Teaching Lang Lang & Yuja Wang 

Trolling??? The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

@@georgescancan7503 Jesus, you're obsessed. You have been saying the same thing for years. I'm going to report your spam comments.

@@bdstudios6088 What are you talking about?

Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.

New York CLASSICAL REVIEW by Eric Simpson Sun May 15.2016 Concerts are, to some extent, an expectations game in one way or another: we go to a major venue to hear a leading artist expecting a great performance, and often that bar is met or even exceeded. Or we witness a very fine performance that stands out all the more for being by someone we’ve scarcely heard of. The least pleasant of all worlds has to be the experience of disappointment from the performers from whom we expect the most. Over the past several years, it has been a thrill to watch the continued development of Yuja Wang, who has shed her reputation as a flashy technician and demonstrated herself to be a sensitive musician of real substance. It was surprising, then, to hear her on Saturday at Carnegie Hall, in her most mature recital program to date, sound so far out of her element. The first two of Brahms’s Op. 10 Ballades provided just the first example of what would become a recurring problem throughout Wang’s recital: chronic over-pedaling. While some judicious blurring can help give color to a piece, Wang’s heavy foot seemed here to be more of a tic, fussing with textures without finding much in the way of meaningful expression. Neither Ballade showed much specificity of intention, giving instead a broadly generic account of the music without a strong feel for its style or significance. There was a more virtuosic feel that one often hears in her rendering of Schumann’s Kreisleriana, yet Wang still relied too heavily on her pedaling, her playing often feeling rote. For all the fire with which she ended the third movement, there was no focus in it, so that it took on the shape of general bluster. There were moments throughout of superb playing-the last movement was marked by striking contrasts between passion and playful coyness, but even these felt like momentary effects rather than elements of a complete interpretation. Most perplexing of all was her take on Beethoven’s magisterial “Hammerklavier” Sonata. In the early going it was quite impressive, a truly majestic majestic opening followed by extraordinary freedom in her interpretation of the rest of the first movement. Wang’s fingerwork at times felt a little drowsy, a problem that carried over into her Scherzo, and kept it from ever approaching its requisite crispness. As so often before, Wang’s account of the pensive Adagio sostenuto showed moments of superb playing-her delicate touch floated shining tones out of the piano, and individual phrases were sublimely crafted. What she lacked, though was the ruminative Beethovenian spirit of the music-the romantic preciousness with which she shaped the movement would have been more suited to a Chopin nocturne. The finale showed plenty of determination in the “Allegro risoluto,” but more excessive pedaling and sluggish fingerwork muddied what ought to have been a crystal-clear fugue. A different pianist, it seemed, emerged for the curtain calls. Wang tossed off all of her usual encores, and they were brilliant: the Gretchen am Spinnrade transcription had the perfect combination of Schubertian sensitivity and Lisztian bombast. Arcadi Volodos’s cheeky riff on Mozart’s Rondo alla Turca elicited laughter at every witty turn and the Horowitz “Carmen” Variations were accomplished with supreme flair. Where was this self-assured, limpid playing on the rest of the program?

@@mariodisarli1022 SLIPPEDDISC Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’ UPDATE: In defence of Yuja Wang

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

I love Ms. Wang! I just wonder when "fast" can become too "fast"?

@@chrisk8187 Yea, Fast can become too fast when your technique falters and it doesn't sound good. But essentially -- if something sounds good and people can pull it off, however impressive or unimpressive, fast can never be too fast. Everyone said the same thing when Zimerman came on the scene but look at him now, and Argerich before that.

@@chrisk8187 I love..... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jUl0ON_fx8Y.html She is Amsterdam red light district , mediocre classical pianist, she and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads. :-)

@@chrisk8187 Strip club pianist!!!! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0jBJUEx2RNk.html

@unitedwestand Sutor, ne ultra crepidam From Wikipedia, the free encyclopedia Vasari's home in Florence, Apelles Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise. Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying. The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review: 1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.) A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]

Both of them were educated in the preparatory division of the Central Conservatory of Music in Beijing.

Absolutely. Very well observed....

Given the fact that these pianists can already play the major repertoire from memory and with technical expertise as well as artistry in their early teens….this comment is very true. The early teachers should also be recognised and applauded.

