Last night, I wandered off to the Philharmonie in Luxembourg to hear Yuja Wang play. I have seen some people write some rather positive things about her, lately about her rendition of Beethoven’s Hammerklavier.
Yesterday was a gorgeous spring day in Luxembourg and the temperature as I walked to the concert hall was about 20 degrees. Very pleasant. The concert was not fully sold out but there was not much choice left in the way of seat. The program was a full set of Chopin Preludes followed by a set of Brahms variations on a theme by Georg Handel. I was familiar with the theme in question although I am not sure where I heard it.
There’s something almost lonely about a concert grand alone on a stage. It’s a long walk from the side of the stage. For Yuja Wang, it’s a really long walk in very high heels. And yet somehow once she is sitting at that piano, she takes over the world.
There are a lot of words I could choose to describe her playing. She is unquestionably one of the great technicians of the piano, but there is something more there. Something elusive but something that says that right here, right now, the right place to be is in front of a piano, if you are Yuja Wang. I’ve seen a few concert pianists over the years, all unquestionably talented, but with the possible exception of Daniil Trifenov, none so totally joined to the piano in a unit.
The Chopin was in many respects, imperious. More power than I am used to hearing from these things. I sat there and wondered how my life would have been different if I had heard Chopin like this when I was about 12 years old.
The Brahms was very different. Less imposing and yet, very inviting.
Then there were the 7 encores. Du jamais vu, I kept hearing around me. Some Tchaikovsky. Some Rachmaninoff. Some Prokofiev. A Horowitz transcript of Mozart. Some Bizet. Some Schubert. This was watching someone who was not, as it were, just a performer. This is someone who just wanted to play the piano.