By Jónas Sen.

John Cage’s most famous work, 4’33”, involves a pianist walking onto the stage, sitting silently at the piano for a few minutes, and then leaving. However, Sunday evening’s performance by pianists Yuja Wang and Víkingur Heiðar Ólafsson at Eldborg in Harpa was far from this minimalist silence—although it had its moments of serenity. One of the pieces performed was Cage’s Experiences No. 1, which involved playing only the white keys. The music, reminiscent of Erik Satie’s restrained works (a composer Cage greatly admired), was soft, calm, and delicately interpreted, flowing smoothly into the atmosphere.

A Cool Start

The concert was nothing short of magnificent. It began in an understated manner with Luciano Berio’s Water Piano. This contemplative piece evoked unique imagery—still water and a refreshing, blissful coolness. Unlike pop concerts where warm-up acts energize the audience, here the opening piece served to “cool down” the listener, preparing the mind for the demanding and extraordinary works to come. Classical music requires focus and balance, and this introduction provided just that.

Heavenly Intimacy

Next on the program was Schubert’s Fantasy in F minor. Originally composed for four hands on one piano, the pianists instead performed it on two pianos, each with a distinct sound. Yuja Wang’s piano had a brighter, more sparkling tone, while the other was softer and less striking. Despite this difference, the interpretation was exquisite, marked by a divine intimacy that seemed almost otherworldly.

Schubert, who composed the piece during the final year of his life, imbued it with profound introspection and melancholy, rising at times to symphonic grandeur. These qualities were vividly brought to life by the pianists in a refined and heartfelt performance that made one forget time and place.

A Frustrated Composer

Another remarkable work was Conlon Nancarrow’s Study No. 6 for Player Piano, arranged for live performance by Thomas Adès. Frustrated with musicians who could not faithfully execute his compositions, Nancarrow turned to writing for player pianos.

The study, while not overly complex, was lively and engaging. Same goes for the interpretation of John Adams’s Hallelujah Junction, a dynamic, rhythmically intense piece built on repetitive three-note motifs resembling “Le-lu-jah.” The relentless energy and intricate interplay created an exhilarating buildup, leaving one almost searching for a seatbelt amidst the sonic thrill.

A Stunning Rachmaninoff

The second half of the concert began with Arvo Pärt’s brief yet profound Hymn to a Great City, beautifully rendered by the duo.

The grand finale was Rachmaninoff’s Symphonic Dances. Though originally scored for orchestra, the piano arrangement retained much of the work’s bold, romantic character while offering surprising nuances. Wang and Ólafsson conjured an array of colors and emotions in a performance so gripping and vivid it will be remembered for years to come.

To close the evening, the pianists treated the audience to several encores, including Brahms’s Hungarian Dance No. 4. These charming pieces brought the crowd to its feet in enthusiastic applause, rounding off an unforgettable program with a flourish.

Verdict

This concert was an extraordinary showcase of technical brilliance, emotional depth, and artistic synergy between two of the world’s finest pianists. Yuja Wang’s dazzling virtuosity and Víkingur Heiðar Ólafsson’s introspective lyricism complemented each other perfectly, bringing out the full spectrum of the program—from the meditative calm of Berio and Cage to the rhythmic vitality of Adams and the sweeping grandeur of Rachmaninoff. The duo’s ability to balance precision with profound musicality made for a captivating and unforgettable evening, capped by encores that left the audience in awe and delight.

Yuja Wang and Víkingur Heiðar Ólafsson at Eldborg Hall, Harpa, Sunday, October 20