It's as in they were good in college but who taught them during their elementary and high school years

This is very true. I still hear the voice of my childhood teacher in my head whenever I play, not my current teacher!

I heard him playing the Liszt’s transcendental etudes at a recital once, absolutely jaw dropping how he was able to play all 12 so effortlessly.

omg me too, when they showed the last clip with yuja and horowitz i teard up for some reason

That was old compare to all those prodigies came before

who knows ?..

They studied in the best musical institution in China since their primary school. So I do think top institutions really play important roles in the students. However, Yundi was a weird case, since the music school he studied in China was mediocre at best

Yes her sound projection is quite something; never short of clarity and brilliance.

It's great! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jUl0ON_fx8Y.html She is Amsterdam red light district , mediocre classical pianist, she and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads. :-)

@@georgescancan7503 Sour grapes, Georges.

@unitedwestand @bloodgrss bloodgrss(=Yuja Wang): "Sexism: NOUN, Racism: NOUN, Internet troll: NOUN" Dear bloodgrss, Sex sell: NOUN??? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5s8ykU0mVNQ.html ALEXANDER BOOT Author, critic, polemicist Blogs > Alexander's blog > Submitted by Alexander on 24 June 2013 - 12:59pm The other day I listened to something or other on RU-vid, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand... [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short. Alexander's blog

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

The two of them were top class Pianists Prodigies. Gary Graffman was teacher for both of them who became his best Students. Lang Lang was invited to the White House to Play the Birthday tunes for President Obama on his birthday! The greatest Pride & highest honour for Lang Lang & China! Bravos Lang Lang👍👍👍👍👍❤️❤️❤️❤️✌️✌️✌️✌️

Both are staying in EU countries For their playing classical music for piano are in greater demand there than in China. Less Chinese appreciate classical music for Piano. Miss Wang younger at 33 yo is said to have taken America by Storm. Lang Lang was invited to the White House to play his best piano classical Birthday music for The President’s Birthday occasion. Both of them brought great Pride & Fames for China. I saw Miss Wang’s interview by the BBC. She spoke good English ( UK ). She is humble & Giggles often, friendly & sociable. China is proud to have two very talented Pianists, One Gentleman & another graciously a very beautiful Lady 👍❤️!!!!

Yundi Li Is a better one chines pianist by far

@@MARTIN201199 Finally putting some respoct on my man

Man’s gotten arrested in China for prostitution lol he isn’t practicing much

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

@ bloodgrss(=Yuja Wang" Yuja Wang - "McDonald´s"culture! The money& "sex sells" culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 ".... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”

@bloodgrss Hi Yuja! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lMUMd1ZEOHc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

technically stronger? i would think someone like hamelin or gibbons would have a stronger technique

Why would you speak of modernism in visual arts as the end of painting, but not the musical modernists? Compare them with Shoenberg and Xenakis instead and yet the music lives on. The craft of Picasso is far more than what meets the eye.Why would painters waste their energy on something a photograph can do better? Not that hyperrealism is dead, its one part of the world of art, of a revolution witch Picasso started.

@@janhorsky3232 In music, there are younger generations taking over, but the masters did not produce anybody after them, they were followed by the likes of Picasso and Dali and those clowns are followed by modern arts jokers who consider a banana glued on a red cardboard as art.

@@davidronson8712 Youve still have artist that make art similar to that of middle ages, but those portraits get really boring for people who actually visit galeries. Art changes and picasso pushed zhe boundary of art without diminishing its meaning. And Dalis paintings are very craft heavy and still portrait interesting pieces. Moreover, you have that in clasical music as well if you take a look at serious composers and not whats popular on youtube

