Rendering 13

   The article named Restrained, Then Madly Lyrical: The Pianist as Spring Mechanism was published on the site http://www.nytimes.com on the May 17, 2013. The author of the story is  ZACHARY WOOLFE.
   The article begins with the description of  the pianist Yuja Wang who had played a fifth encore to cap her exhilarating concert on Thursday evening at Carnegie Hall, the author confesses  that while perhaps 90 percent of her attention was on the  precise yet exuberant playing, a crucial 10 was on her skintight flame-colored dress.
   The author admits that It seems that a high-minded, conscientious music critic should pay Ms. Wang’s signature attire no mind.Enough ink, certainly, has been spilled on the subject during her rise to prominence these past few years.
   But her vivid sartorial choices are far from incidental to the formidable effect of her playing. Her alluring, surprising clothes don’t just echo the allure and surprise of her musicianship, though they certainly do that.
As for performance itself the author underlines,   a performance, in the fullest sense of the word, was what Thursday’s program demanded. Ms. Wang offered an immersion in the overripe afterglow of 19th-century Romanticism: sonatas by Scriabin and Rachmaninoff, and “La Valse” by Ravel, all introduced by Lowell Liebermann’s “Gargoyles” (1989), a contemporary work that neatly evoked the fin-de-siècle decadence of the rest. Ms. Wang began these melodies with a stiffness approaching self-consciousness before gradually relaxing into pure lyricism, giving a sense of the music’s tightening and loosening in grand cycles. Playing with daring deliberation, she came close to disconnecting the phrases of the slow second movement. It was a move that emphasized Rachmaninoff’s incipient modernity, as did her teasing out of jazzy figurations and Debussyian kaleidoscopic textures.
   As for the authors opinion of the performance it’s quite clear that she was very impressed. Reading this article, I feel sorry that I cannot see it by myself.