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Monday MON 1 January 0001
Thursday THU 9 March 2023

Yuja Wang © Kirk Edwards

Yuja Wang, Klavier

Tuesday 26 April 2022
Großer Saal



Yuja Wang, Klavier


Arnold Schönberg

Suite op. 25 (1921)

Ludwig van Beethoven

Sonate Es-Dur op. 31/3 (1801–1802)

György Ligeti

Automne à Varsovie. Étude Nr. 6 (Études pour piano, premier livre) (1985)

L'escalier du diable. Étude Nr. 13 (Études pour piano, deuxième livre) (1988–1994)


Isaac Albéniz

Málaga (Iberia-Suite, 4. Heft) (1908)

Alexander Skrjabin

Sonate Nr. 3 fis-moll op. 23 (1897)

Nikolai Kapustin

Prélude op. 53/11 (24 Preludes in Jazz Style) (1988)

Prélude op. 53/10 (24 Preludes in Jazz Style) (1988)

Isaac Albéniz

Lavapiés (Iberia-Suite, 3. Heft) (1907)



Philip Glass

Etude Nr. 6 (Études for piano, Book 1) (1994)

Arturo Márquez

Danzón Nr. 2 (1994)

Johannes Brahms

Intermezzo op. 117/3 (1892)

Johann Sebastian Bach

Ouverture / Orchestersuite Nr. 2 h-moll BWV 1067 (Bearbeitung: Cyprien Katsaris) (1717–1723 ca.)

Moritz Moszkowski

La jongleuse

Felix Mendelssohn Bartholdy

Lied ohne Worte fis-moll op. 67/2 (1839/1845)

Sergej Prokofjew

Sonate Nr. 7 B-Dur op. 83 (3. Satz: Precipitato) (1939–1942)

Nikolai Kapustin

Etude op. 40/3 »Toccatina« (8 Concert Etudes) (1984)

Peter Iljitsch Tschaikowsky

Tanz der kleinen Schwäne (Lebedinoe ozero »Schwanensee« op. 20) (Bearbeitung: Wild for Piano) (1875–1876)

Christoph Willibald Gluck

Melodie (Bearbeitung: Giovanni Sgambati)

Subscription series Klavier im Großen Saal


Presented by Wiener Konzerthausgesellschaft

Unforced brilliance

Yuja Wang is one of the most important artists of her generation and knows how to captivate listeners of all ages. »She has an unforced, brilliant piano playing that would have made Prokofiev – who was a great pianist – as envious as the legendary Horowitz,« the Los Angeles Times said of Wang. Critics highlight her virtuosity and technical mastery, as well as her charismatic stage presence. But for the pianist, her art is in the service of emotional expression and musical interpretation; technique must never be an end in itself. Her artistic credo is both simple and complex: »I want to relate all of life to music,« she recently told the Observer.


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