The Well-Tempered Ear

Classical music: Here are many more FREE online and streamed concerts to follow and listen to as you quarantine during the COVID-19 pandemic

April 25, 2020
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By Jacob Stockinger

During the COVID-19 public health crisis and coronavirus pandemic, live streaming of concerts has taken off. It started with daily broadcasts of past productions by the Metropolitan Opera and the Berlin Philharmonic.

Local organizations have followed suit. They include the Madison Symphony Orchestra; the “couchertos” of the Wisconsin Chamber Orchestra; the twice weekly “tiny desk concerts” by the Bach Dancing and Dynamite Society sent to email newsletter subscribers and other recorded audiovisual performances; and local recordings made by Rich Samuels and aired on WORT-FM 89.9.

Here is a compilation, from the British radio station Classic FM with many other FREE listings that also get updated: https://www.classicfm.com/music-news/live-streamed-classical-music-concerts-coronavirus/

Here is another listing of FREE live streams and archived performances from Minnesota Public Radio (MPR): https://www.classicalmpr.org/story/2020/03/16/free-online-classical-concerts

And below are several more that The Ear has checked out and recommends:

CARNEGIE HALL LIVE

Carnegie Hall (below), America’s premier concert venue, has started a series of live streams that include world music, jazz and of course classical music.

The format includes conversation and remarks from homes as well as first-rate live performances from the past. (You can also hear many of the concerts on radio station WQXR in New York City: https://www.wqxr.org)

This past week, The Ear heard an outstanding concert with three pianists, all of whom appeared in Madison last season: Emanuel Ax, who performed an all-Beethoven recital at the Wisconsin Union Theater, played the piano and acted as host; Orion Weiss, who performed a Mozart concerto with the Wisconsin Chamber Orchestra; and Shai Wosner, who gave a terrific master class and a memorable recital on the Salon Piano Series at Farley’s House of Pianos. If you missed it, it is still archived and accessible.

On this Thursday, April 30, at 1 p.m. CDT you can hear violinist Joshua Bell with pianist Jeremy Denk and cellist Steven Isserlis.

Here is a link: https://www.carnegiehall.org/Explore/Watch-and-Listen/Live-with-Carnegie-Hall?sourceCode=31887&gclid=EAIaIQobChMIsYigzumB6QIVjIbACh061Qz2EAAYASABEgJE3fD_BwE

DEUTSCHE GRAMMOPHON

Deutsche Grammophon, the world oldest record label, which was established in 1898, has several online series of live streams and archived concerts.

They include “Moment Musical” (Musical Moment) by Daniel Barenboim and guest artists, broadcast from the Pierre Boulez Saal (concert hall) in Berlin.

Barenboim, who started as a child prodigy pianist and ended up being a world-class conductor who once headed the Chicago Symphony Orchestra, has done solo piano and chamber music concerts with the Piano Quintet and two solo pieces by Robert Schumann; the epic Diabelli Variations by Beethoven; and an all-Chopin program of encores. You can also find individual ones on YouTube.

Along more promotional lines, DG also offers a “Best of” series that features movements and excerpts from their newer recordings by some of the best known artists – including pianists Lang Lang, Danill Trifonov, Yuja Wang, Vikingur Olafsson, Jan Lisiecki and Seong-Jin Cho; conductors Gustavo Dudamel, Yannick Nézet-Séguin and Andris Nelsons; opera singers Anna Netrebko and Elina Garanca.

Here is a link to DG’s homepage from where you can get to the various series: https://www.youtube.com/channel/UC34DbNyD_0t8tnOc5V38Big

MILWAUKEE SYMPHONY ORCHESTRA

Closer to home, every Friday you can listen to weekly concerts by the Milwaukee Symphony Orchestra called “Musical Journeys.”

Performers include the MSO’s new music director Ken-David Masur as well as guest conductors like Jeffrey Kahane and the past conductor Edo de Waart.

You can hear the past five episodes, and join new ones. You can also hear past concerts by the Milwaukee Symphony Orchestra (below) on Wisconsin Public Radio. Broadcast time is Sunday at 2 p.m.

