Yuja Wang - Superstar Pianist Plays Too Many Encores

Summary

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Classical Music Happy Hour – Yuja Wang: Superstar Pianist Plays Too Many Encores

Host: Emanuel “Manny” Ax
Guest: Yuja Wang
Date: March 4, 2026
Podcast by WNYC & WQXR

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Episode Overview

In this lively, insightful episode, Manny Ax sits down with international piano superstar Yuja Wang to explore her musical upbringing, interpretive philosophy, infamous encores, and vibrant career. The conversation sparkles with humor, technical depth, candid personal anecdotes, and authentic exchanges—making classical music feel accessible and inviting. The pair take listener questions, play a whimsical game, and dig deep into what makes Yuja’s artistry so electrifying.

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Key Discussion Points & Insights

Yuja's Artistic Upbringing and Approach

• Musical Family Roots

  • Yuja describes her background:
    • “Mom dancer. Father percussionist.” (01:55)
    • Humorous note on discipline: “People mention about my posture? That’s all her [my mother’s] doing.” (01:59)
    • Piano as an ‘escape’ from her mother’s aspirations for her to be a dancer.

• Sight-Reading vs. Memorization

  • Yuja: “I’m only good at sight reading. I cannot memorize anything.” (02:14)
  • Manny’s praise: “You are, in fact, phenomenal at it.” (02:31)
  • On performing: “There are pieces that I learned before 20...I can be drunk and no sleep and whatever...it just comes out.” (04:58)

Interpreting Composers and Repertoire

• Connecting Works
  • Yuja approaches composers’ music holistically: “It’s like getting into that composer’s language…their complete works.” (03:20)
  • Example: Relates Beethoven’s sonatas to his symphonies and string quartets (03:20–04:47).
• Humor and Humanity in Beethoven
  • “He wrote out when pianists cannot play two hands together!” (04:01)
• Physical and Mental Stamina
  • On programming demanding pieces (e.g., a Rachmaninoff marathon):
    • “It’s about amount of notes that you have to play in a recital anyway.” (05:54)
    • “I did a big fat round note in the Tchaikovsky...it’s a very obvious one.” (06:26)
    • “No, it’s really like shut down the brain, I think, while playing.” (07:27)

Practice and Performance Philosophy

• Accuracy vs. Expression
  • On mistakes: “As I get older...that’s why it matters. I get less cross about [wrong notes].” (06:42)
  • “Shut down the brain...now I’m like ‘oh, but what expression?’ and then it’s like, ‘oh, that was not the right answer.’” (07:27)
  • Discusses the distinction between sight-reading, improvisation, and how the brain processes each (07:42)

Listener Questions Segment

Sonata vs. Concerto (Danny, New York)

• Yuja: “Piano sonata and piano concerto is in the same form, but concerto involves an orchestra.” (08:48)
• Manny expands: Describes sonata form: exposition, development, recapitulation (09:56)
• Both: Emphasize orchestral aspect as core difference (10:34)

Storytelling in Music

• “In Chopin ballades…rather than four stories, I try to think about it in a bigger structure of the four of them in one story.” (11:44)
• “For Beethoven sonatas, I feel the frame like an architect. More than the story…the harmonic language.” (11:50)
• “I try not to have anything influenced.” (13:04)
• On not listening to too many piano interpretations to stay original—listens to symphonic and chamber works instead.

Influence of Historic Recordings

• Does Rachmaninoff’s playing affect you?
  • “None of those very cheesy sentimentalities…did we hear a lot of play?” (13:29)
  • Admits to being influenced more by Horowitz’s recordings for Rach 3. (13:52–14:04)

The Encore Question (Betsy, Cortlandt Manor, NY) [15:02 – 17:07]

• Yuja’s Notorious Encores:
  • “I try not to play too many when I’m playing concertos because I did get a lecture from Leon Fleisher…He said I completely cheapened a gorgeous performance of Beethoven.” (15:16)
  • On being ‘grilled’ for not playing encores: “I was asked by three journalists: How can you be so mean, so cruel to your fans?” (16:03)
  • “Whatever I do is probably wrong. I started doing so many encores…because I felt bad. My first half was Schoenberg Opus 25, so I should give audiences some bon bons in the end…Sometimes I did go for like half an hour!” (16:15)
• Memorable Quote: “My feedback from audiences is like: we love the third part of the recital, which is the encore part.” (16:31)
• Manny’s Take:
  • “With an orchestra…there’s union rules for overtime.” (17:29)
  • Disagrees with Fleisher: “I think it’s wonderful to play a beautiful performance of Beethoven concerto and then to play fabulous performances of everything you do…It’s absolutely great.” (17:33)

