel, where she is playing it faster, and just as clean.
It was love at first listen.
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-
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Here is another one i love. As i prefer to hear the artist on keys play without the heavy resonance and reverb that DG and most engineers overuse to drown the piano, whenever an artist records to tape.
This is dry. And she is cold and not really warmed up, and so...for me, this is one more perspective regarding her unique ability.
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I could sum these up in just one word: WOW!


But to a beginner pianist like me she can be quite intimidating, to say the least.

Since getting a piano in the house roughly three months ago I've been watching many of her performances and I soon realized that I'll never be able to play anywhere near the way she plays the piano.

After hearing her play Mozart's A la Turca which I am also still struggling with and can only at best, play at about half the speed she can, I stumbled on a performance by none other than Glenn Gould.

And to my surprise and temporary relief, I heard a performance that I could at least partly keep up with in tempo at least, not execution.

Glenn Gould's performance of it hovers around the 4 minutes mark compared to Juya's 2,40.
A huge difference in how this show off piece sounds played so slowly.
Most recordings of it clock in at between 2.50 and a bit above 3 minutes.


While I can as I said at least partly, keep up with Glenn Gould,the question arises WHO of these two famous pianists plays this movement from a Piano Sonata by Mozart closest to how Mozart would have played it himself?

My guess is Juya Wang, although it sounds like she has even included some ornamentations of her own in the version you posted earlier.

Although very comforting speed-wise for a beginner like me, Glenn Gould sounds more as if he is playing a Bach FUGUE in his typical non emotional style, than Mozart.

It is an imitation of a Turkish March as in Mozart's early Opera The Abduction from the Sergalio which always, even by old conductors like Böhm is and was played almost as fast as Juya Wang and most other pianists other than Glenn Gould play the Turkish March. Juya Wang is the clear winner imho.

I'll support my opinion by comparing Glenn Gould's Mozart playing with another work I've been sniffing at a bit recently, namely the first movement of Beethoven's famous Apassionata Sonata Opus 57.
Large parts of it are still way beyond my capacity even to play, as written.

I'd love to hear a recording by Juya Wang.
And if you have a link please post it.
But I did find one again of Glenn Gould playing the first movement. And again it is by far the slowest version I have EVER heard! And this time of the Appasionata. It sounds a bit like playing an LP at the wrong speed to me.
Like 45rpm played at 33.
Really weird imho.
Note perfect as far as I can judge from the not so good old recording. But super-slow!
No way, Beethoven would have played THAT slow!

On the other hand there is an old recording of Glenn Gould playing Beethoven's 3rd Piano Concerto with Karajan conducting and there are no strange Glenn Gould slow tempi in that performance.
Sorry about the long rant.
But playing, or at least trying to play, some of these masterworks has made me appreciate not only the genius of the great composers even more than from just listening to recordings but also to appreciate those who can REALLY play these works.
And most of them do it from memory!
Once again, WOW!
Cheers CC

 

[FullBright1]

 

[FullBright1]

I could sum these up in just one word: WOW!


But to a beginner pianist like me she can be quite intimidating, to say the least.

Since getting a piano in the house roughly three months ago I've been watching many of her performances and I soon realized that I'll never be able to play anywhere near the way she plays the piano.

After hearing her play Mozart's A la Turca which I am also still struggling with and can only at best, play at about half the speed she can, I stumbled on a performance by none other than Glenn Gould.

And to my surprise and temporary relief, I heard a performance that I could at least partly keep up with in tempo at least, not execution.

Glenn Gould's performance of it hovers around the 4 minutes mark compared to Juya's 2,40.
A huge difference in how this show off piece sounds played so slowly.
Most recordings of it clock in at between 2.50 and a bit above 3 minutes.


While I can as I said at least partly, keep up with Glenn Gould,the question arises WHO of these two famous pianists plays this movement from a Piano Sonata by Mozart closest to how Mozart would have played it himself?

My guess is Juya Wang, although it sounds like she has even included some ornamentations of her own in the version you posted earlier.

Although very comforting speed-wise for a beginner like me, Glenn Gould sounds more as if he is playing a Bach FUGUE in his typical non emotional style, than Mozart.

It is an imitation of a Turkish March as in Mozart's early Opera The Abduction from the Sergalio which always, even by old conductors like Böhm is and was played almost as fast as Juya Wang and most other pianists other than Glenn Gould play the Turkish March. Juya Wang is the clear winner imho.

I'll support my opinion by comparing Glenn Gould's Mozart playing with another work I've been sniffing at a bit recently, namely the first movement of Beethoven's famous Apassionata Sonata Opus 57.
Large parts of it are still way beyond my capacity even to play, as written.

I'd love to hear a recording by Juya Wang.
And if you have a link please post it.
But I did find one again of Glenn Gould playing the first movement. And again it is by far the slowest version I have EVER heard! And this time of the Appasionata. It sounds a bit like playing an LP at the wrong speed to me.
Like 45rpm played at 33.
Really weird imho.
Note perfect as far as I can judge from the not so good old recording. But super-slow!
No way, Beethoven would have played THAT slow!