Not really no, the methods of the old masters in the Renaissance are well kept and preserved to this day especially at Art schools like Art Center in Pasadena California. I know since I got the chance to learn from amazing Artists like Glenn Vilppu, Erik Olson, Karl Gnass etc. Things like Movie films, Animated films both traditional and digital 3D, concept art, comics, etc are only possible because of methods that have been kept well and alive for over centuries. It's just that contemporary abstract art is just over hyped by both the media and it's community while the ones that deal more with how reality really works by studying the laws of nature and finally being able to communicate it on a flat 2 dimensional surface is now what's called "The entertainment industry". It's focus lies more on the business side and giving people entertainment in the form of films, games, animations etc. Take and see Glenn Vilppu as an example, he has thought over tens of thousands of students around the world with his method and approach of how to approach drawing the figure by going around the world flying from country to country sponsored by Disney themselves. And in case you were wondering who he really is, Glenn Vilppu is one of the pioneers and Legends that made a significant contribution to art especially in the Animation industry by teaching thousands of students directly in person for decades how to truly see movement and draw clearly the flow of an action. So no the craft of the old masters aren't dead, in no way they are dead, it's just that majority of people on this earth dont know about this because they aren't interested in art nor do they want to dig deep into it unless you're an aspiring Artist willing to get your hands into whatever info it can get by seeking the truth. People honestly just don't know better. So in the end, yes contemporary abstract conceptual art is more well known and appreciated, but that doesn't mean the teachings of masters like Da Vinci and Michaelangelo died dude. It doesn't work like that. Anyways that's all ahahaha

Agreed-his emoting is so distracting and overkill

Totally agree. I can understand when he was young getting all that recognition, but he's more about showmanship than true musicality. I would much rather listen to Louis Lorte. IMO Yuja Wang is the greatest classical pianist of our time.

@@jamesrawlins735 Yep I agree, showmanship, fully crystal piano, extravagant clothes, we all know that a piano made out of crystal won’t do well with sound optics

Brett is it you?

Unless you practice 40 hours a day you are not in Ling Ling's league

The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.

@@mariodisarli1022 Success?! Is the acrobatics of the piano keyboard with elements of a nude body a success? This is a success for uneducated people and for those who make money on these "Hollywood shows"! "You go girl!!!" player.vimeo.com/video/57468088?title=0&byline=0&portrait=0&color=d30000&api=1&player_id=media-player

@@mariodisarli1022 I have always wondered when, and how, do you decide to troll as Georges Cancan or as Mario DiSarli? Does it change when you take your bipolar lithium meds? Well, no matter; a number of us here are working on banning you both-same IP after all...😉

@@georgescancan7503 I have always wondered when, and how, do you decide to troll as Georges Cancan or as Mario DiSarli? Does it change when you take your bipolar lithium meds? Well, no matter; a number of us here are working on banning you both-same IP after all...😉

Gary Graffman is/was a better pianist than either of them could ever hope to be

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jUl0ON_fx8Y.html She is Amsterdam red light district , mediocre classical pianist, she and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads. :-)

@@georgescancan7503 You ain't alone; lots of us can do without the Wang legshows, and do.

@@georgescancan7503 wha-what’s this have to do with anything?

Georges Cancan. So true. You have guts to say the truth.