Personal & Lifestyle Insights

• Travel Fatigue:
  • “I hate security. I hate waiting…The initial excitement of going through to see a new place is gone because I've been doing this since I was 16.” (22:32)
  • On returning to the stage after time off: “It needs practice to be on stage, actually…You know where it hurts the most after the first concert? My feet.” (23:12)
• High Heels and Performance Attire:
  • “It’s functional to wear a short dress because then I know where the pedal is. I can see it…It’s very liberating to know where your pedal is.” (25:07, 25:21)
  • On using technology: “Now I use a pedal to turn pages. That I do have to practice with the high heels to know the right time and the right touch.” (24:51)

Working with Pianos and Conductors

• Piano Selection
  • “I hate piano selection…A few months ago I played, I was like, this is really piano. And they told me I’m the one who chose it!” (26:02)
  • “One piano is like more ring top and more bang based…I just want both of them.” (26:38)
  • “Give me one piano and give me two hours of stage time…as long as I have that, I will feel it’s my own instrument.” (27:14)
• On Conducting vs. Playing
  • “Playing concerto is basically just like playing chamber music with a bigger group. I know very well who’s playing what.” (28:25)
  • Prefers not to conduct standard repertoire ("Beethoven or Mozart or Chopin") solo because of complexity (28:49)
  • “I might do it differently, but we’re still together because everyone’s flexible and malleable at that moment.” (29:26)
  • “I know how [Mahler 6] starts...I don’t even know how to read the winds. ...I’m sight-reading really well for piano, but then when I see the scores, it’s..." (30:09, 30:26)

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Memorable Quotes

• On Performing Under Pressure:
  • “No, it’s really like shutdown the brain, I think, while playing.” (07:27)
• On Wrong Notes:
  • “As I get older…I get less cross about the [wrong notes]. I got the emotional cross. That’s why it matters.” (06:42)
• On Encores:
  • “Whatever I do is probably wrong…But also it was nice to play in a gorgeous hall. It’s like meeting an old friend.” (16:15)
• On Travel:
  • “It’s like a dichotomy of really life to a very glamorous one.” (24:17)
• On Piano Selection:
  • “I hate piano selection…Give me two hours on stage, not in a garage.” (26:02, 27:14)

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Fun & Lighthearted Segments

Music-Inspired "Newly Dead Game" [31:06 – 35:38]

• The game tests Yuja’s knowledge of famous composers’ bizarre deaths.
• Standout moment:
  • Scriabin’s fate—“It’s the beard, you’re right. It’s the shaving.” (32:28)
  • Beethoven’s wine—“As Beethoven lay dying with a failing liver, his publishers thought, you know what he needs?... a case of wine!” (33:32)
  • Haydn’s head—“Actually, the answer is his head.” (34:48)

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Quickfire Personal Q&A [19:56 – 21:25]

• Favorite drink after a long day?
  • “Something smoky and spicy...Like a mezcal [pineapple]. If it’s lighter, gin and tonic.” (20:03)
• Favorite book about music?
  • “Any novel by Murakami...for example, 1Q84.” (20:29)
• First album bought?
  • “Probably your [Manny’s] Chopin.” (20:42)
• First piece you loved?
  • “Swan Lake by Tchaikovsky. And then Chopin nocturnes.” (20:59)
• Current favorite orchestral piece?
  • Prokofiev’s "Scythian Suite": “Very primal, very mythical. Before humans had civilization. That childlike energy. Just raw.” (22:03)

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Segment Timestamps

• Musical background and sight-reading: 01:47–04:47
• Approach to practice and mistakes: 05:10–07:38
• On musical influence and historic recordings: 08:13–14:12
• Encores—philosophy and anecdotes: 14:34–17:29
• Personal tastes and musical memoirs: 19:56–21:25
• Travel & touring life: 22:25–24:17
• Piano selection, mechanics, and performer’s comfort: 26:00–27:48
• Chamber music vs. orchestral playing and conducting: 28:25–30:51
• Composer death trivia game: 31:06–35:38

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Tone & Atmosphere

Warm, quick-witted, self-deprecating, and inviting, with both host and guest mixing serious artistic insight with stories and humor.

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For First-Time Listeners

Whether you want the behind-the-scenes grit of a touring virtuoso, insight into the pianist’s mind, or feel like you’re eavesdropping on a candid chat between friends, this episode offers a captivating window into the world and artistry of Yuja Wang, with enough technical substance and levity to entice newcomers and seasoned fans alike.

Transcript

[Podcast Announcer]

Classical Music Happy Hour is supported by Viking, committed to exploring the world in comfort, offering destination focused small ship experiences on all seven continents with a shore excursion included in every port and programs designed for cultural enrichment. And every Viking voyage is all inclusive with no children and no casinos. Learn [e-mail] you know, if people are

[Yuja Wang]

like, oh, you should take more time, I'm like, did we hear ochmanoflam.