On the other hand there is an old recording of Glenn Gould playing Beethoven's 3rd Piano Concerto with Karajan conducting and there are no strange Glenn Gould slow tempi in that performance.
Sorry about the long rant.
But playing, or at least trying to play, some of these masterworks has made me appreciate not only the genius of the great composers even more than from just listening to recordings but also to appreciate those who can REALLY play these works.
And most of them do it from memory!
Once again, WOW!
Cheers CC

I tried to find the Opus 57 featuring Yuja.
No can do.
She's not tackled this one yet, as far as i can discover.
She played the "Hammer" in Carnegie in 2016.

Glenn's Mozart is always interesting, as from what i can gather, he felt that Mozart was a hype and not a true genius.
So, Glenn likes to "miss-play" Mozart by bringing out the counterpoint while reducing the melody.
And of course he uses no pedal or very little..
Glenn is a funny guy....

Yuja explains that as a small child she wanted to be able to "execute to perfection."
This was her inner fire.
Total, consumate, mastery of the notes, as a KID.
Typical of a virtuoso's mentality., i would think.
Sarah Chang has said similar......
Its this obsessing to perfect it, that makes them...that creates who they finally become, once they arrive there....
Im sure she makes mistakes, but i've never heard her make one during a live performance.
Seemingly, she has so much technique that the hard has become to her fingers, .... simple to execute.
She seems to sit there watching her own fingers, captivated by the music and by her own fleet fingers.
And why not...
Technically, she is amazing.

 

[Light - Man]

 

[Christer]

I tried to find the Opus 57 featuring Yuja.
No can do.
She's not tackled this one yet, as far as i can discover.
She played the "Hammer" in Carnegie in 2016.

Glenn's Mozart is always interesting, as from what i can gather, he felt that Mozart was a hype and not a true genius.
So, Glenn likes to "miss-play" Mozart by bringing out the counterpoint while reducing the melody.
And of course he uses no pedal or very little..
Glenn is a funny guy....

Yuja explains that as a small child she wanted to be able to "execute to perfection."
This was her inner fire.
Total, consumate, mastery of the notes, as a KID.
Typical of a virtuoso's mentality., i would think.
Sarah Chang has said similar......
Its this obsessing to perfect it, that makes them...that creates who they finally become, once they arrive there....
Im sure she makes mistakes, but i've never heard her make one during a live performance.
Seemingly, she has so much technique that the hard has become to her fingers, .... simple to execute.
She seems to sit there watching her own fingers, captivated by the music and by her own fleet fingers.
And why not...
Technically, she is amazing.

Thanks for your response.
Of course there is a lot more to music than just being able to play it faster than everybody else can,without mistakes.
Maybe Glenn Gould and conductors like Furtwängler and Klemperer and Celibidache who "allowed the music to really breathe" sometimes get/got closer to the spirit of the composer than some of today's keyboard wizards?
But I still find GG's "Appassionata" a bit hard to digest.
And in my not so humble opinion he was very wrong about Mozart if that's what he thought about Mozart?
I have to say though that he makes everything VERY clear even down to "littlest" grace notes both in Mozart's and Beethoven's music.

One of the most interesting Masterclass videos I have watched on YouTube is where another keyboard wizard, Lang Lang first plays the first movement of the Appassionata and Daniel Barenboim turns the pages for him.

And then, after what to most listeners could only be described as a very impressive performance,
on the piano beside Lang Lang's, Barenboim begins to elucidate and explain the after all,not quite so musically perfect performance, by playing difficult and musically very important passages to Lang Lang.
Comparing the two side by side it becomes quite evident who is the real master.
Barboim plays and thinks in musical phrases and sentences.
Of all musicians currently active Daniel Barenboim, both a Master pianist and a Conductor of equal stature is possibly the greatest all round musician alive today imho.
I am actually quoting a former member of the Berlin Philharmonic Orchestra saying so.
Barenboim is beginning to look a bit frail though, judging from recent YouTube videos.
But in his Five minutes on... series he explains and plays the main theme of the slow movement of Mozart's 23rd Piano Concerto in such a way that I definitely, think the BPO musician is correct in his statement on Barenboim.
Not only does Barenboim unlike Lang Lang play from his vast memory, but his playing to me at least, reveals the true musical greatness of this amazing Piano Sonata in such a way as to make still young Lang Lang's performance sound a bit more like a technical bravura show off version, than the great musical masterpiece the Appassionata is to me at least.
Regarding Glenn Gould, I found an old TV broadcast , where he has some very interesting things to say about Beethoven and his music and then both plays AND conducts himself in another of Beethoven's great Piano Sonatas, the Tempest.
Glenn Gould - Beethoven, Piano Sonata No. 17 in D minor op. 31/2 "The Tempest" (OFFICIAL)
Cheers CC

 

[wskl]