Here is a link to Musical Journeys: https://www.mso.org/about/music/mso-musical-journeys-5/

VIOLINIST DANIEL HOPE AT HOME

British violinist Daniel Hope – who has performed with the Madison Symphony Orchestra — has been streaming chamber music concerts from the living room of his home in Berlin.

A prolific concert artist and 25 recordings and four Grammy Award nominations to his credit, Hope (below) has many invited guests and offers a wide range of repertoire.

Here is a link with past episodes. You can also click in upcoming episodes: https://www.arte.tv/en/videos/RC-019356/hope-home/

Are there other sites and streamed performances that you recommend?

Please leave the name and a link in the Comment section.

The Ear wants to hear.

 


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Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)
  • AEQUA – ANNA THORVALDSDÓTTIR
    Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
  • BRUCKNER: SYMPHONY NO. 9
    Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
  • RILEY: SUN RINGS
    Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)
  • BLANTON ALSPAUGH
  • Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
    • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
    • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
    • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
    • Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
    • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
    • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
    • Visions Take Flight (Mei-Ann Chen & ROCO)
  • JAMES GINSBURG (below)
  • Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
    • Silenced Voices (Black Oak Ensemble)
    • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
    • Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
    • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
  • MARINA A. LEDIN, VICTOR LEDIN
  • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
    • The Orchestral Organ (Jan Kraybill)
    • The Poetry Of Places (Nadia Shpachenko)
    • Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
  • MORTEN LINDBERG
  • Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
    • Kleiberg: Do You Believe In Heather? (Various Artists)
    • Ljos (Fauna Vokalkvintett)
    • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
    • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
    • Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
  • DIRK SOBOTKA
  • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

 75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

  • BRUCKNER: SYMPHONY NO. 9
    Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • COPLAND: BILLY THE KID; GROHG
    Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • NORMAN: SUSTAIN
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)
  • TRANSATLANTIC
    Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • WEINBERG: SYMPHONIES NOS. 2 and 21
    Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

  1. Best Opera Recording
    Award to the Conductor, Album Producer(s) and Principal Soloists.
  • BENJAMIN: LESSONS IN LOVE & VIOLENCE
    George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
  • BERG: WOZZECK
    Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
  • CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
    Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
  • PICKER: FANTASTIC MR. FOX
    Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
  • WAGNER: LOHENGRIN
    Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

  1. Best Choral Performance
    Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
  • BOYLE: VOYAGES
    Donald Nally, conductor (The Crossing)
  • DURUFLÉ: COMPLETE CHORAL WORKS
    Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
  • THE HOPE OF LOVING
    Craig Hella Johnson, conductor (Conspirare)
  • SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
    Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
  • SMITH, K.: THE ARC IN THE SKY
    Donald Nally, conductor (The Crossing)

  1. Best Chamber Music/Small Ensemble Performance
    For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • CERRONE: THE PIECES THAT FALL TO EARTH
    Christopher Rountree and Wild Up
  • FREEDOM & FAITH
    PUBLIQuartet
  • PERPETULUM
    Third Coast Percussion
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Hermitage Piano Trio
  • SHAW: ORANGE
    Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • THE BERLIN RECITAL
    Yuja Wang
  • HIGDON: HARP CONCERTO
    Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
    Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
  • THE ORCHESTRAL ORGAN
    Jan Kraybill
  • TORKE: SKY, CONCERTO FOR VIOLIN
    Tessa Lark; David Alan Miller, conductor (Albany Symphony)

 80. Best Classical Solo Vocal Album  Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
    Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
  • HIMMELSMUSIK
    Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
  • SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
    Matthias Goerne; Leif Ove Andsnes, accompanist
  • SONGPLAY
    Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
  • A TE, O CARA
    Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

  

  1. Best Classical Compendium
    Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
  • AMERICAN ORIGINALS 1918
    John Morris Russell, conductor; Elaine Martone, producer
  • LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
    Giancarlo Guerrero, conductor; Tim Handley, producer
  • MELTZER: SONGS AND STRUCTURES
    Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
  • THE POETRY OF PLACES
    Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
  • SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
    Hannu Lintu, conductor; Laura Heikinheimo, producer

  

  1. Best Contemporary Classical Composition
    A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
    Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
  • HIGDON: HARP CONCERTO
    Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO IN D MAJOR
    Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
  • NORMAN: SUSTAIN
    Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
  • SHAW: ORANGE
    Caroline Shaw, composer (Attacca Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

 


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Classical music: NPR plays musical anthropologist and goes into the field to bring back a live recording of glam pianist Yuja Wang playing Prokofiev at the Steinway Factory in New York City.

