Some pianists impress you. Some intimidate you. Some make you want to practice. Yuja Wang does something far more dangerous. She makes you believe, just for a second, that the piano might be capable of flight. Then she laughs, changes shoes, and proves it again.
Yuja Wang
To hear Yuja play is to witness total command without a trace of heaviness. Her fingers are so impossibly fast that your eyes can’t follow. And it’s all fearlessly clear and comes with ease as notes sparkle, dart, tease, explode, and vanish.
Classical music has long suffered from performers who behave as if joy were somehow unprofessional. Yuja Wang is the antidote. She smiles at the keyboard. She dares. She risks. She throws off ten encores like confetti and somehow makes each one feel like a gift.
Talking about encores, to celebrate her birthday on 10 February, let’s listen to her most jaw-dropping encores, explosions of adrenaline, personality, joy and irresistible brilliance.
Blink and You’ll Miss It
Rimsky-Korsakov’s “Flight of the Bumblebee” in the arrangement of Cziffra lands like a perfectly timed firework. It’s short, explosive, and utterly irresistible. In fact, it’s a full-blown adrenaline rush.
The piano under her hands doesn’t buzz so much as ignites, flashing past in a blur of precision, speed, and wicked delight.
But it’s not just the incredible velocity that makes this a truly jaw-dropping encore. It’s Yuja’s control that is out of this world. Every note is clean, every accent alive, and every phrase shaped with a wink. How on earth can she make something so ferocious sound so joyful?
Mozart Meets Modern Fireworks
Yuja Wang takes Mozart’s “Alla Turca” and gleefully rockets it out of the 18th century and straight into now. What starts as a familiar classical wink suddenly sparkles, swerves and struts with crisp elegance, colliding with high-octane brilliance.
And if you’re wondering what magic potion she’s using, the arrangement itself feels like a delicious hybrid. It’s a mischievous mash-up of Arcadi Volodos’ pianist extravagance and Fazil Say’s jazzy bite.
Both are filtered through Yuja’s own fearless instinct, with the result that Mozart becomes part jazz club and part keyboard acrobat. It’s utterly alive, Mozart with lipstick, sneakers, and bursting fireworks.
Where Stillness Turns Electric
Yuja Wang
After fireworks and bravura in the main concert, Yuja Wang occasionally turns to something hypnotic in her encore. Just listen to how Philip Glass’ “Etude No. 6” is taking over the room. The steady pulse begins almost innocently, and then, without warning, it transforms.
Repetition becomes propulsion, and simplicity turns into pure electricity. Every return of the loop feels newly charged, all nudged forward with razor-sharp rhythm and luminous clarity.
As an encore, it’s genius. This is a different kind of thrill; it’s cool, focused, and irresistible. You feel the pulse in your chest, the precision in your bones, and suddenly the hall is vibrating with the quiet, unstoppable confidence of modern music played by someone who absolutely owns it.
Turbocharged Tea for Two
When Yuja Wang launches into “Tea for Two,” the piano becomes a playground of swing, sparkle, and sheer joy. Inspired by Art Tatum’s legendary jazz arrangements, she takes this familiar tune and turns it into a whirlwind of dazzling runs and playful flourishes.
Every phrase seems to giggle and wink at the audience. It’s not just an encore but a celebration. Let’s call it a little surprise that lifts the hall into laughter and applause.
Everything is effortless: the tricky leaps, the double-note passages, and the rapid-fire ornaments. It basically is unbelievable, as Yuja Wang rolls speed, clarity, and sheer brilliance all into one.
Rocket-Powered Virtuosity
When Yuja Wang dives into Kapustin’s “Toccatina,” she turns the piano into a dazzling jazz-fuelled rocket ship. Yuja attacks this mischievous whirlwind, part classical precision and part big-band swagger, with that signature fearless confidence.
There is plenty of blinding speed and a blizzard of notes, and Yuja Wang brings sheer personality to every measure. Those dizzying runs don’t just fly; they dance, laugh, and flirt.
This is pure joy, reckless brilliance, and rhythmic exhilaration all wrapped into one ridiculously entertaining encore. Those tricky rhythmic twists trip me up every time, but Yuja makes it gleam like polished crystal.
Polka Rocket
If virtuosity had a theme song, Yuja Wang would be playing it at full throttle on a grand piano. Just listen to her attack the Cziffra arrangement of Strauss’ “Tritsch-Tratsch Polka.” This isn’t a polka, it’s rock-fuelled finger gymnastics.
Every rapid-fire scale, cascading arpeggio, and whirlwind octave is executed with a precision that makes your jaw drop. She spins Cziffra’s mercilessly difficult passagework with the same ease that a cat might chase a laser pointer.