David DeBoor Canfield - Concerto After Mendelssohn, I. Allegretto non troppo (for Tenor Saxophone and Wind Ensemble)

Dave Camwell, saxophone
The Alberta Winds
Gareth Jones, conductor

 

[FullBright1]

Thanks for your response.
Of course there is a lot more to music than just being able to play it faster than everybody else can,without mistakes.
Maybe Glenn Gould and conductors like Furtwängler and Klemperer and Celibidache who "allowed the music to really breathe" sometimes get/got closer to the spirit of the composer than some of today's keyboard wizards?
But I still find GG's "Appassionata" a bit hard to digest.
And in my not so humble opinion he was very wrong about Mozart if that's what he thought about Mozart?
I have to say though that he makes everything VERY clear even down to "littlest" grace notes both in Mozart's and Beethoven's music.

One of the most interesting Masterclass videos I have watched on YouTube is where another keyboard wizard, Lang Lang first plays the first movement of the Appassionata and Daniel Barenboim turns the pages for him.

And then, after what to most listeners could only be described as a very impressive performance,
on the piano beside Lang Lang's, Barenboim begins to elucidate and explain the after all,not quite so musically perfect performance, by playing difficult and musically very important passages to Lang Lang.
Comparing the two side by side it becomes quite evident who is the real master.
Barboim plays and thinks in musical phrases and sentences.
Of all musicians currently active Daniel Barenboim, both a Master pianist and a Conductor of equal stature is possibly the greatest all round musician alive today imho.
I am actually quoting a former member of the Berlin Philharmonic Orchestra saying so.
Barenboim is beginning to look a bit frail though, judging from recent YouTube videos.
But in his Five minutes on... series he explains and plays the main theme of the slow movement of Mozart's 23rd Piano Concerto in such a way that I definitely, think the BPO musician is correct in his statement on Barenboim.
Not only does Barenboim unlike Lang Lang play from his vast memory, but his playing to me at least, reveals the true musical greatness of this amazing Piano Sonata in such a way as to make still young Lang Lang's performance sound a bit more like a technical bravura show off version, than the great musical masterpiece the Appassionata is to me at least.
Regarding Glenn Gould, I found an old TV broadcast , where he has some very interesting things to say about Beethoven and his music and then both plays AND conducts himself in another of Beethoven's great Piano Sonatas, the Tempest.
Glenn Gould - Beethoven, Piano Sonata No. 17 in D minor op. 31/2 "The Tempest" (OFFICIAL)
Cheers CC

Yes of course.
There is much more to classical music or any type , then just being able to post all the note correctly.
For example there is interpretation......
There is musicality....
Its not really possible for Glenn at 23, or Horowitz at 23, or Lang Lang at 23, or anyone you can list, who is 23 yrs old, to be able to interpret a Master's piece of music with a masterful depth of perception, that they will have at '45.
Every performance is an interpretation of what the performer hopes was the extant musical Point of View the composer was trying to dictate onto a piece of paper using the available language.
Only the Composer, playing to an extreme Virtuoso level, could get it as right, as it could be possibly performed correctly.
If you want to hear Mozart's piano Sonata's, played correctly.....IF you want to hear Beethoven's Piano works played correctly, then you pass on Yuja, Lang Lang, Richter, Argerich, and Kempff, and you just get Mozart and Beethoven.
That is the only way to hear the soul of the notes, played perfectly, as designed.
Anything else, is just a,.... "we hope we got it close".

For me, i love Yujas notes, and i enjoy the way she interprets. She speaks to me with her piano keys.
Horowitz speak to me with his..
I like the way Brendel interprets, but not quite as much his playing.
Lang Lang is a super tech, similer to Yuja. They are both "fingers of fire".
If they were married, she would change her name to Yuja Lang.
I like that better actually.
And if they had a child who had "their" gifts....then this child could sell me a lot of their Music, as im sure id be a fan of someone who was "otherworldly".

 

[FullBright1]

Here we go again.... and i never get tired of this piece .....
This version really sounds "live".
Its actually a nice mix job for headphones.
Her hair is a cosmic mess.
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[Pokemonn]

 

[Light - Man]

 

[Light - Man]

 

[Peter Hyatt]

Here we go again.... and i never get tired of this piece .....
This version really sounds "live".
Its actually a nice mix job for headphones.
Her hair is a cosmic mess.
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great hair is not just for conductors.

 

[FullBright1]

great hair is not just for conductors.

hahaha....:0
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Here is my favorite Classical Music Conductor.... (RIP).
I love his conducting, and therefore, i love his hair ....
Sorry that i can't provide you with more of this music and this performance..
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[Arum16]

Here we go again.... and i never get tired of this piece .....
This version really sounds "live".
Its actually a nice mix job for headphones.
Her hair is a cosmic mess.
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-

Absolutly great.
I've got another recording featuring Patricia Kopatchinskaja and Teodor Currentzis, but this one is special. Those chellos and bass are so much lively.
Thank you