神马文学网钢琴演奏
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donjuan (2010-07-03 11:07:56) 共有0条回复
深圳音乐厅? http://hiphotos.baidu.com/%CE%EF%C0%ED_%B5%DB_/pic/item/9bfe170933a8462194ca6b96.jpg
斋主 (2010-07-02 12:38:36) 共有1条回复
郎朗获得今年门德尔松金奖德国著名女演员因为社会活动也获得另一组别的奖
Leipzig (dpa) - The actress Iris Berben and the pianist Lang Lang received on Saturday night in the International Leipzig Mendelssohn Prize 2010th The prizes were presented during a gala concert in the Leipzig Gewandhaus.
Berben was honored for her social commitment, Lang Lang was awarded the Felix Mendelssohn-Bartholdy-musical foundation for his work. Last year, former Chancellor Helmut Schmidt was among the award winners.
During the gala concert of the Gewandhaus Orchestra, conducted by Riccardo Chailly, presented works by Mendelssohn Bartholdy, Johann Sebastian Bach and Robert Schumann. Accompanied by the orchestra Margarita Höhenrieder was at the piano. Actress Veronica Ferres hosted the awards ceremony.
The undoped Mendelssohn Prize "since 2007 to up to three winners in the categories of Music", "Visual Arts" and "corporate social responsibility conferred." He goes to the composer, painter and former Gewandhaus conductor Felix Mendelssohn Bartholdy (1809-1847) back.
Mendelssohn Bartholdy was regarded as a musical intermediary, whose activities and social engagement, the orchestra concert and being shaped. First prize winner was a long-Gewandhaus conductor, Kurt Masur.
http://bbs.langlangfans.org/attachment.php?aid=32641&k=c9b942bd617cfd21b76bed9392494fb8&t=1278045034&noupdate=yes
斋主 (2010-07-02 12:47:13) No.1 考，郎朗粉丝不容许外联，转张照片
美国时间6月2日晚，中国钢琴家郎朗与披头士乐团的灵魂人物、同时也是本届格什温奖获得者保罗·麦卡特尼，以及乔纳森兄弟等艺术家一同在美国首府华盛顿白宫举办音乐会。这次白宫音乐会最重要的观众是美国总统奥巴马及其全家。在音乐会上，不同的流行音乐乐团表演了精彩的节目，郎朗作为唯一的单人节目演员、也是唯一的古典音乐家，演奏并即兴改编了保罗·麦卡特尼创作的最新作品《庆典》（《Celebration》），所有观众在台下屏气凝神的欣赏，并给予热烈的掌声。当晚演出的重头节目是全场一起演唱披头士乐队最著名的歌曲《Hey Jude》，奥巴马亲切的上台与艺术家们一起演唱。难得的是，奥巴马选择了与郎朗站在一起唱歌，而主唱和原唱者保罗·麦卡特尼站在郎朗的另一侧带领大家演唱，这时奥巴马的女儿加入合唱的队伍一起演唱，并在舞台上与郎朗击掌庆祝。在这首歌温馨的气氛中，台下的摄像机留下了珍贵的影像。//v.youku.com/v_show/id_XMTc4NjA4MjMy.html
http://www.bh2000.net/files/pianodetails14370.jpg 31KB
newport (2010-06-26 11:07:27) 共有4条回复
Lim and his brother both unsuccessfully auditioned to compete at the 2009 Van Cliburn International Piano Competition============================
On Dong-Hyek's wikipedia page.
Is this true? I thought 美麗 said they withdrew? But their names are there on the page for the 13th Cliburn.
美丽的小行板 (2010-06-26 22:31:13) No.1 well, brother Lin's name disappeared from the van cliburn offical website few weeks before the audition.....
newport (2010-06-27 01:41:09) No.2 So it remains a mystery.
Also a mystery why it is on Dong-Hyek's wiki page.
美丽的小行板 (2010-06-27 05:50:47) No.3 actually, Chen Xin XV's name still on wiki van cliburn comeptition page, she withdraw from the audition as well.
newport (2010-06-27 08:50:43) No.4 That's fine, but why would DH's wiki page make a point of it (especially if they didn't play in the audition)? The page does contain new information ... maybe some random people are doing it and the Lim family don't care.
donjuan (2010-06-26 09:06:54) 共有0条回复
艺术人生◇人生课堂：李云迪对话周广仁（06-23） http://www.56.com/u87/v_NTI3MjIxOTY.html
shrek (2010-06-26 05:10:24) 共有0条回复
乖乖朗迪东！ mozart1899 (2010-06-25 08:37:12) 共有2条回复
有没有人听过这个孩子的音乐会？Alfred Brendel的学生, Kit Armstrong
http://www.freewebs.com/kitarmstrong/
mm (2010-06-25 16:42:30) No.1 怎么无法看？
Lulu (2010-06-30 03:08:23) No.2 Did you find his concert schedule? He's due to appear at the Verbier this summer if you find you way there. It's a blessing that he's under the guidance (not just the artistic kind) of someone like Brendel, because this world can be somewhat cruel to such geniuses. Good luck in your search.
donjuan (2010-06-21 00:39:34) 共有2条回复
http://www.musicweb-international.com/SandH/2010/Jan-Jun10/lang_lang1006.htmSEEN AND HEARD INTERNATIONAL CONCERT REVIEW
Schumann, Chopin: Lang Lang (piano), Borusan Istanbul Philharmonic Orchestra, Gurer Aykal (conductor), Halic Convention Center, Istanbul, 10.6.2010 (AM)
Schumann: Symphony No. 4 in D Minor, Op. 120
Chopin: Piano Concerto No. 1 in E Minor, Op. 11
Many friends had acquainted me, “You may have heard his recordings, you may have read reviews, or seen clips of him on YouTube and the like, but believe us, you have to see him live to appreciate him.” Lang Lang and I had never been in the same city at the same time so these words of recommendation were untested until this evening.
The setting was like this: A newly built convention centre right on the coast of Golden Horn housing an enormous conference / concert hall; outside, a promenade that overlooks a vast cemetery across the water and a buffet serving snacks and the obligatory mediocre wine; inside, 1500 guests collectively dressed as if it is fin-de-siècle. Lang Lang’s appearance was the high occasion of this season’s Istanbul International Music Festival and, therefore, it was as much a social event as a musical one. The pianist advertised in hundreds of billboards across the city as ‘the hottest artist in the classical music world’ was assigned to the second half of the concert (so people wouldn’t leave after hearing him, and also, in order to give him all the time he needed to do encores).
First up, the orchestra. Borusan Istanbul Philharmonic is considered to be the world’s only fully corporate sponsored professional orchestra. Wise well beyond its years (it is barely a decade old), BIPO holds an impressive resumé. Not only have they gained much following and acclaim in their native Turkey, but they have also toured extensively around Europe playing under celebrated conductors. I had the pleasure to listen to them (albeit only their strings section) a couple of evenings ago when they played an all-Pärt program with the composer in attendance. I was astonished by their poetic and lavish sound, but of course Schumann’s 4th is a whole different game. It requires infinitely more color and range, not to mention a much denser texture from the orchestra compared to Pärt’s Te Deum.
Given that they take the majority of the load in the first movement, I was delighted to see the strings section of the orchestra in top form once again. Mr. Aykal deliberately refrained from a doom-and-gloom approach. He rushed to dissolve the high tension that inevitably transpires as the movement develops. That being said, the orchestra was bold during climactic passages, with the farther sections –particularly the woodwinds, acting as the catalysts in between the peaks.
The Romanze is not a particularly interesting movement. If anything, it acts as a trio between the Lebhaft and the Scherzo. Bear in mind here that Schumann thought of the symphony as one long Symphonic Fantasie, noting that the movements should be played without a break. That’s the only way the work can function as a unity. But of course, there are bound to be some opposing initiatives against this idea and they usually make themselves heard (as they did this evening) by simply clapping between the movements. Sadly, that breaks the continuity and renders the Romanze completely useless. The third movement is a miniature of archetypal Schumann modus operandi in action. The Scherzo is somewhere between a Beethovenian retort and a Brahmsian vindication. Mr. Aykal delivered a finely tuned sense of balance between the two forces, utilising the trios as opportunities to prepare his orchestra for reshuffling. It was not until the final movement that we finally got to hear the brass section take the front stage. Unfortunately their assigned chorales were not given their due: they were played hurriedly and without the thump that I was hoping for. The overall performance of the Finale and the symphony in general bordered somewhere between admirable and exceptional but something I could not agree with was the weight that the acoustics gave to the timpani. The fourth symphony has more than an ample role for the instrument but it is never meant to overtake this music as it did inside this hall.
When Lang Lang appeared on stage the applause was thunderous. Dressed in his designer black suit, he sat at the piano to give the orchestra their final minutes in the spotlight. As far as I’m concerned, when the e-minor chord from the piano is introduced, the orchestra is mostly extraneous. There is no dialogue involved; the orchestra may answer the piano’s rhetorical questions, but the piano is not listening. It has already gone on towards further introspection. As expressive as the music may sound, it is essentially an exercise in thought.
From that perspective, my foremost expectation from the orchestra is clarity. Mr. Aykal and the Borusan Philharmonic’s opening tutti set the pace for the rest of the movement. The orchestra played with much finesse without drowning the heavy layers. Lang Lang’s entrance was, to my dismay (in a good way), poetic right from the start. In the initial runs his fingers sashayed across the keyboard uniformly except the final high ‘E’ before which he paused for a second. He was more than happy to go with the tempo that the orchestra had set for the piece and never, during the lengthy Allegro, did he try to second guess Mr. Aykal’s choices in pace and pauses. That doesn’t of course mean that he took an inferior role. He played his solo parts with his distinctive ornamentations which acted only as embellishments -nothing more.
The second movement, regrettably, suffered from an overstatement by the horn. The horns are an integral part of the whole conception of course, but they are there to either evoke an echo or otherwise signal a change. But the horn was so transgressive that I almost had to clench my teeth every time it made its appearance. The whole thing sounded more like a problem with the rest of the orchestra’s reluctance in taking part. Mr. Aykal must have noticed this as well, for he motioned the strings section to come alive multiple times during the movement. With the rest of the orchestra basically absent, the horn was left in a position to appear alone against the piano. Mr. Lang did not seem to care however, and without falter, he delivered a most tender performance. He was, in fact, so softly spoken in his presentation that the modal change into minor went almost unnoticed. I would have preferred this sudden reversal of fortune to be more audible but it was completely in line with his overall approach and it worked quite well.
