LANG LANG / MENDELSSOHN, TCHAIKOVSKY

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LANG LANG

FELIX MENDELSSOHN
Klavierkonzert
Piano Concerto No. 1

PETER TCHAIKOVSKY
Klavierkonzert
Piano Concerto No. 1
Chicago Symphony Orchestra
Daniel Barenboim
Int. Release 30 Jun. 2003
1 CD / Download
0289 474 2912 8 CD DDD GH


트랙리스트

Peter Ilyich Tchaikovsky (1840 - 1893)
Piano Concerto No.1 In B Flat Minor, Op.23

Felix Mendelssohn (1809 - 1847)
Piano Concerto No.1 in G minor, Op.25

Lang Lang, Chicago Symphony Orchestra, Daniel Barenboim

총 재생시간 59:13

Lang Lang's personality comes across in his always lively and engaging playing. It's no wonder he has captured the hearts of music lovers whenever and wherever he's played . . .

If that performance is as dynamic as this new recording with the Chicago under Barenboim, Promenaders had better fasten their seat belts. The 21-year-old shows equal panache in the Mendelssohn, his breathtaking technical nerve allied with a maturity way beyond his years.

hottest thing in piano-playing today . . . his technique is superb and his artistry impeccable. He seems to inhabit every piece he plays, swooning with Schumann, galvanised almost to madness by Prokofiev. On this CD he does more than justice to Mendelssohn's rather middling concerto -- he almost makes you think it's in the same class as the Tchaikovsky, and Barenboim's magic from the podium contributes to this impression.

This disc is guaranteed to make any serious music-lover pause . . . Here is youth, freshness, force and agiltiy, with no hint of the routine.

His recorded interpretation of the work strikes a fine balance between romantic heroics and self-expression, creating an interpretation that sounds fresh and always alive.

. . . he can play with the delicacy . . . of Stephen Hough.

[Tchaikovsky]: If you heard this original, fiery, sensationalized performance, with Barenboim and the CSO following as if attached with Superglue, live in a concert hall, you'd still be on your feet cheering.


21-year-old pianist Lang Lang creates a sensation with his sound and flair . . . Lang Lang is the most hotly hyped performer in classical music today. The pianist has just turned 21; his first record for Deutsche Grammophon swiftly moved to the top of Billboard's classical chart after its release July 15, thanks to the quality of Lang's performances . . . Late last month, he played the Mendelssohn Concerto on a national telecast of "Mostly Mozart" from Lincoln Center . . . and created such a sensation that he has since appeared on "Good Morning America" and the "Tonight Show." Probably no classical artist since Luciano Pavarotti has made a double play like that.

. . . with breathtaking virtuosity, he is totally at ease in the bravura passages of the Tchaikovsky.

On this evidence, Lang Lang is already superbly accomplished. Especially in the first movement, however, the performance leaves an impression of individual moments intensely lived . . .

Piano power . . . Chinese pianist Lang Lang's debut disc on Deutsche Grammophon will excite, astound and enthral . . . The orchestra is sensitive to every one of Lang Lang's tempos and rubatos, supporting him so that each virtuosic intricacy of the piano part shines through . . .The piano playing is mature, deeply felt, with a sense of bravado and almost nonchalant abandon. Lang Lang's wonderfully sensitive touch in the beautifully gently second movement dazzles us, before he produces even more incredible pyrotechnics in the frenetic, cheeky scherzo. The final movement is pure Russian dance and Tchaikovskian optimism -- the piano is uniformly characterful and crisp. Lang Lang has such total command of his instrument and its possibilities that it seems like the work of someone well beyond his 21 years . . . We say . . . Lang Lang is fast becoming a celebrity in the piano world. His debut with DG is full of panache and brilliance . . . Astounding.

. . . the sun blazes forth in Mendelssohn's concerto. Lang's playing is coruscating and fleet, matched by Barenboim's breezy conducting. Lang builds towers of gorgeous melody in the sweet second movement, then lets loose with glittering abandon in the coltish last movement. It's a refreshing tonic . . .