[Manny Axe]

From WQXR and Carnegie Hall? This is Classical Music Happy Hour, a new podcast hosted by me, pianist Manny Axe. Every episode, I'll speak with a special guest about their relationship with music. We'll delve into their love of some surprising and not so surprising musical pieces, answer your classical questions, queries, and take part in playful musical games. Today's guest is one of classical music's brightest stars. Born into a musical family in Beijing, she soon rose to international acclaim, performing with some of the world's greatest musicians, ensembles and conductors. In recent years, she has done projects as varied as a Rachmaninoff marathon, playing all five piano and orchestra pieces in a single day, and a concert incorporating David Hockney paintings. Last year, she won her first Grammy for the album the American Project. It is my dream to become the president of her fan club. Yujia Wang, a great pleasure to welcome you to the show.

[Yuja Wang]

That's so sweet. Thank you for having me.

[Manny Axe]

Did you grow up in a musical home? Were your parents both musicians?

[Yuja Wang]

Yep. Mom dancer. Father percussionist.

[Manny Axe]

Dancer.

[Yuja Wang]

Dancer, yeah. Crazy. No, no. Very disciplined. You know that people mention about my posture? That's all her doing.

[Manny Axe]

Well, you. You do look in. In. In fabulous physical shape.

[Yuja Wang]

Well, she wanted me to be a dancer.

[Manny Axe]

I see.

[Yuja Wang]

And then I escaped it by pretending I like the piano. And then. And then it become pretty real, Actually. Playing on the piano was fun in the beginning because I can translate this course, but now everything's so visual. I'm only good at sight reading. I cannot memorize anything.

[Manny Axe]

No, but you are a phenomenal sight reader. In fact, for people who may not understand that term, sight reading is simply you have a piece of music that you don't know, and the music is in front of you, and you try and play it as you're looking at it for the first time. And you are, in fact, phenomenal at it. I know that at one lesson, you actually sight read the Bartok first Violin Sonata accompanying someone Jamie Laredo told me.

[Yuja Wang]

Yeah, but after that, I don't remember.

[Manny Axe]

Well, that's not important. Especially these days with iPads and so forth.

[Yuja Wang]

Exactly.

[Manny Axe]

I also know you listen to A lot of music. And you know, a lot of music. Does hearing other music influence how you play? So let's say you play a Beethoven sonata, but you've heard the nine symphonies.

[Yuja Wang]

Oh, for sure, yeah. Or the String Quartet. It's like getting into that composer's language. Like their complete works. Like, if I do a Bartok concerto, I'll hear the Bluebeard Casa, which I actually really like. I would hear that again.

[Manny Axe]

Can you give me an example? Like, I saw that you recorded a Beethoven Sonata, Opus 31, number 3, called the Hunt. Are there things in other Beethoven pieces that would connect to that, do you think?

[Yuja Wang]

There were three of them. And I just. It's like elegant humor. And I find that in the first one, Number one, it's like he wrote out when pianists cannot play two hands together.

[Manny Axe]

Absolutely. It's very funny.

[Yuja Wang]

And there's just lots of humor in this one as well. Like, it sounds like he's written out when we screw up in a concert. Like, there's a scale where it's triplets.

[Manny Axe]

Too many. Too many notes for the right rhythm. Right. Yes, yes, I get it.

[Yuja Wang]

Yeah. I love that little humor in that.

[Manny Axe]

It's also in the key of E flat. So I thought there might be pieces that have, you know, horn stuff and things like that that connect.

[Yuja Wang]

You know, they all sound like horn stuff, as long as they're in B flat or E flat. For me, like. Well, obviously the E flat. The Emperor Concerto.

[Manny Axe]

So Liz had you kind connects a little bit because of the horn things, maybe. Yeah.

[Yuja Wang]

See, I don't even remember that sonata.

[Manny Axe]

That's okay. There's no need to remember it now. It's fine.

[Yuja Wang]

There are pieces that I learned before 20. I can be drunk and no sleep and whatever, and I can be in front of piano and then I can just. It just comes out. So it's permanently remembered.

[Manny Axe]

Well, but part of it is because you play an incredible range of repertoire. You play so many pieces. And one of the things I wanted to ask you about was how. How do you keep them going? So, for example, you play Tchaikovsky Concerto in Toronto. You're doing a piece by Raut Ovara. Right. I mean, these are.

[Yuja Wang]

But that. I'm using my iPad.

[Manny Axe]

But you still have to get your hands to go to the right key.

[Yuja Wang]

That's lots of elbows, actually. So it's different muscles. Yes, but it's.

[Manny Axe]

But I know that you. For example, let's talk about playing the five pieces of Rachmaninoff in one day. There's an incredible number of Notes that you have to keep working on and be accurate with. How do you find time?