Mr. Lang must have had enough of subtlety by the time the Rondo arrived. He put on his fireworks costume for the movement and delivered a mixture of high virtuosity and poetic flair. He kept his pedal use to a minimum, giving only short sudden bursts of sustain and somehow riding on them for longer than humanly possible. The orchestra appropriately handed the lead over to him during the movement, but they managed to keep up with him all the way through the end.
His encores were two A-Flat pieces. First was the Op. 53 Heroic Polonaise in which we saw the uninhibited Lang Lang. Relieved from his orchestral duties, he played the piece with an extreme level of ‘personality’, exaggerating the chords, adding superfluities almost whimsically yet, not surprisingly, pulling the whole thing off brilliantly. Now that we had seen what he was capable of, he did the Aeolian Harp étude at the other extreme where refinement was the key. He produced all the inner voices with clarity while keeping the polyrhythmic tuplets in exact time.
And with that, I passed the test as well. Listening to Lang Lang live is an experience not soon to be forgotten. He transcends the hype and proves before your very eyes what a fine musician he is.
Alain Matalon
****************************
I have heard Lang Lang play live in many occasions, only one time, about a year and a half ago, what he did can be called a travesty. It happened to be him playing the Heroic Polonaise too. :-)
newport (2010-06-21 02:01:42) No.1 DJ, now you know why it's necessary for having 老師 幫你 “一句一句的磨”
Lulu (2010-06-30 03:22:04) No.2 Is that a "travesty" by choice?
美丽的小行板 (2010-06-15 13:12:00) 共有8条回复
恩,他也終於出山了;)http://www.youtube.com/watch?v=fEnyOSyNaVI
donjuan (2010-06-15 13:51:39) No.1 I have seen this clip for quite a while now, but still haven't figure out its real purpose. Somehow I feel that the student mentality and the mainland media direction seemed to be not quite right. Shen wenyu is one victim already, Huangci might be another, now this one? :-)
Lulu (2010-06-15 21:51:27) No.2 看得晕头转向.
donjuan (2010-06-16 00:10:03) No.3 美丽的小行板
Don't miss Yuja's concert(s) this week if you are still in SF. Hopefully her recital at the Herbst Theater will make you a convert, just like our Newport bro who finally got it as for why she is this popular these days, even though we all know of course he is more rooted for Zhang Haochen, who is playing tonight in Phili.
If what we saw from the east coast is any indication, I bet Mr Joshua Kosman will go crazy again this time around too. :-)
BTW, your idol Chen Sa just got a huge lift in her engagement internationally next season, with some very impressive repertoire for her recital program. Maybe the waiting is over? :-)
newport (2010-06-16 14:18:14) No.4 Just got back ... haha ... the Mayor of Philly was there ... another veritable triumph for ZHC!
DJ, I will call you the 現代顏淵，because of your ability to 聞一知十（a tribute to your overactive imagination)
donjuan (2010-06-17 11:11:31) No.5 Mayor of Philly was there? How about David Patrick Stearns and Peter Dobrin, the Inquirer's two classical music critics? Were they there too, or did they have skipped out due to it's the Tchaikovsky Piano Concerto No.1, a master piece that is almost played to death? So far, I haven't seen any follow up review on this specific event yet.
newport (2010-06-17 13:14:48) No.6 Mayor was there for the opening night, also it was the 75th anniversary season for the venue. I saw David Patrick Stearns had a nice preview on Haochen.
Haochen 彈得很細膩，一個 on his own terms, 高雅的柴一。不是一上來就豪氣萬千 to wow the audience, 但是很自信，按部就班的把 audience 帶入狀況。
Open field 的場地太大，鋼琴聲音有點小。Haochen 的精神絕佳，沒有那種 over-concertizing 造成 sleepwalking on the stage 的感覺，一流的 presentation and the audience responded to it. He did a great job!
donjuan (2010-06-17 17:09:10) No.7 "his tone quality seemed a tad thin - possibly due to the Mann Center amplification."
The audio technician to need to do a better job, usually the soloist can easily get spotlighted in an amplified venue than a pure natural sounding indoor one. How can it be backwards?
http://www.philly.com/inquirer/columnists/david_patrick_stearns/20100617_A_magical_night_at_the_Mann.html
Posted on Thu, Jun. 17, 2010
A magical night at the Mann
By David Patrick Stearns
Inquirer Classical Music Critic
So many factors are beyond control at the semi-outdoor Mann Center for the Performing Arts that a near-perfect evening is not a reasonable hope. And then it happens: Temperature, humidity, music, and musicians all came together in Tuesday's opening night of the Philadelphia Orchestra's summer season - a night when the audience most likely broke a sweat while cheering rather than just listening.
Associate conductor Rossen Milanov led orchestra, soloists, and the Philadelphia Singers Chorale in a performance of Beethoven's Symphony No. 9 that was worthy of a Kimmel Center subscription concert, while pianist Haochen Zhang had a star-is-reborn moment with Tchaikovsky's Piano Concerto No. 1.
Reborn? Zhang, 20, was a co-winner in the Tchaikovsky International Piano Competition last year, and you might have walked by him in Rittenhouse Square during his past several years at the Curtis Institute of Music. Last night, there was little doubt among the 4,500 listeners at the Mann that an extraordinary talent is in our midst.
As Tchaikovsky performances go, this one did all the right things exceptionally well. Zhang gave the virtuosic element its due, but also created the sort of long-term arc that initially fooled you into thinking he had shown you the limits of his pyrotechnics when, in the last seconds of the final movement, he surpassed himself by miles.
And this in a piece that doesn't tap the best parts of his talent. In the famous opening chords of the first movement, he seemed to be attempting something more personal in this over-familiar music, and probably would have succeeded more fully with a bit more rehearsal. But the concerto is so intent on simply impressing that there really isn't much opportunity for interpreters to reveal themselves through the music. Also, his tone quality seemed a tad thin - possibly due to the Mann Center amplification. So we'll just have to wait until Zhang comes back with Chopin or Brahms - indoors.
Milanov seemed particularly energized for Beethoven; certainly, he needed it, taking on this monstrous symphony amid summertime rehearsal restrictions. His slower-than-the-norm tempo in the first movement allowed the music's triumph, terror, calamity, and resolution to surface naturally without interventionist fussing. The downside was when Beethoven shifts between these extremes with extended transitional music; the tempo felt a bit laborious.
Second and third movements were particularly alert versions of business as usual, and the finale consolidated a performance that often reminded you why you first fell in love with the symphony. The soloists - soprano Heidi Melton, mezzo-soprano Katherine Lerner, tenor Kevin Ray, and bass Jonathan Beyer - were quite good, though not especially authoritative, and the chorus was inspired.
Lulu (2010-06-30 03:47:40) No.8 The audio at Mann is horrible, being it's half-open and huge.
和谐 (2010-06-15 11:40:58) 共有10条回复
心平气和，也可以谈得很好：）http://www.hiendlife.com/bbs/viewthread.php?tid=3787&extra=page%3D1&page=1
donjuan (2010-06-15 12:27:17) No.1 Well, at least some folks can get their chance to judge his "composing" talent in the upcoming movie Shanghai. Composing? What style could it be? :-)
http://www.china.org.cn/arts/2010-06/03/content_20179942.htm
哈哈镜 (2010-06-15 14:21:49) No.2 郎朗能否文化境界上有突破，只好看他娶的啥媳妇了。人生，爹妈不可选择，媳妇是可以选的。
不过现在功利得也很自在享受。多少中国人羡慕的对象。
和谐 (2010-06-15 21:53:06) No.3 看来哈哈镜被媳妇改造成功：）
Lulu (2010-06-15 22:06:02) No.4 下面人就这水平, 让大家开心开心, 挺滑稽的.
和谐 (2010-06-15 22:22:23) No.5 LuLu在上面？你也可以把自己的水平拿出来，让大家开心开心，看看滑不滑稽。
Lulu (2010-06-15 23:19:52) No.6
donjuan (2010-06-18 08:33:12) No.7 Here is an interesting article in Lang Lang's defense. :-)
http://www.telegraph.co.uk/culture/music/classicalmusic/7801346/Lang-Lang-the-Tiger-Woods-of-classical-music.html
Lang Lang - the Tiger Woods of classical music
The piano prodigy whose brutal life story, trademarked name and ‘brand extensions’ have brought him fame far beyond the dreams of most Chinese
By Paul Kendall
Published: 9:07AM BST 14 Jun 2010
Comments
It’s three o’clock on a murky Thursday afternoon. On a stage at the Royal College of Music, in London, three students – one smiling nonchalantly, two pinned to their chairs in sheer terror – wait for the arrival of the young concert pianist Lang Lang. In front of them an audience of 400 chatter excitedly. Lang has been asked here to give a masterclass. The atmosphere is not unlike that at the O2 Arena prior to the arrival of Robbie Williams.
After a few minutes, the maestro appears. He’s 27 and wearing a shiny blue blazer, a dark blue fitted shirt and dark, skinny jeans. His hair is spiky and around his neck – draped with great care – is a grey silk scarf.
Lang Lang is not your average concert pianist. Hailed as the 'Tiger Woods of classical music’ (before the golfer’s dramatic fall from grace), he has been playing to sold-out houses around the world since the age of 17. He is the first Chinese pianist to play with the world’s top orchestras and made his debut at the Carnegie Hall in New York aged 18.
Last year, Time magazine included him in its annual list of the planet’s 100 most influential people and his phenomenal technique and flamboyant style – he likes to throw his arms in the air and rock on his stool while he plays – have made him
a star on YouTube and won him millions of young fans. Just
a few weeks ago he took a break during a concert in San Francisco to play Flight Of The Bumblebee on Apple’s new iPad.
'Try changing the shape of your hands,’ he says as he takes one of the terrified students back through the piece he’s just played (Scarlatti’s Sonata in F sharp major). 'A little bit more pom, pom, pom,’ he suggests, waving his arms around and tapping his foot along to the music. To a non-musician like me, it seems like a strange process – a piano lesson in front of an audience of 400 people. (It’s also being filmed for Lang’s website.) But Lang seems genuinely interested and completely absorbed in the work.
'I’m very passionate about what I do,’ he says later, once the masterclass and a 10-minute Q&A are over, and he’s finished posing for photographs with staff and pupils. 'I really make every effort to ensure everything works.’
'Everything’ covers not just classes like this one, which he gives regularly at conservatoires all over the world, but also an average of 125 concerts a year, private recitals (for which he is paid up to £170,000), album recordings, films and various public appearances.