Creativity and imagination are to be applauded . . .

No quarrels over his technical mastery: He's got accurate fingers (no smudges here), exceptional dynamic and timbral control (listen to the magical return of the A section in the second movement), and sufficient power for the climaxes . . . This performance has plenty of personality in its handling of details.

Den Zuschauern bleibt fast die Luft weg, wenn der Pianist Lang Lang Konzerte gibt . . . Der Chinese Lang Lang, gerade mal 21, wird in den großen Konzertsälen Nordamerikas, Europas und Asien gefeiert, weil er die Gabe besitzt, sein Publikum zu verzaubern. Ganz schlicht sein Bühnenauftritt. Keine großen Gesten, keine Verrenkungen, keine Show -- höchstens mal für ein Foto. Kaum beginnt er mit dem Spiel, verwandelt er sich in den Virtuosen, den Tastenzauberer, für den nur noch die Musik gilt.

Er ist der Pianist der Superlative. Lang Lang, gerade 21, verblüfft durch rekordverdächtiges Tempo wie durch nachdenkliche Vertiefung, ist Tastentiger und Klavierpoet zugleich.

Mit Tschaikowskys Klavierkonzert Nr. 1 b-Moll op. 23 hatte die Erfolgsgeschichte begonnen -- mit ebendiesem Konzert sowie Mendelssohns Klavierkonzert Nr. 1 g-Moll op. 25 wird Lang Lang -- was auf deutsch so viel wie "heller Kopf" bedeutet -- diese auf Deutsche Grammophon fortsetzen.

Die Einspielung ist ein kleines Wunder, Tschaikowskys Sisyphosbrocken darf aus einem veränderten Blickwinkel betrachtet werden. In erster Linie ist das ein Verdienst des Pianisten. Beinahe gegen jegliches adoleszente Drängen, das Opus im spätromantisch-schwülstigen Gefühlssturm zu durchmessen, legt Lang Lang eine Interpretation vor, die zumal die (von zahlreichen Pianisten außer Acht gelassenen) lyrisch-seraphischen Seiten heraushebt.

Lang Lang . . . gelingt es bei seinem Plattendebüt, die Sensation, Tschaikowskys abgegrastes Klavierkonzert b-Moll op. 23 tatsächlich fern aller Klischees zu interpretieren. Er nimmt der Partitur die seit Horowitz beliebte Virtuosenhysterie und entdeckt -- ganz ohne Sentimentalität -- die Melancholie, den wehmütigen "russischen" Ton . . . Hier besitzt ein junger Musiker neben vollendeter Anschlagskultur auch den Sinn für Proportionen, Dramaturgie und Witz . . . dass hier ein großes Ausnahmetalent zu bewundern ist, steht außer Frage . . .

Statt Bombast Klarheit, Rhythmus, Spannkraft, schier unerschöpflich scheint Lang Langs unbändige Energie. Und doch donnern die Oktaven nicht auf Kosten der Poesie daher, gehen die Finessen nicht im Geschwindigkeitsrausch unter -- auch dank eines immer wieder fordernden Barenboim und dem vorbildlichen Orchester.

. . . für eine herausragende Aufnahme muss der Pianist alles richtig machen. Wie der erst 20-jährige Chinese Lang Lang. Sein DG-Debüt mit den Klavier-Erstlingen von Tschaikowsky und Mendelssohn ist ein Paukenschlag, pardon: ein Klaviergewitter . . . Die Gesetze der Materie ignorierend, huschen die Finger über die Tastatur, dass einem fast schwindelig wird. Die Chicagoer unter Daniel Barenboim behalten kühlen Kopf, begleiten aufmerksam, holen in den Zwischenspielen immer wieder zur grandiosen Geste aus. So gibt's keine Spur von Lang-Weile. Der neue Stern am Klavierhimmel möge lang, lang leuchten.