February 22, 2014
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By Jacob Stockinger

The Ear has to hand it to NPR’s terrific classical music blog “Deceptive Cadence” and to NPR’s “All Songs Considered.”

For quite some time now, NPR has featured “Tiny Desk Concerts” — classical, jazz, folk, roots music — during which major performers play live in the crowded NPR studio. They are easy to link to and stream over your computer or maybe even your TV set these days. (NPR books great guests, including, below bottom, superstar cellist Yo-Yo Ma.)

Tiny Desk Concert set at NPR

Yo-Yo Ma and Tiny Desk Concert

You can also find NPR links to and archives of other live performances -– often through radios stations such as WQXR-FM in New York City and WGBH in Boston –- and include a recital of live music in major halls and venues, including one of Franz Joseph Haydn, Ludwig van Beethoven, Claude Debussy and Frederic Chopin by the acclaimed Norwegian pianist Leif Ove Andsnes at Carnegie Hall (below). And there are many, many others.

carnegiehallstage

And now Deceptive Cadence seems to be acting like musical anthropologist. The time they went out “into the field” – that is, not in the usual venues and concert halls.

That’s not unheard of, of course. That is how the great composer Bela Bartok (below) started out as a musical anthropologist or ethnologist of Hungarian and Romanian folk music, and then used his research to morph into one of the pioneers of musical modernism. Chopin used Polish music like the mazurka to create a new Romanticism. And in American folk music, the musical anthropology of Alan Lomax is legendary.

bartok

Specifically, NPR went to the piano factory of Steinway and Sons in New York City and recorded the red-hot glam pianist Yuja Wang playing the fiercely difficult Toccata in D Minor, Op. 11, with all its hypnotic repetition of a single note, by Russian composer Sergei Prokofiev on a brand new Steinway concert grand. (You can see and hear it in a YouTube video at the bottom. Don’t forget to click on the icon that is second from the right to enlarge the video image to fill your computer screen.)

The music and the physical virtuosity or dexterity is amazing to behold.

It is also kind of cute and informal to watch the diminutive figure of the glamorous Wang playing difficult cert music in a cold, wood-strewn and equipment-strewn warehouse in fingerless wool hobo gloves that go up her forearm –- but only after she uses the reflective fallboard above the keys to put on glossy lipstick and so complete her outfit of black fur-like boa, black stiletto heels and geometrically high fashion black-and-white dress.

yuja_2

Ah! Those tribal ceremonies and native attire!

Anyway, here is a link to the performance by Yuja Wang at the Steinway and Sons factory in the borough of Queens, not the usual Steinway showroom in Manhattan where most pianists test and choose pianos for their performances.

The Tiny Desk Concerts archive has lots of kinds of live performances.

For example, here is the famed Kronos Quartet (below) doing a recent Tiny Desk Concert featuring its latest recordings. Many other such concerts by other artists have been archived and are readily accessible:

http://www.npr.org/event/music/246393060/kronos-quartet-tiny-desk-concert

kronos1

And here is a link to the archive, with links to other older archives, of music Live in Performance housed at NPR. It includes chamber music, orchestral music (below is the Mideast peace-promoting Palestinian-Israeli West-Eastern Divan Orchestra under co-founder and director Daniel Barenboim in Carnegie Hall), operas and recitals:

http://www.npr.org/series/10210144/classics-in-concert/?ps=sa

West-Eastern Divan Orchestra, Daniel Barenboim, Carnegie Hall

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Classical music: Sexy phenom pianist Yuja Wang sees Rachmaninoff rooted in improvisation and compares him to jazz giant Art Tatum. Hear her talk – and play — on NPR. Also, Marvin Rabin, founder of the Wisconsin Youth Symphony Orchestra, has died at 97.