In the past three weeks he has played at the opening ceremony of the World Expo in Shanghai, flown to Italy to record two CDs, to Poland for five days’ work on a 3D-animated film about Chopin (to be released next year to coincide with the composer’s bicentenary), then back to Italy for three concerts and then, this morning, to London. On top of all this, he has obligations towards his sponsors, which include adidas, Sony, Audi, Montblanc, API (a Chinese merchant bank) and Aegon, an insurance company and the sponsor of today’s 'Lang Lang Aegon Masterclass’ at the royal college.
Steinway & Sons sells a range of Lang Lang pianos, there are branded Montblanc watches and a Lang Lang line of black-and-gold adidas trainers. Like Paris Hilton and David Beckham, he has turned himself into a brand.
How many countries, I ask him, does he visit in a year?
'A lot,’ he replies in heavily accented English. 'I never count.’ And what’s the maximum amount of time you ever spend in one place?
'Two, three days,’ he says. 'Average, right?’ He thinks for a moment, then nods: 'Ya, two or three days.’
That sounds like a hellish schedule. He shrugs. 'It’s been many years like this. I’m used to it.’
But is it getting harder? 'No, it’s the same,’ he says. 'More interesting projects but the same thing. This is normal for professional touring artists.’ But not normal for normal people, I point out. 'Right,’ he laughs. 'That’s true. But for musicians…’
Of course one man cannot run an industry of this size on his own and Lang, who has been 'based’ (loosely speaking) in the United States ever since winning a scholarship to Philadelphia’s elite Curtis Institute of Music at the age of 15, has the usual entourage of agents, managers, publicists, stylists and general dogsbodies. He doesn’t seem to have a girlfriend but, the last time he had some enforced time off (after hurting his hand), he admitted to going on a date. The one person who never leaves his side is his mother, Zhou Xiulan.
A petite, neat-looking woman, in a cream nylon bomber jacket, black trousers and a black T-shirt, she sat one seat away from me during the masterclass, listening intently to everything that took place on stage and taking photographs on her phone.
'My mother is always with me,’ Lang confirms. 'She packs my bag, makes sure I eat properly. Sometimes in the morning I can’t get up and she buys me some breakfast and in the evening she sometimes gives me a massage. It’s great.’ He giggles. Earlier today, he says, he was going through UK customs and, after asking him the purpose of his visit, they asked him what his mother did. 'I said: “She does what mums do.” ’
Does he pay her? 'No,’ he says. 'She just does it for the love of mother.’ The lengths to which Xiulan and her husband, Lang Guoren, went to mould their son into a piano superstar have become part of Chinese legend. Living in the industrial town of Shenyang, in northeastern China, the couple scraped together the equivalent of £200 to buy Lang a piano when he was just three years old. His father, a policeman and a frustrated musician, then started the young boy on an intense programme of tuition. At five, Lang won his first competition and at nine, he and his father moved to Beijing, 400 miles away, so that Lang might have the chance of studying at the Central Conservatory of Music.
The move meant Lang Snr giving up his job, and he and his son were forced to live in slum conditions, depending on remittance money from Xiulan, who stayed in Shenyang working as a telephone operator.
Determined that his son should become successful, Lang Guoren hired a private tutor (whom the boy later nicknamed Professor Angry) and charged him with preparing Lang Lang for the competition to get into the conservatory. It was a tall order. There were only 12 slots and nearly 2,000 applicants, but Lang Snr would tell his son over and over again: 'You must be number one, you must be number one.’
When the professor, acting on a false rumour about the family, withdrew his tuition, Lang Guoren became more intense still, telling his son he now had to practise even harder. Something had to give, and as Lang recounts in his autobiography, Journey of a Thousand Miles, one afternoon during those early months in Beijing, it did.
donjuan (2010-06-18 08:33:32) No.8 Late home from a choral rehearsal at school, Lang found his father in a state of hysteria. 'You’ve missed nearly two hours of practising and you can never get them back,’ he yelled. 'It’s too late for everything! Everything is ruined!’ Lang tried to explain himself, but his father wouldn’t listen.
'You’re a liar and you’re lazy! You are horrible. And you have no reason to live. No reason at all.’
'What are you talking about?’ Lang screamed.
'You can’t go back to Shenyang in shame! Everyone will know you were not admitted to the conservatory! Everyone will know this teacher has fired you. Dying is the only way out.’
Lang Guoren picked up a bottle of antibiotic pills and thrust them towards his son. 'Take these pills! Swallow all 30 pills right now! Everything will be over and you will be dead!’
When Lang Lang fought back, his father ordered him to jump off the 11th-floor balcony. The boy only brought him to his senses by hammering his fists against the wall until they bled, shouting: 'I hate my hands!’ Suddenly the red mist lifted and Lang Guoren rushed over to his son to stop him doing any more damage. But for months Lang Lang wouldn’t talk to his father or play the piano; his rebellion only ending when he was 10 and he was finally accepted at the Beijing conservatory.
Today, Lang says he feels sorry for his father and the pressure he must have been under at the time. 'He went nuts I think,’ he says. 'He had had a huge dream and I got fired by the teacher. So he was very disappointed and, er, went crazy, unfortunately.’
Lang Snr was the victim of two tectonic shifts in Chinese history: Mao’s Cultural Revolution and the one-child policy that was introduced at the end of the Seventies. Under the former, the playing of Western classical music was forbidden and people like Lang Guoren had to discard any ambitions they had of becoming musicians. Instruments were destroyed and musicians, especially pianists, had their fingers broken, or worse, by the Red Guard. A few were driven to suicide.
Then, when people like Lang Snr became parents themselves, not only were they desperate to pursue their thwarted ambitions through their children, but all that frustration was heaped on to the shoulders of just one child.
That pressure still exists today. Lang’s publicists like to talk about 'the Lang Lang effect’. They say 30 million children in China have been turned on to the piano by the virtuoso. (At the opening ceremony of the Beijing Olympics in 2008, Lang, surrounded by about 2,000 dancers in lime green pyjamas and watched by an estimated television audience of 4.5 billion, performed a duet with a five-year-old girl. She kept asking him: 'When can we go home?’ while he was playing and he had to promise to buy her a toy to keep her quiet.)
But Nancy Pellegrini, the classical and performance editor of Time Out in Beijing and Shanghai says the Lang Lang effect is not something to be celebrated. 'In developing countries, music is seen as a way out of poverty,’ she tells me. 'Since the success of Lang Lang, people think that if you’re really good at piano you can become an international superstar with more money than you know what to do with. So a lot of kids have been pushed into piano.
'Parents collect money from all their relatives, and sell everything they have and it’s because Lang Lang made this a wise career choice in a way that no other musician has before him. Lang’s father once told him to kill himself, but in China he’s seen as a role model by parents and he’s written books on how to be a good father.’
A fast-talking American who has been based in China for five years, Pellegrini says she was recently at a forum in Shanghai, where parents and their children had gathered to talk to a panel of experts about becoming a musician. During a discussion about practice time, one member of the panel, the pianist Anton Kuerti, told the story of Yo Yo Ma, the Chinese American cellist. 'Yo Yo Ma had a string tied to his leg at 5am,’ Pellegrini says. 'His father would go back to bed and if he heard him stop playing he would tug at the string. And today Yo Yo Ma doesn’t speak to his father.’ 'Is it worth it?’ Kuerti asked the audience. To Pellegrini’s horror, most of the parents in the room seemed to think it was.
But, of course, for every Yo Yo Ma or Lang Lang, there are millions of others who never make it. 'The problem is those kids who work hard and either don’t get into a conservatory or get through conservatory but can’t get a job,’ Pellegrini says. 'And it’s particularly bad for pianists. At least if you’re a violinist you can get a job in some very bad orchestra, but if you’re a pianist you’re either a soloist or you’re nothing.
'When I go to competitions I see kids getting sixth place or getting knocked out before the final round and they don’t understand why because they’ve practised as hard as anyone else. It’s heartbreaking.’
To be fair to Lang Lang, he sounds like he’s coming around to Pellegrini’s way of thinking. When I repeat something he once said about children not practising hard enough, he distances himself from the comments and, instead, muses on the merits of competitions.
'When I was a kid I thought competition was everything,’ he says. 'I thought if you won the competition you were the best. I was looking for gold medals. But then there were times when I didn’t win, I wasn’t even in the final and I realised that it wasn’t everything. It’s really the process of making music, that’s what’s really important.’
Fame itself, he says, should never be the objective. 'Of course I hope everybody can achieve their dreams, but my point is, don’t drive yourself crazy to become something that maybe you don’t want to be. For me, still today, it’s the enjoyment. The reason why I perform every second or third day is because I love it. It’s not because, this night I get paid so much. On stage I find myself.’
So, is he happy? After leading such a pressurised life for so long, many suspect he’s on the verge of burn out. 'I’m extremely happy,’ he says, smiling and placing his precious hands behind his head. 'Whether I’m teaching or whatever. Being on stage is the best thing. It’s like “wow”, it’s a totally different world.’
As our interview ends and the young pianist is ushered towards the exit, onto the next phase of his ridiculous schedule, I’m not sure whether to believe him or not.
Lang Lang is a brand ambassador for Aegon. For more information visit www.aegon.co.uk
donjuan (2010-06-18 08:36:07) No.9 Obviously we know his child hood story already, still here is another one's follow up over the above article.
http://classical-iconoclast.blogspot.com/2010/06/lang-lang-not-michael-jackson.html
Thursday, 17 June 2010
Lang Lang - not a Michael Jackson
Lang Lang "the Tiger Woods" of music? Here is a link to an interesting article by Paul Kendall. in the Telegraph.
A lot of the negativity surrounding Lang Lang comes because he's successful and he's foreign. Those who'll go bananas on Dudamel will piously sniff at Lang Lang, Yet flamboyance is part of performance. Imagine if we saw Paganinni or Chopin or Paderewski or other Demon Musicians of the past?
So what if he makes big money? The key to understanding him is to understand where he comes from. His parents pushed him, but they weren't so very different from many people in their situation. His culture is one that's always strived for excellence, but it's not about yourself. You're only one individual in a stream that includes your ancestors and descendants. Let yourself down, you're letting them all down. The individual, too, exists as part of society. Let the community down? Not morally comprehensible.
So Lang Lang has to be what he is because that's what people expect of him. He cannot let them down. Material success means a lot to people who have been seriously poor. It's not a hypocritical culture that pretends money doesn't make a difference.Lang Lang's success is a symbol that anyone has the potential to make it, not success for its own sake..
So he's got to be a showman because that's what people expect from him, and he's honourable enough to respect that he has responsibilities other pianists will never need to face. He can't be judged in the same terms. The wonder is that he's a lot less screwed up than he could have been. He could have become Michael Jackson, for example. But he isn't. He stood up to his Dad, after all, which not that many kids dare do (especially not Chinese kids). So there's strength of character in him.
