THE latest young pianist from China to excite classical music audiences and earn raves from critics is the 24-year-old Yuja Wang, a distinctive artist with a comprehensive technique. That Ms. Wang is already a musician of consequence was made clear this year when Deutsche Grammophon released her first recording with an orchestra: performances of Rachmaninoff’s Rhapsody on a Theme of Paganini and Second Piano Concerto with the Mahler Chamber Orchestra. The conductor is Claudio Abbado, no less, a towering maestro who is extremely discriminating in his choice of collaborators.

Ms. Wang’s virtuosity is stunning. But is that so unusual these days? Not really. That a young pianist has come along who can seemingly play anything, and easily, is not the big deal it would have been a short time ago.

The overall level of technical proficiency in instrumental playing, especially on the piano, has increased steadily over time. Many piano teachers, critics and commentators have noted the phenomenon, which is not unlike what happens in sports. The four-minute mile seemed an impossibility until Roger Bannister made the breakthrough in 1954. Since then, runners have knocked nearly 17 seconds off Bannister’s time.

Something similar has long been occurring with pianists. And in the last decade or so the growth of technical proficiency has seemed exponential. Yes, Ms. Wang, who will make her New York recital debut at Carnegie Hall in October, can play anything. But in China alone, in recent years, there have been Lang Lang and Yundi Li.