CARNEGIE HALL PRESENTS

Performance Thursday, October 20, 2011 | 8 PM

Yuja Wang

Stern Auditorium / Perelman Stage
Coast to coast, the young Chinese pianist Yuja Wang has been astounding almost everyone who hears her. She’s a speed demon who leaves audiences breathless and emotionally spent, sparking comparisons to Horowitz by critics from both The Philadelphia Inquirer and The Washington Post. See her New York recital debut—only at Carnegie Hall.

Performers

  • Yuja Wang, Piano
    New York Recital Debut

Program

  • SCRIABIN Prelude in B Major, Op. 11, No. 11
  • SCRIABIN Prelude in B Minor, Op. 13, No. 6
  • SCRIABIN Prelude in G-sharp Minor, Op. 11, No. 12
  • SCRIABIN Etude in G-sharp Minor, Op. 8, No. 9
  • SCRIABIN Poème in F-sharp Major, Op. 32, No. 1
  • PROKOFIEV Sonata No. 6 in A Major, Op. 82
  • LISZT Sonata in B Minor

  • Encores:
  • LISZT Gretchen am Spinnrade, D.118 (arr. Liszt)
  • DUKAS The Sorcerer's Apprentice (arr. Yuja Wang)
  • GLUCK Melodie from Orfeo ed Euridice
  • J. STRAUSS JR. "Tritsch-Tratsch" Polka (arr. Cziffra)

Bios

  • Yuja Wang


    Pianist Yuja Wang is widely recognized for playing that combines the spontaneity and fearless imagination of youth with the discipline and precision of a mature artist. Her debut album, Sonatas & Etudes, was released in 2009. This was followed by a second album, Transformation, for which she received an ECHO Klassik award. Most recently, Ms. Wang collaborated with Claudio Abbado and the Mahler Chamber Orchestra to record her first concerto album, featuring Rachmaninoff's Rhapsody on a Theme of Paganini and his Piano Concerto No. 2.

    Ms. Wang has performed with many of the world's most prestigious orchestras, including the Boston, Chicago, Pittsburgh, and National symphony orchestras; the Los Angeles and New York philharmonics; The Philadelphia Orchestra; and San Francisco Symphony; and abroad with the Staatskapelle Berlin, China Philharmonic Orchestra, Filarmonica della Scala, London Philharmonic Orchestra, NHK Symphony Orchestra in Tokyo, Orchestre de Paris, St. Petersburg Philharmonic Orchestra, and the Royal Concertgebouw Orchestra. Conductors with whom she has collaborated include Daniel Barenboim, Charles Dutoit, Daniele Gatti, Pietari Inkinen, Lorin Maazel, Kurt Masur, Antonio Pappano, Yuri Temirkanov, Michael Tilson Thomas, and Pinchas Zukerman. Ms. Wang has also given recitals in major cities throughout Asia, Europe, and North America, and she makes regular appearances at summer festivals, including Aspen, Lucerne, and Verbier.

    Highlights of the 2011-2012 season include performances with the Israel Philharmonic Orchestra; London Symphony Orchestra; NDR Symphony Orchestra; Orchestra dell'Accademia Nazionale di Santa Cecilia; and the US orchestras of New York, Philadelphia, and Los Angeles. She tours Germany with the Royal Philharmonic Orchestra and Charles Dutoit, and gives her debut recital in Berlin; she is also scheduled to perform recitals in London, Madrid, Milan, and Paris.

    Ms. Wang began playing piano at age six. She studied at the Central Conservatory of Music in Beijing with Ling Yuan and Zhou Guangren, the Mount Royal Conservatory in Calgary with Hung-Kuan Chen and Tema Blackstone, and the Curtis Institute of Music in Philadelphia with Gary Graffman. In 2006, Ms. Wang received the Gilmore Young Artist Award, followed by the prestigious Avery Fisher Career Grant in 2010.

    More Info

Audio

Stravinsky Petrouchka (Danse russe)
Yuja Wang, Piano
Deutsche Grammophon

At a Glance

Franz Liszt, whose 200th anniversary we celebrate this Saturday, invented the modern piano recital. A recital is not a random assortment of pieces, but a development of a single compelling idea. In this instance, Yuja Wang presents pieces by composers who were also great pianists. Scriabin, Prokofiev, and Liszt would all have had major careers as virtuoso performers even if they had not written music. The works on this program were not so much written for the piano as from inside it, unveiling the instrument’s myriad colors, nuances, and possibilities: This includes the ambiguous mists in the Scriabin, percussive hammers in the Prokofiev, and a shifting universe of sonority in the Liszt. Structurally, the large works illustrate how these composers from different eras manipulated the stubbornly persistent 18th-century sonata form. Liszt reinvents it altogether, whereas Prokofiev—despite his aggressively “modern” rhetoric—recapitulates it with surprising fidelity.
Program Notes