Sometimes when I listen to Lang Lang, I feel that there's a greater artist inside, trapped by the need to serve the public. In itself that makes me respect him. And that schedule, those commercial pressures and the social pressure that comes from being a national symbol. No other musician has ever faced such things on such a scale. He's a sharp businessman but he also enjoys playing. He's driven, but it doesn't come over as pathological. Workaholics get a buzz like an adrenalin high. Some of them actually thrive, as long as they have inner stability. It's a paradox, but that's life.
Because he's enthusiastic about playing, that comes over too. One of his trademarks is that he works with kids, as if by being good to them he's exorcising his own trauma. This too slots into the idea of a "worthy man" serving the people, which goes right back to traditional ideas of giving back if you've had good fortune.. Sure, his sponsors get publicity, but so what ? The kids and their audiences sure seem like they're having fun, which is what music making "really" is, not just virtuoso display. By having fun, he counteracts the pressure that millions of kids are forced to feel. In the long run, Lang Lang's influence is positive.
"Fame itself, he says, should never be the objective. 'Of course I hope everybody can achieve their dreams, but my point is, don’t drive yourself crazy to become something that maybe you don’t want to be. For me, still today, it’s the enjoyment. The reason why I perform every second or third day is because I love it. It’s not because, this night I get paid so much. On stage I find myself." "So, is he happy? After leading such a pressurised life for so long, many suspect he’s on the verge of burn out. 'I’m extremely happy,’ he says, smiling and placing his precious hands behind his head. 'Whether I’m teaching or whatever. Being on stage is the best thing. It’s like “wow”, it’s a totally different world.’".
Posted by Doundou Tchil at 02:30
donjuan (2010-06-21 09:05:06) No.10 Here is one more.
http://thestar.blogs.com/soundmind/2010/06/ive-finally-caught-up-with-paul-kendalls-rambling-article-on-pianist-lang-lang-in-mondays-edition-of-the-telegraph-it-comes.html
06/18/2010
There's a fine line between nurturing and wrecking a musically talented childhood
I've finally caught up with Paul Kendall's rambling article on pianist Lang Lang in Monday's edition of the Telegraph (you can access it by clicking on the photo). It comes with the unfortunate headline "Lang Lang -- the Tiger Woods of classical music." The first thought is, oh, no, what has Lang Lang been up to in the five spare minutes he has every day.
Kendall's point is that Lang Lang has inspired millions of Chinese parents and children to dreams of musical fame at the piano. Just as the headline uses a big name to get our attention, so does the article. The real point the writer is trying to make is that setting unreasonable expectations on -- and instilling them in -- our children is a dangerous game.
After describing Lang's strangely close relationship to his mother, and the now well-known emotional torture his father inflicted on him, the article states:
But Nancy Pellegrini, the classical and performance editor of Time Out in Beijing and Shanghai says the Lang Lang effect is not something to be celebrated. 'In developing countries, music is seen as a way out of poverty,’ she tells me. 'Since the success of Lang Lang, people think that if you’re really good at piano you can become an international superstar with more money than you know what to do with. So a lot of kids have been pushed into piano.
'Parents collect money from all their relatives, and sell everything they have and it’s because Lang Lang made this a wise career choice in a way that no other musician has before him. Lang’s father once told him to kill himself, but in China he’s seen as a role model by parents and he’s written books on how to be a good father.’
A fast-talking American who has been based in China for five years, Pellegrini says she was recently at a forum in Shanghai, where parents and their children had gathered to talk to a panel of experts about becoming a musician. During a discussion about practice time, one member of the panel, the pianist Anton Kuerti, told the story of Yo Yo Ma, the Chinese American cellist. 'Yo Yo Ma had a string tied to his leg at 5am,’ Pellegrini says. 'His father would go back to bed and if he heard him stop playing he would tug at the string. And today Yo Yo Ma doesn’t speak to his father.’ 'Is it worth it?’ Kuerti asked the audience. To Pellegrini’s horror, most of the parents in the room seemed to think it was.
But, of course, for every Yo Yo Ma or Lang Lang, there are millions of others who never make it. 'The problem is those kids who work hard and either don’t get into a conservatory or get through conservatory but can’t get a job,’ Pellegrini says. 'And it’s particularly bad for pianists. At least if you’re a violinist you can get a job in some very bad orchestra, but if you’re a pianist you’re either a soloist or you’re nothing.
'When I go to competitions I see kids getting sixth place or getting knocked out before the final round and they don’t understand why because they’ve practised as hard as anyone else. It’s heartbreaking.’
Pellegrini overstates the sad fate of the unlauded pianist -- there are many jobs other than soloist out there -- but I see the same problem right here in Toronto. I've met children who devote every spare moment to their instrument and wonder if a day will come, when they are adults, that they wish they had enjoyed a less work-oriented childhood.
Yes, one wants to encourage a talented young soul. But isn't there a dividing line between personal development as a well-rounded human being and becoming a performance machine? Stage moms and dads clearly think they're one and the same. If you ask the child for his or her own opinion, invariably they are going to agree -- they know of no other option because they haven't been introduced to any.
Getting full-time work as a classical musician is even more difficult today than it was a generation ago. It means kids do have to work hard to develop a technique that was once the preserve of a handful of great stars. It also means, more than ever, that our children need to be able to cope with a world that may not be interested in the fruits of their labours.
Losing a competition or a symphony audition may not be an option but, for most aspiring musicians, it is an inevitablity. Can they actually continue to enjoy music as an avocation while earning money in some other way as adults?
I received an email recently from a 65-year-old Toronto doctor who continues to enjoy practising and performing at the piano in his free time. He is an avid audience member and record buyer, too. To me, that is the happiest of outcomes.
+++
I was thinking about Lang Lang after Yundi Li's uninspiring performance with the Toronto Symphony last week. Behind Lang's flamboyance is the core of a far more interesting artist. I love his playing one moment, and fiercely hate it the next, but I'd much rather take that over an indifferent interpretation.
Here is an older clip of Lang practising Prokofiev's fierce Piano Concerto No. 3, and likening his interpretation to some martial arts moves. It's kinda crazy, but it is an effective way to approach a piece like this:
http://www.youtube.com/watch?v=b85hn8rJvgw
Lulu (2010-06-15 01:27:37) 共有30条回复
今年的 Avery Fisher Career Grant 四个获奖人里有三个 pianists: Yuja Wang, Joyce Yang 和 Gerstein. 粗看一下, Yuja 是继 Natalie Zhu 后第二位来自中国大陆的钢琴家获此奖. Congrats to Yuja. donjuan (2010-06-15 09:09:19) No.1 She has already established herself, so in some sense this career grant could be better spend on somebody else who are just as talented, and could use the money to further his/her study. Of course, same can be said for Joshua Bell's winning or the Avery Fisher Award couple of years ago. What's the point? This guy bought his violin for $4 Million, what an extra $75,000 do for him? Skip a couple of more concert be with his baby boy? To me at least, it would better give the money to his recital partner, Denk the thinker. Anyway, it's still an honor of course. And while talking about Yuja's fast progress, I would like to see some of her former naysayer here bites his tongue.
See the following:
"完成一下获奖者任务而已——把这个当作走上世界舞台的路？赫赫，再过1-2年再看，指不定在哪儿混呢。"
Now, the question is where is this "乌鸦" these days? :-)
http://www.bh2000.net/bbs/all/track.php?cdb=piano&id=1598
Also, where is 沈文裕 these days? "沈将是凯沫林“最有成就”的弟子"? At least Herbert Schuch has something memorable left for us.
http://www.bh2000.net/bbs/all/track.php?cdb=piano&id=1453
Lulu (2010-06-15 22:16:08) No.2 Indeed, she is not only way too established but too in demand on the concert circuit to need the money. However, on the other hand, for her to get the honor is indisputable, i.e., a safe choice. She totally deserves it.
donjuan (2010-06-17 10:50:06) No.3 http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/16/DDV81D06HK.DTL
Pianist Yuja Wang, at 23 already a presence
Joshua Kosman, Chronicle Music Critic
San Francisco Chronicle Copyright San Francisco Chronicle. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Wednesday, June 16, 2010
Among the new generation of young keyboard wizards taking up residence in our concert halls and recording studios, probably no one boasts as potent a combination of prodigious technical prowess and lavish eloquence as Yuja Wang.
At 23, the Chinese-born pianist has already become a fixture in the Bay Area, playing recitals and making regular guest appearances with the San Francisco Symphony and visiting orchestras.
Tonight she returns to Davies Symphony Hall to perform works by Ravel, Stravinsky and Poulenc with the San Francisco Symphony, and on Sunday she performs music of Schubert, Schumann, Scriabin and Prokofiev in a recital program rescheduled from April. Next year she'll return for an extended residency with the Symphony as part of the orchestra's Project San Francisco program.
Yet for all of Wang's fierce and fearless mastery at the piano, she retains her girlish charm, a combination of giggly enthusiasm for music and blithe disregard for saying the expected thing. She spoke to The Chronicle by phone from her home in Manhattan.
Q: When we last talked, two years ago, you were just finishing up at the Curtis Institute in Philadelphia. Since then, your career has exploded. How are you holding up?
A: It's definitely a little tiring, and life on the road is lonely - I moved from Philadelphia to New York, but I'm hardly here more than two days in a month.
This season was set up two years ago, and I was just saying yes to everything! But from next season I'm a little smarter. I blocked out two months so I could have some time to learn new pieces and enjoy life.
Q: What are you playing currently?
A: I have 14 concertos that I'm playing this season. The biggest is the Bartók Second, which I'm playing with MTT in Miami and at the Verbier Festival in Switzerland. That's the hardest of his pieces because there are all these chords in ninths instead of octaves. And I'm playing the Beethoven Fifth, which is kind of boring.
Q: Um, excuse me?
A: Well, you know, it's just a lot of scales and arpeggios. I prefer something like Beethoven's Second, which I can treat like Mozart and have fun with it.
Q: Your second CD for Deutsche Grammophon, "Transformation," has just been released. The playing is phenomenal, but the programming is unusual. What was the thinking behind that?
A: Well, these are all pieces that look at the theme of transformation in different ways. It starts with Stravinsky's "Petrushka," which is about the transformation of a puppet into a human being.
Then with Brahms' "Paganini" Variations, I transformed the piece by reordering the variations. And Ravel's "La Valse" is about the transformation of a glamorous society into its failure.
Q: You've also included a couple of sonatas by Domenico Scarlatti.