[Yuja Wang]

Well, the Rahmanov I played like, say, Rach 3 I played so many times throughout the year singly. And two also. And then I remember four I was in for one season. I was playing a lot because it's fabulous piece and exquisite and actually just one of my favorite. But then just put them all together. It's about amount of notes that you have to play in a recital anyways.

[Manny Axe]

Do you feel like you have to work 24 hours a day sometimes? No. You're not that big a practicer.

[Yuja Wang]

No. And sometimes it shows. I did a big fat round note in the Tchaikovsky. I was like, wow, even if I try to play round note there, that's one wrong note. Yeah, yeah.

[Manny Axe]

Out of what, 17 million.

[Yuja Wang]

But it's a very obvious one.

[Manny Axe]

Well, that's okay.

[Yuja Wang]

But then sometimes, like as I get older, I always use Horowitz as examples. Like, you know, I got the emotional cross. That's why it matters. Yeah. I get less cross about the.

[Manny Axe]

I totally agree. Yeah, of course. But in fact, you do play very, very accurately. And I'm always amazed. I was going to ask you, do you have special ways of practicing those things?

[Yuja Wang]

No, it's just, I think in my 20s I did lots of pieces like that or the Carmen or the Bumblebee. So I was also physically more in the condition to do so. And you just really pray to someone and just let it go because you don't think about it.

[Manny Axe]

And of course, if something happens, not a big deal, but I just.

[Yuja Wang]

Oh, it's a big deal.

[Manny Axe]

I'm just always so.

[Yuja Wang]

No, it's really like shut down the brain, I think, while playing. Because now I'm actually like, oh, but what expression? And then it's like, oh, that was not the right answer.

[Manny Axe]

So you mean you could close off a little bit and just let your hands do it?

[Yuja Wang]

I heard that's how people improvise. And I still haven't found that sight reading is part of brain that lights up. And then improvised is actually the same brain that lights up for blind people. So it's completely opposite of sight reading. And I haven't found that spot yet.

[Manny Axe]

I'm hoping you can help me answer some questions about classical music from our WQXR listeners. We've invited them to submit their queries and we're going to do our best to answer them. And if we don't know the answer, we'll just make one up. Here's a question from Danny From New York.

[Caller]

Good afternoon, Mr. Emmanuel. My name is Danny. I live in New York. What is the difference between. Between a piano sonata and a piano concerto? Thank you for allowing me these questions.

[Manny Axe]

So would you like to take this?

[Yuja Wang]

Yeah, sure, I'll take it.

[Manny Axe]

Sure.

[Yuja Wang]

Well, piano sonata and piano concerto is in the same form, but concerto involves an orchestra.

[Manny Axe]

Excellent answer. Okay, but there's also something called sonata style, which would simply mean that in a certain period, in the period of Haydn, Mozart. The idea is that there is a section called the exposition which starts the music.

[Yuja Wang]

Right.

[Manny Axe]

Then there's a middle section which develops. And then there's a recapitulation, which is a recapitulation of what we started with. And that's kind of a standard form. And that form can be found in piano sonatas and in piano concertos.

[Yuja Wang]

Exactly.

[Manny Axe]

So the difference is how you define the word. But certainly what you said was absolutely right. Sonatas are either for one instrument, maybe two. But basically a concerto is for more instruments with a soloist. Right, right. That's a good, solid answer. Thank you. Danny, You played a fabulous concert which ended with the four Chopin ballades. Do you have any sense of story when you play a piece of music? I mean, Isabelade, for example.

[Yuja Wang]

Well, yeah, that's oba narration.

[Manny Axe]

Do you have an actual picture or is it kind of.

[Yuja Wang]

Kind of these drunk scenarios? I guess. But in. I guess it's just like a general emotion. And then I kind of see what happens on stage. And then I try to think about it in a bigger structure of the four of them. In one story, actually.

[Manny Axe]

Wow.

[Yuja Wang]

Rather than four stories.

[Manny Axe]

But let's say it's a Beethoven sonata. Do you feel there's a story?

[Yuja Wang]

I think I feel the frame like an architect. More than the story. Yeah. The harmonic language.

[Manny Axe]

I see. So harmony plays a big part in it, for sure.

[Yuja Wang]

Yeah. The story, for me, I can think about it when I practice it. Maybe it helps imagination, but I feel like all of it should come from the intrinsic language of the piece.

[Manny Axe]

When you do a set of pieces like the Chopin ballades, there's such a long history of performance of that music.

[Yuja Wang]

I heard you recording.

[Manny Axe]

Forget my recording. But there are people from the 20s and 30s, Chopin's time. You must have listened to a lot of those things, right? Over the years. Do you feel that influences you directly or is it something you assimilate?

[Yuja Wang]

I try not to. I mean, I feel like pieces that I really internalized and recorded and felt like. I am so convinced by what I want to say that I actually do not have a preset idea of it. So I try not to hear a piano playing. I started doing that when I was in my teens.

