Most important, he realized that the orchestral score was intended as no mere frill but to give the concerto true symphonic scope. A moment later the piano goes back to forte and the sprint sets off anew. Odd pairing Following her victorious performance, and after innumerable and well deserved standing ovations, Ms.
The recording was supervised by Laszlo Halasz and Don Gabor and was probably done in stereo. Rhythm and tune then fall into an abrupt piano, no less threatening than the previous forte. The second movement brims with Romantic warmth and a sense of fervent longing, ingredients so characteristic of Rachmaninov.
Strings, bassoon, tuba, timpani and gran cassa bass drum march along with moody determination. Running up to an acid semitonal acciaccatura in both hands, the piano goes over into a sprint of octave-chords and single notes, jumping manically up and down the keyboard twice a bar.
The transition to the third movement brought a breath of fresh air, though the orchestra faltered somewhat in the opening rhythmic passages. The final pages, beginning with that sinister Rachmaninovian buildup, is fraught with suspense and electricity, and the closing chords in the coda fly triumphantly by with such astonishing virtuosity.
The quirky alternate theme is plucked out boldly by Wang, giving the music a sassy yet surrealistic character. Trundling chromaticism has the music roll up to a fortissimo, the orchestra still proclaiming the originally wistful piano-theme.
The score was written after he had made a difficult recovery from severe depression brought on by the failure of his first symphony.
The passagework which ensued was less fluid and lacking in a certain lusciousness, possibly due to her spare use of pedal though this aspect seemed to warm up as the performance continued. The march of the introduction continues as the piano modulates into new harmonic territory. She points up the agitated lyricism in the alternate theme and delivers an utterly thrilling ending.
The tension builds and the music ascends until it reaches a climax, when the opening theme returns with baleful trombones and crashing chords at the top of the piano. The alternate theme sings beautifully and the development section is stormy and gripping.
Trombones sharply pronounce a D, followed by tuba and oboe in a sudden diminuendo. The build up to, and through, the massive pedal-point that leads into the recapitulation of the first movement was a case in point, and a truly satisfying musical experience.
From the painful first chord of the Adagio lamentoso finale through to the anticlimax soft ending, the fourth movement was tragic, poignant and haunting. A third staff, which requires the pianist to perform large jumps with both hands frequently, contains the motif from the earlier orchestral accompaniment.
Piano Concerto 3 in D minor, Op. Her first movement begins with a judicious tempo of the main theme, her playing lively and spirited.
The second movement was melancholic and rhapsodic; orchestral crescendos pulled at the heartstrings and piano trills were impossibly smooth.
Prokofiev himself describes this as one of the hardest places in the concerto. It displays the motor line of the five "lines" characters Prokofiev describes in his own music. The bassoons take up the wandering piano-theme, while the piano itself goes over into a pp semiquaver accompaniment.
The accumulated charge is eventually released in a premature climax G minormarked fff and colossalewhich consists of oscillating triplet semiquaver runs across the upper four octaves of the piano, kept in rhythm by a leaping left-hand crotchet accompaniment.
Piano Concerto 2 in G minor, Op. Wang imparts a sense of mystery and eventually of agitation to the lyrical first movement main theme, using a mixture of soft dynamics and muscular playing that can sometimes turn curt. Is there an ending in some other work that comes on with this kind of bizarre Armageddon?A brief forte, backed by the orchestra, leads to a third, expansive, walking theme performed again by the solo pianist; Layton notes that this "looks forward to its counterpart in the Third Piano Concerto: there is no mistaking its slightly flippant character".
With the vast plenitude of recordings of Sergey Rachmaninov's Rhapsody on a Theme of Paganini and the Piano Concerto No. 2 in C minor, one has to wonder why Yuja Wang and Claudio Abbado chose these blockbusters for her first album with an orchestra.
There are many possible reasons, including the composer's instant name recognition, the performers' preference for the music, and the obvious 9/ Apr 19, · Mix - Yuja Wang: Rachmaninov Piano Concerto - 2 - 2nd Movement YouTube; Yuja Wang - Tchaikovsky Piano Concerto No.
1, Rachmaninoff Piano Concerto No. 2. Wang imparts a sense of mystery and eventually of agitation to the lyrical first movement main theme, using a mixture of soft dynamics and muscular playing that can sometimes turn curt.
The quirky alternate theme is plucked out boldly by Wang, giving the music a sassy yet surrealistic character. Find helpful customer reviews and review ratings for Rachmaninov, Piano Concerto No. 2 in C minor - Yuja Wang, Yuri Temirkanov at mi-centre.com Read honest and unbiased product reviews.
Rachmaninoff’s Third Piano Concerto is one of the most technically challenging compositions in the piano literature. Yuja Wang transcended technique to reveal the very soul of the tormented composer’s music What, When, Where.
Philadelphia Orchestra: Rachmaninoff, Piano Concerto No. 3; Strauss, Serenade for Winds and Ein Heldenleben. Yuja Wang, piano; Yannick Nézet-Séguin, conductor.