A: Those function the way the Ligeti etudes did on my first disc. They're just there for contrast.
Q: How did the recording sessions go?
A: It was great. They had blocked out six days for it and I did it in two, so they were happy about that.
For me, recording is just about how I play that day. I'm not like, "This is immortal and every detail has to be exact." I don't have the patience for that.
Q: Is there anything on Sunday's recital program that's new for you?
A: I've never played much Schumann, and this is my first time playing the "Symphonic Etudes" in public. To me, a lot of his music is a little scattered - I feel like you have to be him to play those pieces. You have to be crazy and schizophrenic and emotionally up and down.
Q: Next year's residency will bring you here for a longer time than usual.
A: Well, MTT is such a good friend and mentor, so I will pretty much say yes to anything he asks. And San Francisco is like my second home.
Also, my boyfriend, Matthew Muckey, who is a trumpet player with the New York Philharmonic, is from Sacramento; we met three years ago when I was performing with the orchestra. I would live in San Francisco if I could, but you know, it's just too far away.
Yuja Wang: Michael Tilson Thomas conducts the San Francisco Symphony with Wang as soloist. 8 p.m. today-Sat. Davies Symphony Hall, 201 Van Ness Ave., S.F. $15-$135. (415) 864-6000. www.sfsymphony.org. Solo recital. 7 p.m. Sun. Herbst Theatre, 401 Van Ness Ave., S.F. $32-$49. (415) 392-2545. www.performances.org.
donjuan (2010-06-17 10:51:13) No.4 http://sfist.com/2010/06/16/sfist_interviews_pianist_extraordin.php
SFist Interviews Pianist Extraordinaire Yuja Wang
Yuja Wang became an overnight sensation when piano legend Martha Argerich cancelled a performance with the Boston symphony and Yuja stepped in and was so electrifying she brilliantly saved the evening. The next step on the road to stardom is of course to be in the position to cancel, rather than waiting in the wings. Congratulations to Yuja then, who had to withdraw from her April SF Performances recital for physical reasons.
Luckily for us, it was only a short delay, and she's coming back in full force, for the re-scheduled recital this Sunday at Herbst theater, and for a series with the San Francisco symphony, under MTT, starting tomorrow. She'll be celebrating in her recital Schumann's birthday and her love of Prokofiev, and playing a program with the symphony that includes Ravel's Concerto for the left hand, Stravinksy's Capriccio for Piano and Orchestra and a sonata for piano four hands from Francis Poulenc, with MTT himself providing the second pair of hands.
Yuja is all of twenty three and it's always a pleasure to chat with her: she's spontaneous, straightforward in her answers, cheerful and refreshingly unjaded, with only the lightest whiff of an accent to betray her Chinese origin.
You were supposed to play your recital in April, what happened with the cancellation?
Yuja: I was just constantly playing concerts, and I had some physical injury, so I asked to reschedule it. I actually canceled the whole tour that week.
I don't want to push it, it's a long career I'm going to do with my hands so I just rescheduled it for [this] week.
Did you require special physical treatment?
Yuja: Hopefully, it's just because I played so much, and I have small hands. So constant stretching and forcing it, it's not too good. The important thing was to have time to relax and not do anything for the muscles to go back. And there's like acupuncture as well, that I tried and some massaging.
Would you change what you play, play less virtuosic pieces, to preserve your hands?
Yuja: Once it goes back, it should be ok. Because before that, I had a crazy schedule, I was playing a Bartok concerto and the two Rachmaninoff concertos, and then two different recital programs in like a week. It was just a little hard on the hands.
How many dates a year do you perform?
Yuja: More than a hundred.
How long can you stop playing without losing muscle stamina?
Yuja: Well I don't really practice that much anyway. And of course next week, I'm playing Ravel left hand concerto, so my right hand is resting.
What do you mean, you don't practice much?
Yuja: Of course, the more practice time the better, but I'm traveling so much, I'm just too busy.
You'll be playing Ravel concerto for the left hand: what would happen if you played with two hands? You did not lose an arm in the war...
Yuja: Ravel was commissioned, he wrote his piece for his friend who was injured in WWI, a great pianist who lost his right hand [ed: Paul Wittgenstein], so he wrote this concerto for the left hand for him. And it's such a masterpiece, people would not play it with two hands.
Part of classical music, as opposed to jazz or other music making, we are very loyal to the music and to the score. That's how the composer wrote it. And that's part of the challenge of this work. You have to make it sound like two hands. It's part of the challenge to make it sound that way. If you play with two hands,all the charm and difficulty and the history and the legend of this work is lost.
The program notes mention music-hall tunes and quotes a biographer of Stravinsky who said: "from this point, Stravinsky could have become Poulenc." You play Poulenc on the program, do you see the connection?
Yuja: Yeah, I'm going to one hand and two hands and then four hands. I don't really know the Poulenc yet, we're going to rehearse next week when I get in San Francisco, so I can't comment on the comparison.
Stravinsky of course is the greatest 20th century composer. I admire him greatly because of the variety of his music and his styles. This one for me, is really American, very jazzy, lots of syncopation, lots of show tunes, there's a cabaret feeling. The 2nd movement is very neo-classical. It's not the most virtuosic or audience pleaser concerto at all, but it's a fun piece and it's not played very often.
And to pair it with the pretty grim Ravel left hand concerto, it's a pretty good pairing, and it's all MTT's idea.
Playing 4 hands with MTT, is it how you share music usually?
Yuja: We always play like that for fun at home, he's quite a good pianist as well. It's the first time we'll play four hands in concert. I don't know the piece yet, I can't talk about it. For chamber music, lots of time, we don't learn the music until the last week. We're going to play with score, and we read pretty fast. So it's not unusual at all.
Your recital program puts the emphasis on virtuosity, doesn't it?
Yuja: It is. I start with Liszt's transcriptions of Schubert Lieder. I love Schubert's Lieder, and these three are the highlights out a few hundreds of them. The way Liszt elaborated is quite masterful, with lots of color, almost like a variation of the same stanza. The 2nd piece is Schumann's symphonic etudes, which is in the form of variations. The first half is more How a romantic composer used the form of variation to have inspiration. This year, it's Schumann year [ed: his 200th birth anniversary was last week], so I chose to play that piece. I never play Schumann in public.
The second half is two Russian composers: Scriabin and Prokofiev. Prokofiev hated Scriabin, and I chose some nice earlier works of Scriabin, which sound very much like Chopin. It's quite beautiful, and then I go to the heavy work of Prokofiev's 5th sonata. I love playing Prokofiev, I play his concertos a lot [ed: like last May here in SF]. I can see all elements of Prokofiev in this sonata. It has a Very machine-like drive. The 2nd and 3rd movements are like his ballet music, it's like Romeo and Juliette or Cinderella, and the outer movements are very wild with lots of sarcastic comments. It's a very hard work to make it work in concert, but it's such a great piece. After thirty five minutes, you can see how the motives work, the way he works with the motives reminds me of Beethoven, except for the fact that it's so long.
Congratulations on your Avery Fischer grant!
Yuja: It's like a competition like you won but you did not even compete, I don't know how that works but it's great. I wish everything worked out that way. It is recognition, and it's an honor to have that grant. It's not a huge change, I still have to keep playing and grow. But it helps a little along the way.
zt (2010-06-17 11:14:46) No.5 香港「鋼琴神童」沈靖韜正式獲有「首相搖籃」之稱的英國貴族學校哈羅學校取錄，9月新學年赴英入讀該校第九級。哈羅今次是破例極速處理靖韜的入學申請，並擬向他提供五年共約港幣48萬元的音樂獎學金，及安排英國皇家音樂學院導師指導琴藝。現年十四歲的沈靖韜，就讀於拔萃男書院中二，其母接受本報電話訪問時說，她一直希望靖韜可到外國升學，感受外地的文化和讀書氣氛，但又擔心靖韜難以適應生活的轉變，「佢（靖韜）一直都唔捨得男拔嘅師生，而香港演藝學院喺靖韜琴藝方面畀咗足夠嘅支持和指導，尤其係黃懿倫教授。」由於沈母擔心愈遲到海外升學，靖韜愈難適應，遂於今年三月二十日透過中介公司向英國哈羅遞交入學申請，靖韜亦需按正常程序接受測驗。英國哈羅卻破例迅速於接獲申請後十日內回覆取錄靖韜。沈母謂，「申請入讀英國哈羅，一般需於入學前兩年遞交申請，依家咁快真係好。」
http://www.worldjournal.com/view/full_news/7912072/article-%E9%8B%BC%E7%90%B4%E7%A5%9E%E7%AB%A5-%E8%8B%B1%E6%A0%A1%E7%A0%B4%E6%A0%BC%E5%8F%96%E9%8C%84?instance=hk_bull
donjuan (2010-06-18 08:41:39) No.6 Let's wait and see, ten years from now, 沈靖韜 or George Li, who will be the world front runners. :-)
美丽的小行板 (2010-06-18 13:40:20) No.7 franklly speaking, I don't think 沈靖韜 will focus on music career in the future.
donjuan (2010-06-19 00:59:53) No.8 Why? Because he is too well programed? :-) Technically, he is way out of his age group. Musically, I haven't yet heard his own voice. Everything he played sounded too calculated, or too over drilled. I hope he can find the artistic freedom in the Great Britain, and in the same time be free from all sorts of meaningless competitions. He is already well known. If he is really good, and developed well, there will be more engagements down the road. On the other hand, if he has difficulty in discovering his own music identity, in learning new music works all by himself, then, he might be burnt out very quickly. At this moment, I like George Li better. Technically, he is no way as polished or as fluent as Aristo Sham (沈靖韜), but, musically, he has an innate instinct shown in his play which is very, very rare. I hope this can do him a lot of favor in a long run. Of course, it is way too early to tell, so let's wait for another ten years. :-)
donjuan (2010-06-19 02:53:48) No.9 http://www.contracostatimes.com/entertainment/ci_15326619?source=rss&nclick_check=1
Review: Yuja Wang's prowess and Stravinsky's 'Rite of Spring' are S.F. Symphony triumph
By Richard Scheinin
San Jose Mercury News
Posted: 06/18/2010 10:40:45 AM PDT
Updated: 06/18/2010 11:30:49 AM PDT
A big lesson underlying this week's San Francisco Symphony program has to do with the impact of place and time on musical sound — how Igor Stravinsky influenced French composers (i.e. Ravel and Poulenc) a century or so ago, while the French were having their own rebound effect on Stravinsky. They were all living in or circling around Paris, anyway, so everybody's music wound up mixing Stravinksy's chic brutality and the cosmopolitan sparkle of the City of Light.