Wer die aufwärts jagenden Oktavgänge in Tschaikowskys Klavierkonzert so brillant spielt, ist dem Bravourstück in der Tat gewachsen. Faszinierend die feine Abtönung der Prestissimo-Episoden im Mittelteil des zweiten Satzes. Lang Lang, der 20-jährige chinesische Pianist, verfügt über eine stupende Tastenakrobatik.

Seine exzellente Technik steht keineswegs nur im Dienst vordergründiger Brillanz, was gerade der langsame Mittelsatz [Tschaikowsky] beweist, wenn er den ohnehin variantenreichen Anschlag zu gefühlvoller Zartheit verfeinert.

Die Schönheit seines Klaviertons ist so staunenswert wie die Sauberkeit seiner Artikulation, die Kraft seiner Phantasie so beeindruckend wie seine Fähigkeit, Phrasen abzutönen: Was das rein Pianistische und das Ausdrucksvermögen betrifft, hat Lang Lang, der hochbegabte chinesische Nachwuchspianist schon mit 20 Jahren alles, was für eine große Karriere erforderlich ist.

Eigentlich hätten seine Eltern den Pianisten Lang Lang (chin. "Heller Kopf") Zauberfinger nennen sollen.

Trotz Horowitz/Toscanini rabiat-präzisem Zugriff, Rubinsteins grandioser Klarheit, Svjatoslaw Richters diamantenem Scharfschliff, und, und: Lang Lang -- in China preisgekrönt, Student einst in den Vereinigten Staaten bei Gary Graffman -- zaubert den Hit wie nie gehört . . . wie Lang Lang eine unglaubliche Technik zu poetischen Figuren verdichtet, rasende Passagen abfedert, einmünden lässt in atmende, freie Räume, wie er Virtuosität einerseits und feinste Detailzeichnung andererseits nicht als L'art-pour-l'art-Hüllen stehen lässt, sondern alles ineinander fügt -- dies macht aus Tschaikowskys unsterblichem Knaller eine betörende innere Zauberlandschaft. Die mächtigen Klangwellen kontrastieren mit still träumenden Winkeln. Auch in Felix Mendelssohn Bartholdys 1. Konzert in g-Moll ist Lang Langs dicht perlendes, duftiges, doch golden-kraftvolles Spiel perfekt am Platz. Das Spieluhrenhafte hat bei ihm Tiefe, Leben und bliltzenden Charme.

Das "Pianistenwunder" aus der chinesischen Provinz ist längst ins Spitzenfeld der Klaviervirtuosen aufgestiegen und ein umjubelter Weltstar. Jugendliche Lebendigkeit, spielerische Perfektion und erstaunliche Ausdrucksstärke sicherten Lang Lang sogar einen Platz unter den "Top Twenty Teens Who will Change The World".

C'est évidemment extrêmement impressionnant : on a l'orchestre avec les plus beaux cuivres du monde et un pianiste présenté comme un sorcier du clavier.

Lang se muestra en Chaikovski como el intérprete de técnica segurísima . . . Se pliega al concepto del director ¿ una interiorización expresiva poco habitual aquí ¿ con absoluta humildad y, mientras aprende, pone en pie un edificio de enorma attractive . . . En Mendelssohn la impresión es igualmente magnifíca. Lang se controla a la perfección y Barenboim sabe darle a la obra esa elegancia, esa frescura, ese equilibrio que destila. Preciosa versión que hay que poner al lade de la histórica referencia de Serkin/Ormandy. Un gran disco.

Lang Lang hace un debut discográfico privativo de unos pocos

Un talento singular ...
la interpretación de la obra ... es una acabada muestra de refinado pianismo.
    Lang Lang in conversation with Phillip Huscher

Phillip Huscher: Tchaikovsky's First Piano Concerto is one of the most familiar and beloved landmarks of Classical music. Do you remember when you first listened to the piece?