[Manny Axe]

I see.

[Yuja Wang]

That's why I heard so much like symphonic stuff, chamber music. I try not to have anything influenced. But if I have a question, I'll kind of consult a recording to see what they did.

[Manny Axe]

Well, now, for instance, we do have recordings of Rachmaninoff playing the pieces. I wonder, did that affect you, you at all?

[Additional Announcer/Producer]

Yes.

[Yuja Wang]

I mean, none of those very cheesy sentimentalities. You know, if people are like, oh, you should take more time and like, did we hear a lot of play?

[Manny Axe]

So you're kind of struck. I mean, that, that, that does inform.

[Yuja Wang]

Well, the Rock 3 is definitely lot of horror. It's recording. There's two. I think there's the one with Ormandy. I remember the COVID of the CD where he's bowing in Carnegie. Same orchestra, actually.

[Manny Axe]

I think I grew up with the one with Reiner from Chicago. Yeah. Or actually RCA Victor Symphony.

[Yuja Wang]

Sorry.

[Manny Axe]

I think it could be that one too. But that's from the 50s. We have another caller inquiry. Betsy has a question about encores.

[Yuja Wang]

Okay.

[Caller]

Hi, Manny. My name is Betsy from Cortlandt Manor, New York. My question has to do with encores. When do you decide to do an encore? And if you do, how do you decide which piece to play? I'm interested in this because I've been to concerts where the audience was calling for an encore and the performer didn't do one, and other concerts where the performer did five.

[Yuja Wang]

Thank you.

[Manny Axe]

Okay, well, this is Yuja. This is a perfect question for you because you are the queen of encores sometimes. How do you decide on how many or how few or any at all?

[Yuja Wang]

Well, I try not to play too many when I'm playing concertos because I did get a lecture from Leon Fleischer in Rovinia when I was before 20. I remember I did Beethoven Concerto 1. And then of course, back then I have like Turkish March, Carmen, all this showy stuff. And he said I completely cheapened a gorgeous performance of Beethoven. And also he felt like musicians on stage, they were not supposed to be obliged to be force feeding those trashy pieces. So it's very conflicting instructions I get. But of course, I also got grilled in Lucerne when I did two Ravel concertos, which I thought was enough. And then they had a symphony after the concerto, so without intermission, so I didn't play encore. And then I was asked by three journalists saying, how can you Be so mean, so cruel to your fans.

[Manny Axe]

Wow.

[Yuja Wang]

So I really don't have an answer. I feel like whatever I do is probably wrong. So I just. I started doing so many encores when I did recitals, and especially the recital in Vienna, because I really feel bad. My first half was Schoenberg Opus 25, and I feel like I should give audience some bon bons in the end. But then my feedback from audience is like, we love the third part of the recital, which is the encore part. Sometimes I did go for like half an hour, but also it was nice to play in a gorgeous hall. I want to play those pieces. It's like meeting an old friend to check out the acoustic, to feel where I am physically, musically, emotionally and spiritually after I played all that.

[Manny Axe]

Betsy, it's actually a great question because I've been to a number of Yuja concerts and I never know how many you're gonna do and how you're feeling. But it's very exciting and it's wonderful and I hope you keep it up and just keep playing more and more encores. With an orchestra, there's sometimes a problem because first of all, there's union rules for overtime.

[Yuja Wang]

Exactly.

[Manny Axe]

And they don't want to sit there for extra time.

[Yuja Wang]

Exactly.

[Manny Axe]

So that's one issue. But I have to say, I disagree with Leon about cheapening things. I think it's fine. I think it's very. I think it's wonderful to play a beautiful performance of Beethoven concerto and then to play fabulous performances of everything you do. Like trash Polska. It's great. It's absolutely great. Anyway, I think it's a great question. Thank you, Betsy. I hope this answers a little bit. I'm maniacs and you're listening to Classical Music Happy Hour. We'll be back in just a moment with more of our conversation with Yoo Ja Wang.

[Podcast Announcer]

Classical Music Happy Hour is supported by Viking, committed to exploring the world in comfort. For over 25 years, Viking has been connecting the thinking person with the world. First on the great rivers, then on all five oceans, now on all seven continents. Whether you choose to journey through the heart of Europe on an elegant Viking longship, explore the ancient cities of the Mediterranean on a small ocean ship, or venture to the white shores of Antarctica on a purpose built expedition ship, you will always experience thoughtful service, destination focused dining and cultural enrichment on board and onshore. And every Viking voyage is all inclusive with no children and no casinos. Learn [e-mail] in every episode of Songwriter,

[Manny Axe]

an extraordinary artist tells a story and a musician plays A brand new song written in response. This season you might hear a story from from Academy Award nominated actress Isabella Rossellini. And then the premiere of a brand new song by Sharon Van Etten. Not to mention conversations about inspiration along the way. You can search for my name, Ben Arthur, wherever you get your podcasts or just go to songwriterpodcast.com. I'm maniacs. Let's go back to our conversation with Yuta Wang. This show is called the Classical Music Happy Hour, so I'm allowed.