The almost absurdly difficult technical foundation is made seemingly effortless. By the final barrelling chords, you’re certainly not hearing a polka. You’re riding a rollercoaster designed by a piano wizard where exhilaration is mandatory.
Melody in Bloom
Yuja Wang
Yuja Wang’s take on Gluck’s Melodie from Orfeo ed Euridice (arranged by Sgambati) is like stepping into a sunlit garden of sound. What makes this encore so enchanting is how it contrasts with the firecracker pyrotechnics we usually associate with her.
This encore just delicately floats, with each phrase shaped by a singer’s breath and a painter’s eye for nuance. And with that subtle pedal work that lets the harmonies shimmer underneath, the whole piece just starts to glow.
Here, it’s all about touch, tone and whispered elegance. Yuja caresses each note, letting every delicate turn of the melody bloom. If you really needed proof that Yuja isn’t all about speed and power, this encore showcases her exquisite musicality in every shimmering phrase.
Horowitz Showstopper
If you’re looking for a whirlwind in a flamenco dress, look no further than Yuja Wang attacking Horowitz’s “Carmen Fantasy Variations.” It’s fiery, dazzling, and absolutely irresistible.
Each variation bursts with personality. One moment it’s a playful flirt, the next a sultry smoulder, and then suddenly she’s launching into a thunderous cascade of scales and arpeggios that leave you breathless.
It’s pure pyrotechnics, but with Yuja, there’s never a sense of chaos, as every blazing run and daring leap is impeccably shaped and perfectly timed. Her touch is electric, and she takes us on a thrilling and utterly exuberant ride through Bizet, Horowitz, and her own unstoppable personality.
From Counterpoint to Confetti
Here is an encore that Yuja doesn’t play all the time, and it’s not so easy to get good footage of it. However, this Katsaris piano paraphrase of Bach’s “Badinerie” is exactly what Yuja ordered.
In the original, it’s already a cheeky and sprightly dance full of twirls and infectious energy. In Katsaris’s arrangement, however, the infectious spirit is out of this world. Every phrase is packed with tiny virtuosic flourishes, surprising little detours, and sparkling commentary that feels like musical confetti.
And then Yuja steps in, and it feels like a burst of personality. Her rhythmic zing and tonal sparkle bring out the humour and brilliance in Bach’s counterpoint, letting every nimble twist shine. By the time she’s finished, it’s less a performance and more a joyous celebration with a distinctly modern and joyful twist.
Desert Moon Dance Party
For another novel encore, let’s turn to Yuja Wang’s take on “Danzón No. 2” by Arturo Márquez. This sizzling orchestral showpiece has been cleverly reimagined for solo piano by Leticia Gómez Tagle. And under Yuja’s fingers, it becomes an irresistibly sultry dance party under a desert moon.
From the very first syncopated accents, Yuja brings out the seductive rhythmic flair, her fingers teasing and flirting with the melody like a dancer drawing you into the floor.
The way she balances rhythmic excitement with expressive nuance gives the piano version both the heartbeat of the dance and the sparkle of a showpiece. What can I say? It’s full of flirtatious flair, sparkling fingers, and irresistible joy.
Fingers on Fire
Yuja Wang
How about concluding this blog with a lightning bolt, taking a bow? That’s what’s happening when Yuja Wang attacks Prokofiev’s “Toccata.” Her fingers fly with a kind of joyful fearlessness, rapid-fire scales and cascading octaves included.
Every percussive blast is landing with dazzling precision. But here’s the magic. It’s not just a technical tour de force, but even in the midst of this relentless energy, every note sings. Her hands are literally everywhere at once, yet nothing sounds cluttered or mechanical.
I just feel a sense of giddy exhilaration, the kind of thrill that makes you grin and hold your breath at the same time. This is virtuosity that doesn’t just impress the brain. It sweeps the soul along, turning blistering technique into pure musical storytelling.
Whirlwind of Wonder
Yuja Wang doesn’t just play encores. She creates joy, she redefines possibilities, and she reminds us that the piano can dance, soar, and even flirt with the sky.
To love Yuja Wang’s playing is to love risk, brilliance, humour, glamour, and precision, all wrapped into one fearless artist who walks onstage as if she belongs there completely.
But here is the truth. After all the fireworks, the flirts, the sparkling confetti of scales, runs, and octaves, you realise you’ve witnessed more than an encore marathon.
We’ve glimpsed the essence of Yuja Wang. She is a whirlwind of brilliance, bravura, and unabashed delight. And honestly? I can’t wait to see what she’ll throw at the keys next.