Lang Lang: I grew up in China, and China had very close cultural relations with Russia, so you heard lots of Tchaikovsky on the radio. When I was very little - two years old - I heard Tchaikovsky's First Piano Concerto and was really touched by the beautiful melodies and all the exciting passages. Whether you understand Classical music or not, you will always remember a piece like this, because it's so emotional. And so, since my childhood it's been a life dream to perform this concerto.

PH: When did you finally play the Tchaikovsky Concerto for the first time?

LL: When I was nine years old I started to practice it. And then when I was 13 I played it for the first time, in Beijing with the China Youth Orchestra. Of course, this piece started my world career: in the summer of 1999, at Ravinia's gala of the century concert, when I substituted for André Watts. I remember this concert like yesterday.

PH: What do you remember most vividly about that evening?

LL: It was so exciting. Isaac Stern introduced me to the crowd of 13,000 people, and I was so touched by what he said that I think I played better! This was the first time that I had appeared with the Chicago Symphony, one of the greatest orchestras in the world. I had listened to many recordings of the orchestra, with its famous brass section, and they sounded just the same when I heard them play for the first time. It is such a huge, powerful sound and perfect for the Tchaikovsky Concerto. When you hear such strong chords from the brass section or from the woodwinds, you get more energy to play the piece, because it's so exciting.

PH: Mendelssohn's G minor Piano Concerto is another of the cornerstones of the repertoire. When did you first become acquainted with it?

LL: This is the first concerto I ever played - I was seven at the time. This is also a concerto I've always liked, because it's such a lovely piece. And Mendelssohn wrote it when he was around 20, and now I'm 20, so it's a perfect year for this recording! Playing this concerto is also very emotional for me. Two years ago, when I performed with the Philadelphia Orchestra on its 100th birthday tour, we played it in the Great Hall of the People in Beijing, which is my second home in China - I studied in Beijing for five years. This was the first time I had played in China since I won the Tchaikovsky competition and went to America to study. To go back to your motherland and play with one of the world's great orchestras is very emotional. So the Mendelssohn now is even deeper in my heart.

PH: Why did you decide to pair Tchaikovsky's First Piano Concerto with the G minor Concerto by Mendelssohn on this recording?

LL: The Tchaikovsky Concerto is such a big Romantic piece and the Mendelssohn is such a small Romantic piece. Normally Tchaikovsky is played with Russian repertoire, or with another big Romantic piece. That inspired me to pair it with something lighter and more delicate, like this Mendelssohn Concerto, which shows another side of the musical experience, and also shows another side of what an artist can do.

PH: Do you approach these two works differently?

LL: Basically, I use a slightly different technique to approach each piece. The double forte, for example, in Tchaikovsky should be much heavier than in the Mendelssohn Concerto. In Mendelssohn, even in fortissimo, you must have a really lovely, sweet sound instead of a strong and hard sound. Mendelssohn was very young when he wrote this concerto; you can tell he thinks the world is so perfect, so beautiful, so peaceful. But in Tchaikovsky, it's not a peaceful world. You are in the real world. And so you see two different worlds, and also you know that age can make people think differently.

PH: Nikolai Rubinstein, whom Tchaikovsky wanted to perform his First Piano Concerto, at first said the piece was simply unplayable. How difficult is it, and how challenging has it been for you to put your own stamp on it?

LL: It's a very hard piece - it's often compared with the Rachmaninov Third Concerto. After you've heard so many people play this piece, it's hard to find yourself. First, you must respect everything that's written in the score. Then you need to play not only with your heart, but with your soul, because this piece has real emotional power - it's like somebody who's had tremendous life experiences - some are super exciting but also some are deeply tragic. At the beginning of the second movement, everything is reborn, you have the most beautiful flute solo, and when the piano comes in, it's like waterfalls - so beautiful and so pure. When I play that movement I just enjoy myself. I'm not on earth - I'm in some heavenly place.

PH: The Chicago Symphony has made recordings with many celebrated pianists, including Artur Schnabel, Artur Rubinstein, Emil Gilels, Sviatoslav Richter, and Claudio Arrau. How do you feel about joining their company?