[Yuja Wang]

Oh, where's the drinks?

[Manny Axe]

That's what I'm allowed to ask you. What is your favorite drink after a long day?

[Yuja Wang]

If it's a really, really heavy day? Something smoky and spicy. So like something with a sausage? What? A mezcal pinnape or something. Okay. If it's a lighter Daijin tonic. 30 gin.

[Additional Announcer/Producer]

Yeah.

[Manny Axe]

Okay.

[Yuja Wang]

I like olive more than twist.

[Manny Axe]

What's the best book you've ever read about music? If you can pick one, I would

[Yuja Wang]

say any novel by Murakami.

[Manny Axe]

I'm also a big fan.

[Yuja Wang]

For example, the 1Q84. It starts with Yanatric Symphonieta.

[Manny Axe]

Yes.

[Yuja Wang]

What's on my mind.

[Manny Axe]

Great. What is the first album you bought with your own money?

[Yuja Wang]

Probably your Chopin.

[Manny Axe]

I doubt it.

[Yuja Wang]

Wow. CD days. That was so long ago. I don't know. Yeah, yeah. It's either you or Claudio or Mata or somewhere in China.

[Manny Axe]

Is there a first piece of music you fell in love with?

[Yuja Wang]

Yes. The Swan Lake by Tchaikovsky.

[Manny Axe]

Okay. Beautiful.

[Yuja Wang]

And then Chopin nocturnes.

[Manny Axe]

You were asked about a favorite piece and you brought up the Prokofiev Scythian. Sweet. You know, first time I ever heard it was last. Oh, I listened to it last night.

[Yuja Wang]

What do you think?

[Manny Axe]

It's very dramatic and powerful.

[Yuja Wang]

Yeah, it's a bit like the sac, right?

[Manny Axe]

Exactly that. Sacre. Sacre de Printemps. It's the rite of spring. It's funny, there are parts of it which actually they have almost the same notes. E and G. You know those. What about the Scythian Sweet. Draws you.

[Yuja Wang]

The mythical part.

[Manny Axe]

There's something primal about it.

[Yuja Wang]

Very primal, very mythical. Very. Before human had civilization. I think that's what attracted me about Prokhov is that childlike energy. Just raw.

[Manny Axe]

You travel all the time. Do you love or hate the actual process?

[Yuja Wang]

I hate security. I hate waiting. The initial excitement of going through to see a new place is definitely gone because I've been doing this since when I was 16. But I have to say I just took three weeks off and it Kind of came back. I was excited to go and like, it needs to practice to be on stage, actually, because the first concert rehearsal was fine, sounded great. And then, you know, there was 2,600 people only, but they all sucked up the sound. And then when I was on stage, I was like, this is not how I sounded in the rehearsal. And then I kind of all of a sudden got really self consc. Like, do I have my sound?

[Manny Axe]

So it's important to keep playing, to

[Yuja Wang]

keep just feeling comfortable on stage and to be kind of up for it. He's in pajamas for three weeks. And you know where it hurts the most after the first concert? My feet.

[Manny Axe]

But I just wanted to know about the. You know, when you say it's no longer exciting to come to a new place, you probably have made friends almost everywhere that you've gone.

[Yuja Wang]

So we do keep in touch. Yeah.

[Manny Axe]

And there's a kind of comfort in that, probably in that.

[Yuja Wang]

And in good hotels, in good spas, I do look forward to someone cleaning my room instead of myself, doing laundry. You know, I like that part on the road, but I think it's mainly the security and going through immigration, that's the drill. And sometimes you go through that in the morning or like, few hours before. You have to be in front of people to play. It's like a dichotomy of really life to a very glamorous one.

[Manny Axe]

Speaking of glamorous, I know you like wearing high heels. I don't.

[Yuja Wang]

This is short, you know, for whatever

[Manny Axe]

reason, but I don't understand how you manage.

[Yuja Wang]

I can teach you,

[Manny Axe]

but you actually. You have no issue. You have no issue using the pedals with those incredibly high heels.

[Yuja Wang]

I know.

[Manny Axe]

And you've just learned to do it.

[Yuja Wang]

And sometimes they have platforms, so you really don't feel it. And, you know, I use a pedal now, another pedal to turn pages.

[Manny Axe]

Right. You actually do that.

[Yuja Wang]

That's tricky. That I do have to practice with the high heels to know the, you know, the right time and the right touch.

[Manny Axe]

And you're able to do it while you're still playing the piano.