@@georgescancan7503 Not that the truth makes any difference to a trolling schizophrenic like you-but let's give you some anyway. Your hero, the "sloppy, but entertaining British muckracker" Norman Lebrecht you so obsessivly quote (well, along with your creepy leering over pictures of Yuja): "Despite-or perhaps in response to-the criticisms he has received, Lebrecht has leaned in to such sensationalism on his ad-supported gossip blog. For instance, in a February 23, 2020, blog post, Lebrecht publicly ridiculed the Chinese pianist Yuja Wang for having worn sunglasses during a recent recital in Vancouver, calling her an "attention-seeking" musician who "refused to acknowledge the audience."[29] Having not attended the recital himself, Lebrecht's sole source for this characterization was a Facebook post by the conductor and audience member Tania Miller, who later apologized for the post. It soon emerged that Wang had worn the sunglasses in order to cover up red and puffy eyes, evidence of the extended detainment and intense questioning she had been subjected to upon her arrival at Vancouver International Airport, which had left her in tears and almost caused her to miss the recital.[30] Although he reported Wang's social media post, in which she offered her explanation of the situation, as well as Miller's mea culpa for her Facebook post, Lebrecht has so far declined to apologize for his own ridicule of the pianist.[31][32] Nor has he to date taken down the original post in which he mocked her." Let's have more from your hero: Martin Bernheimer, Los Angeles Times: One may want to forgive Lebrecht's passing errors, along with his hyperbole. Still, the little slips make one all the more leery of big gaffes. Contrary to what one reads, Kreisler and Joachim were not the only composers who wrote cadenzas for the Beethoven violin concerto. Otto Klemperer did not enjoy much of a U.S. career after World War II. Antonia Brico did not conduct at the Met. Rudolf Bing did not ban Elisabeth Schwarzkopf from that house. James Levine's favored artists at the Met are not "little-leaguers". Klaus Tennstedt never was "the most sought-after conductor on earth". When Zubin Mehta came to Los Angeles, he did not inherit a "world-class, well-run Philharmonic". Leonard Bernstein could not claim the longest tenure of any music director of the New York Philharmonic - that was Mehta. Irmgard Seefried, Sena Jurinac and Hilde Guden did not "trill secondary roles" in Vienna - they didn't really trill anything, but they did sing primary roles.[26] An anonymous informant identified as "one of the world's leading conductors" told The Independent that Lebrecht had for years been getting away with "pompous, preposterous judgment" and "inept research".[27] Lebrecht received the Cremona Music Award 2014. Pianist Grigory Sokolov, upon learning of his being awarded the Cremona Music Award 2015, refused to accept the honour, making this statement on his website: According to my ideas about elementary decency, it is shame to be in the same award-winners list with Lebrecht.[28] Lol-a fine mentor you have...😜

Surely they practice 40 hours a day

Lmao no, he already said she was 19 by the time he taught her, meaning that he wasnt trying to take credit for that, he just sharpened their skill. Listen first then criticize

Ms. Wang came to him. So it's safe to say that she wanted to learn a couple of things from him. He can take credits for those couple of things.

thank you！ finally some truth ！

@@JA-zs7fw sounds like sour grapes and envy

"Than a true musician" ok buddy

Yujia has outstanding technique and precision, while Langlang has extraordinary capabilities to control the whole music piece with deep meanings. Both excel in their own ways.

@@christopherczajasager9030 No, it's actually true. Why envy?

Relatively speaking, she's a better musician than he. At any rate, musician or showman, they're both _very_ good piano _players_ .

bingo

21th century!!!! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jUl0ON_fx8Y.html She is Amsterdam red light district , mediocre classical pianist, she and Khatia Buniatishvili, i think they try to compensate for their lack of talent, i think they are both overrated and need a book on etiquette badly. I am not a prude but these chicks look like they carry a supply of penicillin with them, they can't be taken seriously, neither is pretty, so i assume the dressing is used to distract the people from their looks, and Khatia with all the phony hair flipping which is so unauthentic. I am not being mean just real, we all like pretty things and they could be sexy without looking classically hookerish, someone should tell them, but i think they have been told and don't care, they look like rough broads. :-)

21th century???? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0jBJUEx2RNk.html

@@georgescancan7503 Georges/Mario!!! One hoped the meds we got for you years ago would still be helping you; sadly no, just as sexist/racist and musically stupid as always...but I am still here to counter your trolling as always👍 Let the copy and paste obsessiveness begin!

@@georgescancan7503 Georges/Mario!!! One hoped the meds we got for you years ago would still be helping you; sadly no, just as sexist/racist and musically stupid as always...but I am still here to counter your trolling as always👍 Let the copy and paste obsessiveness begin!

@@bloodgrss Hi Yuja! Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.

If you can, do it... and then teach 😊

I had a successful clarinet/sax studio for forty years. I was NOT a performance major, but played in various community groups and subbed in various public events. However, my students acquitted themselves well winning various young adult concerto competitions, music scholarships, full tuition unversity scholarships, subbed and jobbed in various professional ensembles and major orchestras, including performing the Nielsen Clarinet Concerto from memory with a local top youth symphony. I had some students who played better than I did, but were surprised when I could solve technical problems for them.

No. Great teachers are not synonymous with those who try to play and can't.

Comments like this is exactly why education is so underfunded in some places. Why not add another one that goes: if you can, get a job; if you can’t, go to school? Ridiculous

Who wants a teacher who can't do what he/she is teaching?

Good question LMAO