Or something like that.
Of course, the big lesson totally dissolved Thursday at Davies Symphony Hall once Michael Tilson Thomas and the orchestra began winging through their first performance of this juicy and overloaded program. It was a spectacle. It was fun. It reached one pinnacle with a performance by 23-year-old super-virtuoso Yuja Wang of Ravel's Piano Concerto in D major for the Left Hand, then slam-banged its way home post-intermission with Stravinsky's bloody "Le Sacre du printemps" ("The Rite of Spring").
What really emerged were a couple of key points, not very academic. One, that Stravinsky, long before Sid Vicious, was the original shocker-rocker, and that the revolution of "The Rite," which caused a riot in Paris in 1913, is now — like much else in our culture — just good blood-and-guts entertainment. And two, that Wang, who keeps coming back to San Francisco to perform the hardest works imaginable, is no flash in the pan.
Diminutive and slender
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Wang, who wore four-inch heels and a long, sleeveless red-orange gown that threatened to trip her up on the way to the piano, has muscles visibly extending from her shoulders to her fingertips. Back in April, she canceled some California recitals because of a sore arm — her rescheduled San Francisco Performances recital will happen Sunday at the Herbst Theatre — but she apparently is over it as she ate Ravel alive.
The Concerto for the Left Hand, which dates to 1930, was composed for Viennese pianist Paul Wittgenstein, who lost his right arm in combat during World War I. It's a dazzling, moody, jazz-inflected piece in a single movement, and poses vast challenges to the soloist. If you close your eyes, the piano part contains such craftily bunched sonorities — massive ones — that it sounds as if two or more hands are at work.
Wang dove right in, leaping across five octaves with her grand entrance, then streaming a glissando from the piano's lowest A to its highest D. She streamed thick chords down to the bass with lots of pedal, and then aerated the first great melodic theme, taking it up into the light — theater lights, as it's a very theatrical theme.
And then, these highlights: her hopping arpeggios amid another mounting orchestral theme, very Gershwin. And her staccato war-dance passage — very Stravinsky — before she began nibbling at some delicious runs up in the treble. Her cadenza was all brilliance, giving a spine to each note within the overarching lyricism. And when it was over, Tilson Thomas gave her a hug with the left arm only, mischievously hiding his right behind his back.
They had begun the program together, alone on stage at one piano, performing Poulenc's splashy Sonata for Piano Four Hands, with its Stravinsky war rhythms and Parisian dazzle. Then Wang played Stravinsky's Capriccio for Piano and Orchestra, its first big piano theme sounding like a tango with daggers. And then there was the Baroque-folk "Bachianas Brasileiras" No. 9 for string orchestra by Villa-Lobos, apparently on the program because he lived in Paris around the same time as Stravinsky, who hated Villa-Lobos's music.
In any event, it all led to "The Rite of Spring," with its opening bassoon theme — so eloquently performed by principal Stephen Paulson — as haunting and creepy as ever. You had to love the wild mambo timpani of principal David Herbert, and a passage, much later, of the softest muted trumpet playing ever accomplished.
Mostly, though, this first-rate performance sounded like the swirling collisions of pagan clans. Sacrificial dances. Dark mists. Fear. Long before the Sex Pistols, long before Mick Jagger sang "Please allow me to introduce myself," there was Igor Stravinsky. Thursday night, after "The Rite" had ended, Tilson Thomas — grandmaster of the night's entertainment — looked really tired and really happy.
Contact Richard Scheinin at 408-920-5069.
concert review
WHO: S.F. Symphony and pianist Yuja Wang
WHAT: Music by Poulenc, Stravinsky, Villa-Lobos and Ravel
WHERE: Davies Hall, 201 Van Ness Ave., S.F.
WHEN: 8 p.m. June 18 and 19
HOW MUCH: $15-$145
CONTACT: 515-864-6000 or www.sfsymphony.org
RECITAL: Yuja Wang performs works by Schumann, Schubert, Scriabin and Prokofiev Sunday at 7 p.m., Herbst Theatre, 401 Van Ness Ave., S.F. $32-$49; www.performances.org or 415-392-2545
donjuan (2010-06-19 09:18:45) No.10 http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/18/DDDA1E1AF2.DTL
Music review: Yuga Wang, San Francisco Symphony
Joshua Kosman, Chronicle Music Critic
San Francisco Chronicle Copyright San Francisco Chronicle. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Friday, June 18, 2010
The only problem with the tremendous artistry of pianist Yuja Wang is figuring out how to get enough of it. One concerto's worth of her dazzling keyboard technique and crisp interpretive personality only whets a listener's appetite for more.
Michael Tilson Thomas and the San Francisco Symphony cracked that difficulty in Davies Symphony Hall on Thursday night, packing the first half of their program with not one, not even two, but three full-scale pieces featuring the young Chinese-born virtuoso.
That should be enough to hold even her hardiest fans - at least until Sunday night, when Wang winds up a marathon visit with a solo recital in Herbst Theatre, courtesy of San Francisco Performances.
For her Symphony stint, Wang took center stage for two works of nearly identical vintage, Stravinsky's 1929 Capriccio and Ravel's Concerto for the Left Hand from the following year. But first, she and Thomas shared a piano bench for a vivacious account of Poulenc's Sonata for Piano Four Hands.
That's a whirlwind of a showpiece, densely packed with percussive effects and intricate hand-crossings that lead up to a delectable O. Henry punch line. Thomas wisely ceded the lead to Wang, who tore through Poulenc's thickets of notes with demonic precision, although both players found room to bring out the faux-naif tenderness of the slow movement.
Stravinsky's brisk, brittle entertainment, a concerto in all but name, could not have been more tailor-made for Wang's distinctive brand of exuberant showmanship. She raced through the two outer movements in a flurry of impeccable passagework - sometimes leaving Thomas and the orchestra to eat her dust - and brought dry but full-bodied wit to the rhapsodic slow movement.
Yet her finest showing came right before intermission, with a reading of the Ravel that was at once big-boned and focused, lyrical and edgy. Wang's technical prowess showed to wondrous effect in the swift parallel chords of the scherzo and the expansive passagework of the outer sections, which combine Chopinesque accompaniment and luscious melodies in the work of a single hand.
Even more striking, though, was the rhetorical directness she brought to the music, from the grandiose opening pages to the gorgeous, rippling textures of the final cadenza.
Left on their own elsewhere on the program, Thomas and the orchestra seemed a little off their game. Villa-Lobos' "Bachianas Brasileiras" No. 9, an idiosyncratic prelude-and-fugue combo for string orchestra, sounded charming if not especially memorable.
But the performance of Stravinsky's "Rite of Spring" that occupied the second half was beset by fuzzy ensemble playing and an odd lack of direction. There were fine contributions from individual players, particularly bassoonist Stephen Paulson and timpanist David Herbert, and many of the big dramatic moments came off well, but in between, the rhythmic impulse was often lax.
San Francisco Symphony: 8 tonight. Davies Symphony Hall. $15-$135. (415) 864-6000. www.sfsymphony.org.
donjuan (2010-06-22 01:09:53) No.11 http://rss.examiner.com/x-5030-SF-Classical-Music-Examiner~y2010m6d21-Cultural-diversity
Cultural diversity
June 21, 9:25 AMSF Classical Music ExaminerStephen Smoliar
SF Classical Music Examiner rates this: 5/5
The two halves of Yuja Wang's piano recital last night at Herbst Theatre, the final event in the current San Francisco Performances season, presented a fascinating balance of two cultural perspectives. The first half was Germanic in nature, beginning with the poetry of Johann Wolfgang von Goethe, interpreted through Franz Schubert and then transcribed for solo piano by Franz Liszt and coupled with Liszt's near contemporary (yes, next year will be Liszt's bicentennial), Robert Schumann. Through the coincidence of rescheduling, Liszt's arrangement of "Gretchen am Spinnrade" was performed less than two hours after the curtain fell on the matinee performance of Charles Gounod's Faust by the San Francisco Opera. Even without the words printed in the program, one could feel Gretchen's erotic tension following her first encounter with Faust. Against the steady rhythms of the spinning wheel, her mind wanders into deeper and deeper passion, erupting, in Schubert's original setting, with the word "kiss." In the solo piano setting Liszt interpreted this scene as a gradually building crescendo against the ostinato figure for the wheel. Whether or not Goethe's text was in the back of Wang's head as she performed, her execution of this crescendo was the most effective I have ever heard, giving equal honor to the technical skills of Liszt, Schubert, and Goethe.
That same crescendo technique was then applied by Liszt to "Auf dem Wasser zu Singen," Schubert's setting of a short poem by Leopold Graf zu Stolberg. The poem, written in 1782, is far more introspective, the poet reflecting on his mortality through the "medium" of a boat gliding across the waves. Liszt's interpretation is far less literal than his "Gretchen" transcription and might even be taken as a foreshadowing of Bed?ich Smetana's musical depiction of the Moldau, beginning with a modest ostinato (again) trickle and gradually building up to the turbulent forces with these waters flow into the sea. Once again Wang executed the crescendo with an impeccable sense of pace, capturing the imagery of the flow that was clearly Liszt's focus.
After these two crescendo experiences, Wang concluded her set of Liszt transcriptions with a Goethe setting that begins with "dramatico" forte and a Presto agitato tempo, the setting of "Erlkönig" (which, ironically, Goethe conceived for a play in which, as in Faust, it was sung at a spinning wheel). In this case the key to performance was the proper modulation of dynamics, allowing the voices of the father, his son, and Death each to speak in their own character. As an instrumental interpretation of the text, Liszt's transcription is practically a tone poem in miniature; and Wang's execution excellently served the unfolding of the narrative.
Narrative also figured frequently in the piano music of Schumann; but for this recital Wang selected his Opus 13 "Symphonic Etudes." This is based on an Andante theme followed by twelve highly technically demanding etudes, nine of which are variations on the theme (which also emerges implicitly in the other three). Wang's original plan had been to include three of the variations that Schumann had cut when "Symphonic Etudes" was published in 1837, later restored by Johannes Brahms as Opus 13a in 1890; but her performance was restricted to Schumann's original published version. There is so much virtuosity in this collection that it is easy to appreciate why Schumann felt that additional variations would be superfluous (particularly if one has actually heard them).
As with the Schubert transcriptions, Wang's performance succeeded through her control of the expenditure of energy. Like other extended Schumann piano compositions, this series of etudes goes through significant mood swings; and Wang kept to this path, delivering clear expression of each mood. The quieter moments were executed with edge-of-the-seat sensitivity, while the manic ones burst forth with muscular exuberance always on the brink of excess but never going over that edge. Both the Florestan and Eusebius sides of Schumann's personality take the stage as these etudes unfold, providing a particularly representative celebration of the composer's bicentennial.