LL: It's tremendous. And I'm so honored to be the first Chinese pianist to record with this great orchestra and also with Maestro Barenboim.

PH: What was it like working with Daniel Barenboim, a conductor who is also a celebrated pianist - and has played the Tchaikovsky Concerto himself with this orchestra?

LL: We worked together in Vienna and then in Chicago, and it was very natural. We discussed everything; he knows what I want, and I learned a lot from him. He's such a great pianist. It was a real heart-to-heart, soul-to-soul experience. Partly because I played this concerto with the orchestra at the beginning of my career, we still have that electricity, that kind of connection. I was more surprised by the Mendelssohn, because the orchestra hadn't played it in ten years. But they were superb. It was so light, like a completely different orchestra. And the playing had such intimacy.

PH: Do you think that your playing has changed in any way after working with Mr. Barenboim?

LL: He gave me so much, but he doesn't want me to change. He wants me to know more about what's going on in the music. And how to take risks. He's a fantastic thinker, and I now have a much clearer view of this piece. If you think before you play, then you will get the right sound.

PH: Is it difficult to interest young people today in music by Mendelssohn and Tchaikovsky - music that dates from the 19th century?

LL: I think it's quite easy. Young people think Classical music is very old. But it's like Shakespeare, or the great novels, or the Bible, which people still read today. Some pop music is only famous for one year. But you can live with this kind of music forever. The Tchaikovsky and Mendelssohn Concertos are great ways to get people to listen, because they open the door, even for people who don't know anything about Classical music. These concertos are very hard to play, but if you play well, you can show the human emotion, and then you can really connect with young audiences.

PH: Are you optimistic about the future of this music that you love?

LL: The piano is such a popular instrument around the world; it's like basketball or football. I think Classical music has a very bright future. But of course as performers, we must develop our next generation, and help them to understand. And I'm sure we will have a very bright 21st century, and more centuries to come.

PH: How do you plan to reach a larger audience of young people?

LL: I am hoping to play more in the public schools or for college kids. I'd like to talk to them about how music makes a difference, how music can change your life. Music is a magic thing. It can make everything happen.

(Phillip Huscher is program annotator of the Chicago Symphony Orchestra)

    Lang Lang - Chronology

"He is the biggest, most exciting young keyboard talent ... in many years."
Chicago Tribune

Acclaimed in the major concert halls of North America, Europe, and Asia, Lang Lang - at the age of 20 - has demonstrated an extraordinary ability to connect with audiences on a deeply personal level and has established himself as one of the most exciting pianists of our time. Lang Lang's talent and personality make him an ideal ambassador for classical music and a role model for young people. CNN International and CBS recently aired profiles on Lang Lang, and he was also featured in The Wall Street Journal and in Teen People's issue highlighting "Top Twenty Teens Who Will Change the World".