December 7, 2013
3 Comments

NEWS ALERT: Marvin Rabin (below, at an award dinner in 2011),  the man who founded and directed the Wisconsin Youth Symphony Orchestra back in the 1960s, after a similar history in Louisville and Boston, died at 97 (NOT 95, as I erroneously first stated) on Thursday night. He was a giant in the field of music education, and had a national and international reputation. Look for a longer blog posting tomorrow, on Sunday. He was an amazingly talented, devoted and humane person who affected tens of thousands of lives for the better.

http://wyso.music.wisc.edu/wyso-founder-dr-marvin-rabin-passes-away/

Rabin portrait USE

By Jacob Stockinger

Was that refreshing or what?

Maybe it even shows that there is more of an NPR audience for classical music than for some of the hip-hop and Latin stuff they cover to attract younger audiences. One can always hope.

Twenty-six years old and already a superstar, piano phenom Yuja Wang proved playful and articulate as she promoted her new recording (below) for Deutsche Grammophon. It features Sergei Rachmaninoff’s famous Piano Concerto No. 3 in D Minor and Sergei Prokofiev’s Piano Concerto No. 2 in G Minor, both with the Simon Bolivar Symphony Orchestra of Venezuela under its superstar former conductor Gustavo Dudamel, who now is the music director of the Los Angeles Philharmonic Orchestra. (The Madame Butterfly eye lashes on the CD’s cover are a bit much, no? It’s guilding the lotus, The Ear would say. Wang is attractive and sexy enough just as she is.)

Yuja Wang Rach 3 CD coverGD

Yuja Wang and Gustavo Dudamel make a great team, as you can hear in the excerpts in the YouTube video at the bottom. And watch how, since she is wearing s strapless dress, you can see how her shoulder and chest muscles get that big sound from a small woman.)

Relaxed and freewheeling, Wang herself proved a great improviser in an interview with NPR’s “Morning Edition” co-host Steve Inskeep as she deconstructed and eve performed parts of the “Rach 3” (below, in the NPR studio in a photo by Diane DeBelius).

yuja wang at npr Denise DeBelius NPR

Wang also emphasized the improvisational qualities of the music and compared Rachmaninoff (below top), one favorite of Vladimir Horowitz (below middle), to the blind jazz giant Art Tatum (below bottom), another favorite of Horowitz. I myself think it is very controlled improvisation, much like the music of Frederic Chopin.

Rachmaninoff

Vladimir Horowitz

art tatum

You may recall that the work in question is the titanic, knuckle-busting and wrist-taxing Rachmaninoff Piano Concerto No. 3 in D Minor that ruined pianist David Helfgott’s sanity or at least triggered his nervous breakdown in the 1996 Australian film “Shine.”

Be sure to listen to Wang’s expressive voice and to read the Readers’ Comments. There are quite a few – and just about all positive.

Many of them see Yuja Wang as a new Vladimir Horowitz — an obvious comparison reinforced by both the way she plays and the repertoire she plays. (Why not see her as the new Martha Argerich — whom Horowitz himself said had learned much from him.)

But the readers also clearly encourage NRP to do more stories along these lines.

http://www.npr.org/blogs/deceptivecadence/2013/12/02/243942819/yuja-wang-rooted-in-diligence-inspired-by-improvisation

And guess what?

There was no talk about her attractive looks and the sexy micro-skirts and black gown with heels and thigh-slits (below) that have sparked such controversy when she played in them at the Hollywood Bowl and Carnegie Hall, respectively.

yuja wang dress times 3

Yuja Wang at Carnegie Ruby Washington NYTimes


Classical music: Pianist Yuja Wang’s controversial and sexy micro-skirts are all part of her musical performance, says New York Times critic Zachary Woolfe in his rave review of Wang’s Carnegie Hall recital last week.