The second half of the program moved from Germany to Russia with a collection of five short pieces by Alexander Scriabin and the first of Sergei Prokofiev's three "war" sonatas, his sixth in A major, Opus 82. Wang's two selections from Scriabin's Opus 11 collection of 24 preludes, the eleventh in B major and the twelfth in G-sharp minor, were executed with particular delicacy; and, while she neglected the Allegro assai tempo for the B major, her poignant alternative was most effective. These preludes were interleaved with the far more turbulent B minor prelude, the last of the Opus 13 set of six, and the G-sharp minor etude, the ninth from the Opus 8 collection. The set then concluded with the first of the two Opus 32 poèmes, opening with intimations of atonality before settling into the arpeggios that define its F-sharp major key.
The Prokofiev sonata was very much on the same grand scale as the Schumann etudes, particularly in its virtuosic demands. From the very opening measure, there is a strong foundation of dramatic representation; and one could imagine a skilled choreographer interpreting this music for a ballet as compelling as Romeo and Juliet. This is particularly the case in the third movement, which, in spite of its Lentissimo tempo marking, draws upon the spirit of the waltz as a dramatic interlude between the "mentally unstable" Allegretto and the all-encompassing Vivace conclusion. Wang negotiated the four movements of this sonata with unflagging energy, recalling all the fireworks of her performance of the Opus 16 G minor second piano concerto with Michael Tilson Thomas and the San Francisco Symphony a little over a year ago.
After covering so much repertoire, Wang still had energy for two encores. Her performance of Frédéric Chopin's C-sharp minor waltz, the second from his Opus 64 set, took liberties with tempo in the same spirit of her Scriabin; but it also allowed her to revisit the melancholy of Prokofiev's waltz movement. However, she ended the evening with a decided upbeat gesture in the form of a sonata by Domenico Scarlatti (K. 455 in G major), continuing her interest in this composer that surfaced in her recent Transformation CD.
Related:
http://www.examiner.com/x-5030-SF-Classical-Music-Examiner~y2010m4d20-A-bicentennial-celebration-for-both-Florestan-and-Eusebius
http://www.examiner.com/x-5030-SF-Classical-Music-Examiner~y2009m5d24-The-physical-still-trumps-the-virtual
http://www.examiner.com/x-5030-SF-Classical-Music-Examiner~y2010m4d12-Yuja-Wangs-transformation
donjuan (2010-06-22 02:00:20) No.12 http://www.najp.org/articles/2010/06/yuja-wang.html
June 21, 2010
Yuja Wang
By
Wendy Lesser
This young Chinese pianist (she is only twenty-three) is indeed a phenomenon. She is a tiny, fragile person with gigantic, powerful hands: they would not seem gigantic on a normal-sized person, but on her they stand out, and the sounds they can draw from the piano are remarkable, everything from quiet, pensive tenderness to violent, crashing booms. She makes the piano seem like a whole orchestra.
When she is playing with a whole orchestra (as I heard her do at the San Francisco Symphony last Friday night), she can both stand out and blend in at the same time. In the marvelous Stravinsky Capriccio, she somehow worked it so that the piano did not drown out the other instruments, as it sometimes has a habit of doing: we could hear her independent line, but only at the same level as we heard everyone else. And it was delightful to see her play the Poulenc Sonata for Four Hands with Michael Tilson Thomas: for once, her normally icy demeanor relaxed into something approaching collegiality.
But in her sold-out and much-anticipated solo recital at San Francisco Performances on Sunday, that icy manner returned once more, in spades. She walked to and from the piano like an automaton. She played the entire two-hour concert fiercely and concentratedly, without sheet music (and it included incredibly difficult pieces by Schubert, Schumann, Scriabin, and Prokofiev). She only lit up, briefly, when an elderly audience member handed her a beautiful red flower--she seemed to like that flower, carrying it back and forth with her during her two encores. The encores were terrific (a Chopin waltz and Scarlatti sonata), and so was the Prokofiev Sonata in A Major with which she ended the regular program; no one could have played these pieces better than she did. But there is something wrong with her relationship to her work, or to her audience. It is not that she seems to be from outer space--all great young prodigies, in my experience, are like this, and one forgives this. And it is not that she beats the music to death in order to triumph over it, as Lang Lang does. She understands all the emotions in the music and she gives them all their due. But she does not seem to feel them herself.
donjuan (2010-06-22 03:07:27) No.13 http://sfcv.org/reviews/is-too-much-yuja-a-good-thing
Is Too Much Yuja a Good Thing?
By Janos Gereben
There are recitals, there are great recitals, and then there’s Yuja Wang. In an extraordinary scene Sunday in Herbst Theatre, after hearing her play the audience appeared both exhausted and elated. My hands hurt not merely from applauding, but also from an apparent case of couvade syndrome (men’s sympathy pain at childbirth) on listening to two hours of devilishly difficult Scriabin and Prokofiev played with ease and astonishing clarity.
So, what did she do after the ovation following her program? She sat down and gave a couple of encores: Chopin (Waltz in C-sharp Minor) and Scarlatti (Sonata in G Major, K. 455), both played exquisitely. It was truly a concert to treasure. So why am I worried?
Writing this report on Father’s Day, I may be excused for the paternal tone. It’s just that I’m concerned about this finest, most musical/artistic pianist prodigy around.
Check the definition of “prodigy”: “an unusually gifted or intelligent (young) person; someone whose talents excite wonder and admiration.” That’s Yuja (who prefers to be known as such) to a tee. I’ve been following her career since she won the Aspen Music Festival’s concerto competition in 2002, at age 15. Four years later I was at her virtually unnoticed local debut at the San Francisco Symphony’s Chinese New Year concert in Davies Symphony Hall.
In the past three years or so, Yuja has exploded on the global musical scene, with some hundred concerts and recitals annually, two acclaimed CDs, fame, fortune ... plus a sore arm, which forced her to postpone from April the San Francisco Performances recital we heard Sunday.
In the three days before the recital, Yuja performed as many concert pieces each night with the San Francisco Symphony, instead of the usual single concerto:
Poulenc, Sonata for Piano Four Hands (with Michael Tilson Thomas)
Stravinsky, Capriccio for Piano and Orchestra
Ravel, Piano Concerto in D Major for the Left Hand
The Sunday program, also performed in many other venues, consisted of:
Schubert/Liszt, Schubert Song Transcriptions, S. 558
Schumann, Symphonic Etudes, Op. 13 (without the Posthumous Variations 2, 3, and 5)
Scriabin: Prelude No. 11 in B-flat Major, Op. 11; Prelude No. 6 in B Minor, Op. 13; Prelude No. 12 in G-sharp Minor, Op. 11; Etude No. 9 in G-sharp Minor, Op. 8; Poème No. 1 in F-sharp Major, Op. 32 [originally she also scheduled Three Pieces, Op. 2, but left these out]
Prokofiev, Piano Sonata No. 6 in A Major, Op. 82
Her other recital set (given around the world on May 15 and 30, and June 2, 4, 6, 28, and 30):
Scarlatti Sonatas for Piano: G Major, K. 427; B Minor, K. 87; E Major, K. 380; and G Major, K. 455 ... plus the Schumann, the Schubert/Liszt, and the Prokofiev of Sunday’s program Otherwise, the Prokofiev Concerto No. 3 — June 9, 11, 26, 29 ... and more. On the face of it, is this not “too much”? And, to return to the headline: a good thing? From the audience’s point of view, it’s not enough, and “good” is far too lame to describe it. But what about the future of a wisp of a 23-year-old? In all this excessive Chinese diligence, with a tinge of Japanese karoshi (salarymen’s death from overwork), there looms the danger of the physical toll, along with overexposure and possible burnout.
None of these shows yet (the doctor-ordered rest was just for a few days), and the only actual sign of overwork came in the Symphony concerts, where she used a score with each piece. I’ve never seen her do that before, and the obvious reason is lack of preparation time.
But the indisputable fact is that you couldn’t hear that in the performance, which was bothered only by the distracting visuals of, for example, turning pages with the free right hand during the Ravel. Was she herself distracted? Not at all. The Ravel was big and bold; the Poulenc (in which she took the lead hand over the excellently performing Michael Tilson Thomas) surprising, clever, amusing; the Stravinsky brilliant.
The latter work, jagged and heavily syncopated — familiar to many from George Balanchine’s use of the music in the “Rubies” section of the ballet Jewels — was overwhelming, with Stravinsky-specialist MTT and the orchestra coming along for the ride. (More Stravinsky-MTT fun came in the concert’s non-Yuja portion, with a riotous, ominous, scary-good Le Sacre du printemps.)
My favorite performance at the recital, before the mighty virtuoso pieces — breaking through the density of Scriabin, the huge wall of sound at the climax of the Prokofiev sonata, and the letter-perfect Schumann — was Yuja’s “singing” of the Liszt transcriptions of Schubert lieder, which provided a clear demonstration of what separates her from mere pianist superstars. Rather than tackling the instrument, Yuja makes it disappear, leaving the music to permeate the hall seemingly on its own.
Many great singers (and a few beyond great, such as Thomas Quasthoff) interpret these songs memorably, but few pianists can embrace and play their essence as well as Yuja. “Gretchen am Spinnrade” (Gretchen at the spinning wheel) begins with music that evokes the motion of the machine, the voice blending into that sound with “My peace is gone. ...” In Yuja’s performance was heard a distinct, though inseparable, duet between the wheel and the singer. Fused, too, were all the sounds of “Auf dem Wasser zu singen” (Singing on the water), in which the voice and all the song describes:
In the midst of the shimmer of reflecting waves
The bouncing rowboat glides like swans
Ah, over the gently shimmering waves of joy
Glides the soul like the rowboat.
And then came “Der Erlkönig” (The Erl king), the great micro-opera about a terrifying flight from death through a dark forest. Frequently overdone, the song was heard here in an exact and moving interpretation of an exceptional pianist-musician, performed with precision, deep feeling, and terrific impact.
I can only hope that overwork will not deny audiences the continued pleasure of hearing Yuja Wang for many years to come.
