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Explore WORLD RECORD: Yi-Chung Huang (24yo) - Sorabji: Symphonic Variations (2026 live) LEARNED IN 130 DAYS! with 9,085 views, 529 likes, and 279 comments. Experience the impact of this video content that has captured audience attention.

*The Classical Music World Is Broken. So I Learned This in 130 Days.* Every time you call me a 'machine,' a 'technician,' or a 'virtuoso,' it triggers a nightmare in my mind that I cannot escape. You think you are praising me, but you are casually erasing my humanity and pushing me right back into the dark." - Yi-Chung Huang. Less than a year ago, I survived multiple suicide attempts. Conquering the monumental architecture of Kaikhosru Shapurji Sorabji’s Symphonic Variations - an almost impossible, 693-page beast which is two times harder than Opus Archimagicum on stage - in a mere 130 days was not an act of mechanical calculation. It was an act of raw human survival, of profound trauma, and deep spiritual devotion. It was a bleeding soul fighting with every ounce of its being to stay anchored to this earth. When people reduce that agonizing self-exorcism to "empty speed," "flawless mechanics," or compare it to flashy acrobatics, it feels like a violent insult to my survival. It feels like looking directly at a bleeding heart and calling it a factory. Just a few days ago, the performance of this work in Italy was a disaster. I was broken. But pulling a miracle from the abyss of defeat is what defines true artistic devotion - just as Callas learned Rossini's Armida in a mere 5 days, I had exactly 5 days between the two performances to recover, mentally rebuild, and completely conquer the psychic demands of this piece before walking on stage in New York. My artistry is not born from the rigid, metronomic cages of a Stravinsky or a Szell; I am firmly on team Furtwängler. I am heavily inspired by the genuine and transcendent romanticism of the 1830s - the dangerous, poetic fires of Niccolò Paganini, Maria Malibran, and Franz Liszt. Following the sacred pianistic lineage of Rachmaninov, Cortot, Friedman, and Tiegerman, I reject the "clean", vertical, and "metronomic" style of the modern era. I do not seek to calculate literal precision or prioritize accuracy over agony; I seek to find the dangerous and devastating fire that only pure, trembling, and even bloody intensity can provide. I am rewriting my public image entirely on my own terms. This U.S. Premiere - delivered live at the DiMenna Center in New York less than two weeks ago - is the uncut, unfiltered proof of a fragile human being who walked to the edge of death and used the monumental architecture of Sorabji to drag himself back into the living world. As Victor Hugo wrote: « La poésie de notre temps est le drame; le caractère du drame est le réel; le réel résulte de la combinaison toute naturelle de deux types, le sublime et le grotesque... » (The poetry of our time is the drama; the character of drama is the real; the real results from the entirely natural combination of two types, the sublime and the grotesque.) I invite you to witness a historic confrontation with the sublime and the grotesque - the performance is the culmination of immense human suffering, the melancholy crucible, and the profound love, through my fingers. PLEASE share this video as widely as possible, because my depression is precisely caused by the very fact that I’m still not world famous. Thank you. As for what I’m going to do next, it’s going to be symphony 0 (KSS 51), but I’m also interested in Sequentia Cyclica and Tantrik as well. Of course if any orchestra is willing to play Busoni’s concerto or all 5 Rachmaninov in one concert with me, it’s even better! Yi-Chung Huang (me), piano (24 years old, a bit younger than Liszt when he first performed the Hammerklavier) Kaikhosru Shapurji Sorabji (1892-1988): Symphonic Variations KSS 59 (U.S. Premiere) Venue: The DiMenna Center for Classical Music, New York 0:00 Part 1: Theme; Variations 1-27 (including Preludio-Corale, Waltz and Garden of Iram) 2:20:56 Part 2: Variations 28-54 (including Quasi Raga, Punta d'Organo and the Passacaglia) 4:44:49 Part 3: Variations 55-81 (including Allusion of Chopin, Aria, Notturno, Cadenza, Fugues and the Epilogue) *Notice: The audio is spliced from the Italian performance between 7:31:34 and 7:32:41 during the Epilogue, because the DiMenna Center failed to record that very last minute of the Symphonic Variations... sorry about that. 7:33:45 Encore: Giuseppe Verdi (1813-1901): La Traviata: Ah fors'è lui - Sempre libera If you want to contact me, please send an email to [email protected] or [email protected] #Sorabji #SymphonicVariations #WorldPremiere #YiChungHuang #PianoEndurance #PianoEverest #UnplayablePiano #LiveMusicNewYork #HardestPianoPiece

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