[Yuja Wang]

Yeah. It's amazing sometime, you know, it's functional to wear a short dress because then I know where the pedal is. I can see it.

[Manny Axe]

I never thought. I never thought of that as a reason for anything. But that's fine.

[Yuja Wang]

It's very liberating to know where your pedal is.

[Manny Axe]

Here's another question that I know you're just going to love.

[Yuja Wang]

Okay.

[Caller]

My name is Sonny, and I'm from Mobile, Alabama. My Question is, have you ever been presented with an instrument for a performance that you simply didn't want to play?

[Manny Axe]

Would you like to take that?

[Yuja Wang]

Actually, my thing is I hate piano selection. You know, we have that luxury sometimes in. We also choose pianos for halls sometimes. Yes. I chose it for the Disney hall in la. And then actually a few months ago I played, I was like, this is really piano. And they told me I'm the one who chose it. Like, well, it was better before.

[Manny Axe]

Yes, it's. It's terrible.

[Yuja Wang]

It kind of depends on the mood.

[Manny Axe]

It's bad to pick a piano for a hall because every other pianist is going to say, who picked this piece of everybody?

[Yuja Wang]

And also, it's hard to pick because you are not in the room acoustic, so you don't know. And I feel like one piano is like a more ring top and more bang based. Like, I want a boomi and some piano has a more mellow and more blended middle. And I just want both of them.

[Manny Axe]

I get the feeling, though, that you usually make friends with your piano. I mean, you know, if it's a good piano, you'll play on it. Because there are people that want things exactly one way, you know, And I don't think you're like, that gave me

[Yuja Wang]

one piano and gave me two hours of stage time on stage, not in a garage. And then so I'm used to the acoustic. But of course, now I realize it changes completely when there's thousands of people coming in, especially in winter with their coats.

[Manny Axe]

And it's not so much about the brand of piano, is it? It's more individual pianos.

[Yuja Wang]

Oh, totally. And also the action. And maybe sometimes the tuner can do something. Less friction, more sound. But as long as I have that one to two hours of adjusting to it, I will feel like it's my own instrument.

[Manny Axe]

So there you are. Thank you, Sunny, for the question. I was completely blown away by that concert you did. The harmonic that was really, really fantastic because you did three really, really difficult pieces, both from the conducting and playing point of view. I just thought it was phenomenal. I'm curious, what do you think the challenge of conducting is? Why do you want to play without conductor?

[Yuja Wang]

Well, like I always said, I feel like playing concerto is basically just like playing tremor music with a bigger group. And I always. When I play concertos, I know very well who's playing what.

[Manny Axe]

Right, right.

[Yuja Wang]

At least the old pieces. It's all started from Claudio, where listening is the key. And of course, you. You're just part of this.

[Manny Axe]

Is Claudio Abbado you're talking about.

[Yuja Wang]

Right. I feel comfortable when I play conduct, and I actually choose pieces that's not Beethoven or Mozart or Chopin even, because I'm trying to avoid the 2D part. That's the hard part for me, because

[Manny Axe]

there you have to actually do the conducting and not exactly.

[Yuja Wang]

So it's super comfortable when I'm playing because from the musicians, it's clear. Because you're basically speaking with music. I don't know for sure the result is better than. It's not like you're also more free. It's not like we're doing it the same way all the time, so we're together. I might do it differently, but we're still together because everyone's flexible and malleable at that moment.

[Manny Axe]

I suppose with a Mahler symphony or a Tchaikovsky Symphony, at some level there's going to be leadership, because when you have 16 first violins, you probably at least have to follow one of the violinists. In a certain sense, the idea of complete democracy in an orchestra is very difficult just because of that.

[Yuja Wang]

Yeah. But each section you can come close.

[Manny Axe]

You can come closer to it. Right?

[Yuja Wang]

Yeah, yeah, yeah, yeah.

[Manny Axe]

No, I understand. But you haven't thought about, for example, doing Mahler 6?

[Yuja Wang]

I know how it starts.

[Manny Axe]

I mean, that's. It's just a big.

[Yuja Wang]

It's a little long. And I don't think I can stand on my heels for all that. No, dude, I don't even know how to read the winds. I don't know how to transpose. That's very confusing. I can.

[Manny Axe]

I understand that too.

[Yuja Wang]

Yes, I can. I'm sight reading really well for piano, but then when I see the scores, it's.

[Manny Axe]

Reading a score is actually a huge challenge. It is, and you have to practice it, because when you read the notes, it's a fifth of. It's five. Five notes away or four notes away or. Or whatever it is.

[Yuja Wang]

Clarinet.

[Manny Axe]

And the real. The real conductive people that conduct this music have to really learn how to do that.

[Yuja Wang]

Yeah, yeah.