1982 Born in Shenyang, China, Lang Lang begins his piano studies at the age of three with Professor Zhu Ya-Fen from the Shenyang Conservatory of Music.
1987 Wins first prize in the Shenyang Piano Competition after which he gives his first public recital.
In the coming years he takes first prize in the Fifth Xing Hai Cup Piano Competition in Beijing, first prize and outstanding artistic performance in the Fourth International Young Pianists Competition in Germany, and first prize at the Second Tchaikovsky International Young Musicians Competition held in 1995 in Japan.
1991 Enters the Central Music Conservatory in Beijing, where he studies with Professor Zhao Ping-Guo.
1995 Plays the complete Chopin Études in the Beijing Concert Hall.
1996 In September, performs as one of the soloists at the inaugural concert of the China National Symphony, which President Jiang Ze-Min attends as guest of honour.
1997 Begins studies with Gary Graffman at the Curtis Institute in Philadelphia, which he concludes in 2002.
1999 Decisive career breakthrough in August with his dramatic last-minute substitution for an indisposed André Watts at the Ravinia Festival's "Gala of the Century", playing the Tchaikovsky Concerto with the Chicago Symphony Orchestra.
2001 Makes sold-out Carnegie Hall début in April 2001 to great critical acclaim playing the Grieg Concerto with the Baltimore Symphony under Yuri Temirkanov. In June Lang Lang travels to Beijing with the Philadelphia Orchestra and Wolfgang Sawallisch for a tour celebrating the orchestra's 100th anniversary, during which he performs to an audience of 8000 at the Great Hall of the People. BBC Proms début in August, playing Rachmaninov's Third Concerto - The Times of London's critic writes: "Lang Lang took a sold-out Albert Hall by storm...This could well be history in the making."
2001/02
season
Makes his subscription-concert débuts with the New York Philharmonic and London Philharmonic, both with Christoph Eschenbach, under whose baton he also tours Europe with the NDR Symphony Orchestra of Hamburg; performs with the NHK Symphony Orchestra under Charles Dutoit in concerts broadcast on NHK Television throughout Japan; and his subscription début with the New York Philharmonic. Recital débuts at London's Wigmore Hall, Washington's Kennedy Center, and the Louvre in Paris. In December he participates in the final subscription concerts of the Philadelphia Orchestra at the Academy of Music, under Sawallisch's baton.
2002 2002 In July at the Schleswig-Holstein Festival he becomes the first recipient of the Leonard Bernstein Award in recognition of his exceptional musical talent. He is featured in a weeklong residency with five concerts at the Ravinia Festival, including two concerto performances with the Chicago Symphony, a solo recital, an evening of Schubert duos with Christoph Eschenbach, and a duo-recital featuring Chinese traditional music with his father, Guo-ren Lang, on the erhu (bowed fiddle).
2002/03
season
Lang Lang joins the New York Philharmonic and Lorin Maazel for performances in New York, followed by a tour of Asia. Plays in concerts with the Cleveland Orchestra at Severance Hall and on tour in the Midwest with Franz Welser-Möst, under whom he will also perform at the Vienna Festival later in the season. Other engagements include appearances with the Los Angeles Philharmonic and Zubin Mehta, the San Francisco Symphony and Michael Tilson Thomas, the Pittsburgh Symphony and Mariss Jansons, and the Philadelphia Orchestra and Wolfgang Sawallisch at the Academy of Music's annual Anniversary Concert and Ball.
He also performs with the symphony orchestras of St. Louis, Baltimore, Cincinnati, Detroit, Toronto, Vancouver, and North Carolina, as well as the St. Paul Chamber Orchestra. He will be heard in recitals across the United States, from Anchorage to Washington, D.C., and in major international cities including London, Munich, Milan, Shanghai, and Beijing. Other international appearances include Bamberg, Gothenburg, Lisbon, Rotterdam, Stockholm, St. Petersburg, Valencia, Zurich, Hanoi and Seoul. His festival appearances include Aspen, Tanglewood, Verbier, Schleswig-Holstein, and the Ruhr Piano Festival.
2003 2003 Lang Lang makes his first recording for Deutsche Grammophon in February: the Tchaikovsky and Mendelssohn First Concertos, with Daniel Barenboim conducting the Chicago Symphony Orchestra.
2003/04
season
Appearances include performing the Tchaikovsky First Piano Concerto at the opening concert of the BBC Proms with Leonard Slatkin at the Albert Hall, the opening-night gala concert of the Chicago Symphony with Daniel Barenboim, and the closing-night concert of the Berlin Philharmonic season with Sir Simon Rattle (as the first Chinese pianist ever to perform with the orchestra).
Lang Lang also makes his recital débuts at Carnegie Hall, the Berlin Philharmonie, and the Vienna Konzerthaus and performs with the Boston Symphony, Philadelphia Orchestra, New York Philharmonic, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra of Washington, DC, Orchestre de Paris, Israel Philharmonic, and the Accademia Nazionale di Santa Cecilia in Rome. Among his other major appearances is a five-city tour of China that will include the opening night of the China Philharmonic season in Beijing.