Review: The Vienna Recital – Yuja Wang, Piano

This live recording, captured at Yuja Wang’s April 26, 2022 recital in Vienna, evokes memories of her successful 2019 “Berlin Recital.” It features complete piano sonatas by Beethoven and Scriabin alongside individual movements or excerpts from larger cycles, echoing program structures common until the mid-20th century.

While billed as a single concert from Vienna’s Konzerthaus, the album deviates from the original program. Schoenberg’s Suite, which opened the live performance, is omitted here. Additionally, Albéniz’s “Lavapiés” from Iberia, originally the closing piece, appears midway through the album. The recital itself concluded with ten encores, only four of which are included here. Following suit with the Berlin release, DG could treat us to the remaining encores on a separate album.

Despite these alterations, the program remains eclectic and provides a satisfying listening experience, much like a well-curated recital. Works that might seem disparate on paper cohere through both contrast and thematic echoes. Wang demonstrates her mastery of densely layered compositions like those by Scriabin and Albéniz, highlighting the distinct voices within these complex works.

Her interpretation of Scriabin’s Piano Sonata No. 3 captures its fantastical spirit while acknowledging its elusive structure. Listen closely to how the slow movement subtly quotes the sonata’s main theme, as if from a dream (track 4, 4’10”). The two jazzy preludes by Nikolai Kapustin that follow subtly reference Scriabin’s exploration of future harmonic possibilities and stylistic innovations.

In her renditions of the two pieces from Iberia, Wang displays a natural affinity for the Iberian landscape and culture. One would have to go back to recordings by Alicia de Larrocha to find a more evocative representation.

While not typically associated with Beethoven’s piano music, Wang frequently performs his works in concert (her Carnegie Hall recital in 2016 included a well-received performance of the monumental Hammerklavier Sonata.) Here, she tackles the Op. 31 No. 3 Sonata (“Hunt”), a favorite of Arthur Rubinstein but often overshadowed by its companion piece, the “Tempest” Sonata. Wang’s performance inspires a desire to hear more Beethoven from her; Characterization is insightful, balancing fidelity to the score with interpretative freedom. The suspenseful interrogations in the first movement are rendered masterfully. The Scherzo, while perhaps a touch brisk, adheres to the allegretto vivace indication without veering into presto territory. The slow movement sings with genuine cantabile, and the finale concludes the work with a joyful and humorous flourish.

Ligeti’s and Glass’ piano études, though not as widely known as other sets, receive excellent service on disc – Jeremy Denk and Pierre-Laurent Aimard come to mind as great proponents. Beyond her technical virtuosity, the most striking element of Wang’s performance is her evident enjoyment of this music and her desire to share it with the audience.

The recording engineering is splendid, capturing a realistic soundscape akin to sitting in a good seat within the concert hall, especially when experienced in Dolby Atmos. However, this realism also reveals minor imperfections, as certain registers begin to strain under Wang’s forceful playing. The accompanying booklet lacks background information or analysis of the featured works, although it includes an intriguing essay by composer, pianist, and music writer Jed Distler exploring recital programming and Wang’s approach.

This album serves as a worthy successor to the acclaimed “Berlin Recital”, showcasing an unconventional artist and music curation in the best possible light.

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