[Manny Axe]

And it's a lot of practice. Well, I for one would love to see you in flat shoes doing a Mahler symphony.

[Yuja Wang]

Okay. I'm just saying it's very whiny.

[Manny Axe]

Yeah. What, the Mahler or the shoes?

[Yuja Wang]

The Mahler. The Mah.

[Manny Axe]

Oh, the Mahler. Okay. We're here to challenge you today, yuvja, with a game we're calling the Newly Dead Game. We'll give you some clues on how a famous composer died, and you tell us which answer is correct. Are you Ready?

[Yuja Wang]

Yes.

[Manny Axe]

Composer number one, Alexander Skyabin. Russian composer who loved the ideas of dark magic and mysticism. But it was an everyday morning ritual that led to his demise. A, getting his hand stuck in a coffee grinder and bloody to death. B, shaving his mustache with a straight razor. C, going out for the newspaper and getting trampled by a horse, or D, scrolling through his phone and having a sudden heart attack.

[Yuja Wang]

Wow. They're, oh so unlikely. I see. It's actually not as easy as I thought. What was the first one? The coffee, I think, is a beard. Is it?

[Manny Axe]

It's the beard, you're right. It's the shaving. It's the shaving. Alexander Scriabin cut himself shaving, developed a pimple that led to blood poisoning and that killed him. So composer number two, Beethoven. That's Ludwig van Beethoven to you. It's 1827. He is in his bed, dying of what most historians think was probably liver disease. What kind of considerate gift did his publisher send him? Was it wine?

[Yuja Wang]

No.

[Manny Axe]

Was it a very expensive fruit basket from Harry and David? The one with fruit, chocolate and four cheeses? B, a new Steinway piano featuring his name etched in gold on the side? C, a royalty check for £250 sterling, and they waived their usual fee. D, a case of wine.

[Yuja Wang]

Oh, I said wine.

[Manny Axe]

You're absolutely right. A case of wine. As Beethoven lay.

[Yuja Wang]

Please die faster.

[Manny Axe]

As Beethoven lay dying with a failing liver, his publishers thought, you know what he needs? You know, would he really appreciate a case of wine?

[Yuja Wang]

Wow.

[Manny Axe]

And as a matter of fact, apparently Beethoven's last words were, pity, it's come too late. Composer number three, Franz Joseph Haydn, is known as the father of the symphony. They never have the mother of the symphony, which is kind of annoying, I think, but we'll get to there. But when he died, there was something missing from his burial. What was missing?

[Yuja Wang]

Ooh, this is a little. This is a little further.

[Manny Axe]

A, his wife, she never once visited. B, his lucky baton, which he very specifically asked to be buried in his right hand until the end of time. C, his car keys and wallet. D, his head, I guess.

[Yuja Wang]

His baton. Or is that his wife?

[Manny Axe]

Actually, the answer is his head.

[Additional Announcer/Producer]

His head.

[Manny Axe]

Haydn's head was robbed from his grave a few days after burial by a budding phrenologist who kept it on his mantelpiece for a while. And when he got caught, he gave a fake head back, which was reburied with Haydn. And it wasn't until 145 years later that Haydn was reunited with his actual skull, but because so much time had passed, they figured they'd leave the original skull in there anyway, because who can really be sure about these things? So there are actually two skulls buried with Haydn to this day.

[Yuja Wang]

Oh wow.

[Manny Axe]

Well, we're at the end of this episode of Classical Music Happy Hour. Yujia Wang, thank you for joining us today.

[Yuja Wang]

My pleasure.

[Manny Axe]

I'm maniacs. Classical Music Happy Hour is supported in part by the Robert and Mercedes Icon foundation and by Linda Nelson. Our production team includes Lauren Purcell Joyner, Eileen Delahunty, Laura Boyman, Elizabeth Nonemaker, David Norville, Christine Herskovitz, and Ed Yim. Our engineering team includes George Wellington, Irene Trudell, and Chase Culpan. Classical Music Happy Hour is produced by WQXR in partnership with Carnegie Hall.

[Additional Announcer/Producer]

Hey, it's Ana Gonzalez and I want to say thank you for traveling around the country with me and Yo Yo Ma. By listening, you are a central part of our Common nature. Our Common Nature is a podcast brought to you by wnyc. And the team here is way bigger than just me and Yo Yo Ma. We have producers, fact checkers, editors, executive producers, people who work on distribution and membership and making sure that this thing gets to your device however you are listening to it. It takes a lot to put together a show like Our Common Nature, people, time and resources, but it also takes you Listener donations are the largest source of funding for shows that WNYC produces. So if you've been moved by some of the stories that we've told and people we've met, please take a minute and make a donation to WNYC so that we can bring you more podcasts like this. To give, go to our commonnaturepodcast.org donate. Thank you for listening and for supporting our show.