May 21, 2013
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By Jacob Stockinger

The Ear recently wondered about the relative silence and quiet of the young pianist Yuja Wang.

No more.

Wang has own more than her fair share of rave reviews and Grammy nominations for her intense and virtuosic playing. But she has also sparked controversies with her sexy and minimalist fashion that some people deem inappropriate concert attire that distracts from the music-making.

Witness Wang’s performances in the Hollywood Bowl of Rachmaninoff’s man-eating Piano Concerto No. 3. Here are photos and also a link to another post I did about Wang — you can find many more about Yuja Wang by using the search engine on The Ear blog site –that drew a lot of responses and comments from readers:

https://welltempered.wordpress.com/2011/08/17/classical-music-poll-was-yuja-wang’s-concert-skirt-too-short-what-is-inappropriate-concert-attire-for-a-performer-male-or-female/

yuja wang dress times 3

But last week New York Times critic Zachary Woolfe (below op) found Wang’s controversial attire to go beyond marketing and hype to be an integral part of the effect of her terrific recital — a true “performance,” Woolfe says, in part precisely because of her short skirt and spiky heels attire . It was in Carnegie Hall (below bottom in a photo by Ian Douglas for The New York Times) and featured  big and sexy post-Romantic works by Rachmaninoff, Scriabin, Ravel, plus Chopin and other composers including Lowell Liebermann. (At bottom is a YouTube video of some shorter Scriabin works that Wang performed in Santa Fe.)

zachary woolfe ny times critic

Yuja Wang Ian Douglas NYT May 2013

Here is a link to Woolfe’s review:

http://www.nytimes.com/2013/05/18/arts/music/yuja-wang-at-carnegie-hall.html?_r=0

The Ear also thinks that Yuja Wang’s taste in fashion not only helps her with PR and promotion or publicity, but also serves as a mirror of or natural accompaniment to her high-powered way of playing. She surely is a major pianist for a new century. (Below is another photo, by Ruby Washington of The New York Times, of Wang wearing a long black gown with a thigh-high slit for her Carnegie Hall debut, which also won a rave review from the Times’ senior music critic Anthony Tommasini.

Yuja Wang at Carnegie Ruby Washington NYTimes

What do you think of Woolfe’s point, his linking the fashion and the music? Are you convinced?

The Ear wants to hear.


Classical music review: Phenom pianist Yuja Wang plays as sexy as she looks, but her new “Fantasia” CD is more nightmare than dream, and a waste of a major keyboard talent.

April 20, 2012
9 Comments

By Jacob Stockinger

As regular readers of this blog know, I am a big fan of pianist Yuja Wang (below). I like her and I like the way she plays – not just the alluring or controversial way she dresses.

No wonder, I say, that at 25  she is in constant demand on the concert circuit and has already been nominated for two Grammys out of the first three CDs she did for Deutsche Grammophon. She is the Real Deal. Just use this blog’s search engine to check out interviews and other posts about her.

Now comes her fourth CD, “Fantasia,” which was released last week.

Just looking at the promising title of this concept album gave me fantasies.

Well, I thought, now we will get to hear Wang is some really great repertoire: maybe a fantasy by Mozart; maybe Schumann’s great Fantasy in C Major or his fabulous “Fantasy Pieces”; maybe one of Beethoven’s two Fantasy Sonatas, Op. 27, including the ‘Moonlight”; maybe Schubert’s “Wanderer” Fantasy; maybe Chopin’s Fantasy in F Minor or Polonaise-Fantasy; maybe Brahms’ set of Op. 116 Fantasies.

But no.

This really is about Fantasia, not fantasy. There is little great music on this CD, which is why I am so disappointed. It is made up of largely encore-like pieces.

True, a very few are terrific works, like Chopin’s Waltz in C-sharp minor, Liszt’s transcription of Schubert’s song “Gretchen at the Spinning Wheel” and the Sgambati transcription of Gluck’s “Dance of the Blessed Spirits.”

