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Yuja Wang, Piano

Friday, February 28, 2020 8 PM Stern Auditorium / Perelman Stage
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Yuja Wang by Kirk Edwards
She has been called “quite simply the most dazzlingly, uncannily gifted pianist in the concert world today” (San Francisco Chronicle). Yuja Wang shares her staggering virtuosity, dramatic sense of style, exuberance, and flair in her first solo recital in Stern Auditorium / Perelman Stage since the 2017–2018 season.

Please note that if you purchase stage seating, please arrive one hour before concert time.

There is a limit of 8 tickets per household. Additional orders exceeding the ticket limit may be cancelled without notice. This includes orders associated with the same name, email address, billing address, credit card number and/or other information.

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Yuja Wang, Piano


GALUPPI Andante from Keyboard Sonata in C Major

BACH Toccata in C Minor, BWV 911

BRAHMS Intermezzo in A Minor, Op. 116, No. 2

CHOPIN Mazurka in A Minor, Op. 67, No. 4

BRAHMS Intermezzo in E Minor, Op. 119, No. 2

CHOPIN Mazurka in C-sharp Minor, Op. 30, No. 4

BRAHMS Intermezzo in C-sharp Minor, Op. 117, No. 3

CHOPIN Mazurka in F Major, Op. 68, No. 3

BRAHMS Romance in F Major, Op. 118, No. 5

SCRIABIN Piano Sonata No. 4, Op. 30

RAVEL "Une barque sur l'océan" from Miroirs

BERG Piano Sonata

MOMPOU "Secreto" from Impresiones intimas

SCRIABIN Piano Sonata No. 5, Op. 53

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

In honor of the centenary of his birth, Carnegie Hall’s 2019–2020 season is dedicated to the memory of Isaac Stern in recognition of his extraordinary contributions to Carnegie Hall, arts advocacy, and the field of music.

At a Glance

This evening’s program is as wide-ranging stylistically as it is chronologically. Although the first half may seem to pole vault from the Baroque era to the late-Romantic era, the nine pieces have a good deal in common. By juxtaposing music written in closely related keys, Yuja Wang shows how composers in different historical and cultural milieus deployed the resources of traditional tonality. Her selections further highlight the enduring appeal of the short “character piece”—one of the most characteristic genres of the 19th century—as well as the freely improvisational impulse that underlies music as outwardly diverse as Bach’s toccatas, Chopin’s mazurkas, and Brahms’s valedictory piano miniatures.

The second half of the program plunges into the musical maelstrom of the early 20th century. It’s framed by a pair of radically compressed but fundamentally Romantic sonatas by the visionary Russian composer-pianist Scriabin. Berg’s atonal but richly expressive piano sonata likewise makes a virtue of concision, while the small-scale musical essays by Ravel and Mompou hark back to the programmatic ethos of the 19th century.

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