But, really, who needs a piano transcription of the Paul Dukas’ “The Sorcerer’s Apprentice? It only makes this CD’s title more reminiscent of the Walt Disney cartoon movie “Fantasia” than of the mystical and expansive genre that evolved out of the more formally structured sonata.

Wang plays as sexy as she looks. Her wondrous keyboard skills are evident in abundance. In her four Rachmaninoff pieces (three Etudes Tableaux and an Elegie), she goes go from calm and quiet to thunderously loud in practically no time.

Her single Scarlatti Sonata in G Major, K. 455, shows a wonderful sense of articulation, line and clarity, despite its fast tempo.

And the five early Chopin-like Scriabin preludes and poem, which she used to open her Carnegie Hall debut, show a masterly fluidness and lyricism as well as a refreshing transparency.

Every aspect of her astounding virtuoso technique is in evidence, as is her musicianship.

But why do we get the Bizet-Horowitz “Carmen” Variations, Saint-Saens’ “Danse Macabre” a la Horowitz and a transcription of Strauss’ “Tritsch-Tratsch” Polka? But do we really need another Horowitz (bel0w)?

Junk food and empty calories may be fun. But they are a terrible thing on which to waste such a major new talent. And this kind of repertoire just plays into the perception of Wang as a beautiful and well-dressed light-weight,more glitz and glamor than substance — which is NOT the case.

This is definitely NOT a CD The Ear will want to put on and listen through, though I occasionally might want to hear a piece or two at a time.

So I am still waiting for the concept album that her consummate skills – and her fans – deserve. I say Let Yuja be Yuja.

In short, The Ear gives this CD an A-plus for pianism and a D-minus for music.

Let’s hope the DG guys in Artists and Repertoire department let Wang do something more substantial in her next outing, though my bets are on the Prokofiev Third Concerto – coupled to a Prokofiev Sonata – which she recently performed and which is perfectly suited to her, as recent reviews proved again:

http://www.nytimes.com/2012/04/14/arts/music/philharmonic-with-jaap-van-zweden-conducting-yuja-wang.html?_r=1

We’ll see what lies in the future.

In the meantime, stick to her first three CDs – etudes and themes and variations by Ligeti and Brahms plus big sonatas by Chopin and Liszt and concertos by Rachmaninoff — and you won’t go wrong.

What do you think of Yuja Wang and her other recordings?

What do you think of this latest recording?

The Ear wants to hear.


Classical music: Phenom pianist and fashion plate Yuja Wang opens up to The New York Times about her artistic goals and her personal lifestyle.

April 14, 2012
7 Comments

By Jacob Stockinger

I will admit it: I am a big fan of Yuja Wang (below).

I find her playing assured and her stupendously fluid technique superb (see the bottom). I like her buoyant and infectious self-confidence. And I find her visual presence quite lovely and spicy, even edgy with the exactly the right kind of youthful energy that classical music needs right now to revitalize itself to a largely visual generation.

So I was particularly pleased to read a long profile written by Vivien Schweitzer of The New York Times.

In it, Wang explains a lot about her background and development as a pianist and as a public figure. It is hard to believe, for example, that a young performing artist with such charisma often finds herself lonely. But she admits that with the same openness that shows in her playing and in her stage presence.

Most of all, I enjoyed how unapologetic Wang is about her career and her treatment in the press, which has not always been kind or generous, especially about her sexy, provocative or even controversial manner of dressing for a concert, whether it is an orange micro-skirt or black gown with a thigh-high slit:

I also liked her relaxed attitude towards her own career – that is, she will enjoy it while she can and not worry about the future!

So I offer this to lots of others fans in the hope that also like it, and to those who aren’t fans in the hope that they might be persuaded.

Time and history, of course, will have the final say. But it seems to The Ear that we are in the presence of a major pianistic talent when we listen to Wang. Sure, she needs time to mature as a musician – and she admits as much is discussing the music of Bach, Mozart and Beethoven. But she has already come a long way and she probably has a lot of time for the maturing part.

But read this profile, listen to her recordings and decide for yourselves.

http://www.nytimes.com/2012/04/08/arts/music/yuja-wang-pianist-and-fashion-plate.html


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