Janos Gereben (janosg@gmail.com) writes about music, theater, and film for the San Francisco Examiner and EInsiders.com. Previously, he served as arts editor of the Post Newspaper Group, and music editor of The Seattle Times and San José Mercury News.
donjuan (2010-06-22 11:33:46) No.14 http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/06/21/DDA31E2J79.DTL
Review: Yuja Wang plays with poetry, precision
Joshua Kosman, Chronicle Music Critic
San Francisco Chronicle June 21, 2010 04:00 AM Copyright San Francisco Chronicle. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Monday, June 21, 2010
Pianist Yuja Wang wound up her San Francisco visit Sunday night with a solo recital in Herbst Theatre that marked the latest installment in an unbroken, and growing, string of musical triumphs. With her, there just doesn't seem to be any other kind.
At 23, Wang doesn't merely provide listeners with technically dazzling and heart-stoppingly beautiful accounts of the keyboard repertoire, she seems to be redefining what is possible with the instrument.
By the traditional calculus of musical performance, after all, virtuosity as arresting as Wang's is expected to come at a cost - namely, a certain mechanical quality that slights depth of expression in favor of precision and speed. Conversely, the most eloquent poets of the piano are rarely the ones who can hit the notes with blinding dexterity.
Wang continues to jettison all those trade-offs. She just walks onstage and does it all.
Sunday's San Francisco Performances program, rescheduled from April, was yet another case in point. In three Schubert-Liszt song transcriptions to open the evening, Wang paid full homage to both composers. Her readings reminded a listener of how tender and dramatically resonant Schubert's original songs are and of how ingeniously Liszt captured those qualities in his versions for the piano alone.
Schumann's "Symphonic Etudes" emerged as a bravura display of ferocity and scope, capturing the work's variety and scale without making it sound bombastic or slighting its potential for intimacy. One of Wang's many gifts, on particular display here, is the ability to play at top volume without banging; her dynamic palette is a true marvel.
Working at the other end of that palette, she infused Scriabin's "Poème" in F-Sharp, Op. 32, No. 1, with a lighter-than-air quality, as well as a spirit of improvisatory wonder that made the music seem to shimmer and float. Other selections in her Scriabin set, including the unpredictable B-Minor Prelude, Op. 13, No. 6, sounded fierce and confident.
Finally, as a sort of summation, there was Prokofiev's Sixth Sonata, in an astounding performance that ran through all the work's many moods - from the abrupt, pugnacious opening Allegro to the slow, musky chords of the waltz movement and ultimately to the light-fingered sprint of the finale.
The encores - Chopin's Waltz in C-Sharp Minor, Op. 64, No. 2, and Scarlatti's G-Major Sonata, K. 455 - were brief and magnificent.
Yuja Wang is the sort of musician whose combination of talents appears in the world only rarely. It is our own good fortune to be here when it happens.
donjuan (2010-06-22 11:39:07) No.15 http://www.peninsulareviews.com/2010/06/21/pianist-yuja-wang-at-the-crossroads/
Pianist Yuja Wang at the Crossroads!
By Lyn Bronson
Yuja Wang is a phenomenal talent. Of this there is no question. She has recently been featured on the cover of Gramophone and International Piano, and much has been made of her new prestigious five-disk contract with Deutsche Grammophon – the first two disks having already won considerable critical acclaim. Only 23 years old, Wang has blazed a path of extraordinary successes in the past two years that has pushed her to the forefront of emerging young pianists.
It is significant that one of the boosts to her career has been her performances on YouTube. At the age of 10, when many pre-pubescent young American girls are putting away their Barbie dolls and discovering makeup, designer jeans and underwear from Victoria’s Secret, Wang was being videotaped in live concerts performing works as mature and difficult as Chopin’s Etude in C-sharp minor, Op. 10, No. 4, and Rimsky-Korsakov’s “Flight of the Bumblebee” (the Rachmaninoff version, not the virtuoso one by Georgy Cziffra which she was to discover later and ultimately play better than Cziffra himself). Incidentally, her performance of the Cziffra version is something you just have to see and hear for yourself, for it is a remarkable demonstration of pianistic agility and effortless virtuosity that would have been the envy of Vladimir Horowitz.
This certainly has been Yuja Wang’s weekend in San Francisco. After appearing with the San Francisco Symphony with Michael Tilson Thomas on Friday, here she was two days later playing a Sunday evening recital at Herbst Theater presented by San Francisco Performances. The bottom line is, after all this advance publicity and hype, does she live up to her reputation?
When all was said and done, her performance at Herbst Theater was somewhat disturbing. Her opening works, three Schubert/Liszt song transcriptions, Gretchen am Spinnrade, auf dem Wasser zu singen and Der Erlkönig, set the tone for the evening. Exaggerated dynamics, excessive speeds, spikey accents, and mannered phrasing tended to rob these three transcriptions of the beautiful effects of which they were capable. After heavy handed performances of the first two songs (with the second one, auf dem Wasser zu singen being the more successful of the two), Wang began the repeated octaves of Der Erlkönig banged out with a painfully ugly fortissimo. Except for a few lovely moments where she suggested the Erlkönig singing sweetly in a sinister manner to the son, “Du liebes Kind,” with a truly beautiful pianissimo, most of her performance was so brutally overplayed that it produced harsh, dissonant overtones suggesting Schubert/Liszt in the style of Karl-Heinz Stockhausen.
Although there were beautiful moments in Schumann’s Symphonic Etudes (played without the addition of the six supplementary etudes omitted by Schumann), this was an aggressive performance, once again with exaggerated hard-driven tempos and painfully bangy sounds.
After intermission, Wang gave us a glimpse of how gorgeously she can play in two Scriabin Preludes and the Poème in F-sharp Major. In these three lovely works, she was no longer showing off her technical prowess, but rather creating a lovely mood that was totally beguiling. An additional Scriabin work, the Etude in G-sharp minor, Op. 8, no. 9, unfortunately relapsed into an excess of harsh overplaying
Wang ended her program with a strong, percussive performance of Prokofiev’s Piano Sonata No. 6 in A major. The raw explosive energy inherent in this work seemed suited to her high voltage energized personality, and the overall performance made the strongest effect of the evening. There was still a considerable amount of excessive pounding that produced ugly clangorous sounds, but this work can take it.
Responding to a standing ovation (by no means unanimous, for some in the audience remained seated), Wang gave us two encores: a personal and heart-felt performance of Chopin’s Waltz in C-sharp Minor, Op. 64, No. 2 and a fleet, dazzling performance of the Scarlatti Sonata in G Major, K.455.
In what direction will Ms. Wang’s career progress? It has often been pointed out that when a pianist sits down at the piano, you can tell in the first 30 seconds whether the performer’s attitude is “I love these pieces and want to share them with you,” or “I am going to amaze you with my virtuoso technique.” The problem is that when an artist begins to show off, the music immediately suffers. Last night’s recital at Herbst Theater suggested that Ms. Wang is headed up the virtuoso path. Let’s hope someday she will retrace her steps and achieve her true calling as a truly expressive and emotionally (not just technically) exciting pianist, which should be her true destiny.
donjuan (2010-06-22 20:02:56) No.16 http://fwix.com/sfbay/share/07ecdef77a/yuja_wang_plays_vintage_modern_at_the_symphony
Monday, June 21, 2010
Yuja Wang Plays Vintage Modern at the Symphony
Last week's penultimate concert of the San Francisco Symphony season was an overstuffed smorgasbord of High Modern Music from Paris in the early 20th century, starting with an early piano piece for four hands by Francois Poulenc from 1918. It was performed by Music Director Michael Tilson-Thomas in partnership with the evening's superstar soloist, Yuja Wang. He started off in the treble lead in the first movement, then they switched benches, and she took over and hijacked the entire concert.
Next up was Stravinsky's 1929 Capriccio for Piano and Orchestra, which I expected to recognize as it was used in the Balanchine "Jewels" ballet which was performed last year by the San Francisco Ballet, but it sounded completely new, possibly because the performance was so radically different in the symphony hall. The 23-year-old Yuja Wang is an authentic phenomenon, a tiny, gorgeous young woman who plays with astonishing percussive power and whose innate musicality seems to be literally at her fingertips. She also sounds quite bright, as you can see in an interesting interview with Cedric at SFist.
After an unnecessary palate cleanser of a string orchestra playing Villa-Lobos' Bachianas Brasileiras #9 (why not more Poulenc or Satie?), Yuja Wang returned for the formidable Ravel Piano Concerto for the Left Hand, written for the rich, one-armed Paul Wittgenstein in 1930. Wittgenstein didn't like a lot of the music his mostly famous composers wrote for him, and often put it into a drawer, usually after fights with the creators. It would be interesting to hear all the music he commissioned, which is still being found in back drawers by old relatives, such as Hindemith's concerto which was just discovered in 2002.
Janos Gereben paternally worries that Yuja Wang is burning herself out with too many engagements in an otherwise gushing review of her recital at Herbst Theatre on Sunday, where he basically calls her the love child of Argerich and Horowitz.
The second half of the concert was Stravinsky's "Rite of Spring," which sounded like Mannered MTT. All the individual moments were great, it just didn't make much sense together. Plus, as pianist Sarah Cahill pointed out, all the good tunes are in the first half, "just like 'The Sound of Music,' where they're singing 'My Favorite Things' in act one, but the second act is just running away from Nazis over the mountains."
donjuan (2010-06-22 20:06:40) No.17 Actually not too long ago, fall 2007 if my memory is correct, our old man Leon Fleisher played the Hindemith's concerto with SFO at this same Davis Hall, clearly SF Mike had missed that one. :-)
donjuan (2010-06-23 08:26:27) No.18 http://moonmanonthearts.blogspot.com/2010/06/loud-and-fast-loud-and-clear.html
Tuesday, June 22, 2010
Loud and Fast, Loud and Clear
by D. Ch’an-Moriwaki
(dianna cm)
Pianist Yuja Wang played last night, the eve of the Summer Solstice, giving San Francisco the recital that didn’t happen in April, Ms. Wang having been coping then with an arm injury. The evening was thus a triumph, personal as well as musical, as gauged by the audience’s standing response which brought Chopin and Scarlatti encores, wrapping up a program of Schubert-Liszt, Schumann, Scriabin, and Prokofiev.
But, must virtually every performance these days be acknowledged by standing ovations? More to the point, is the current penchant for clapping while standing on one’s feet truly warranted? Is the old-fashioned tradition of clapping while sitting in one’s seat really so passé? Aren’t inspired artistry and insightful interpretation, balanced by well-judged musicality and impeccable musicianship, each aspect present in a unitized, provisionally perfect expression, still the criteria that merit standing ovations?
I say ‘provisional’ in the sense of perfection’s being a dynamic rather than a static state. The bottom-line is this: If excellent though flawed performances can elicit standing ovations, how then do we applaud the truly great performances, those which realize that elusive, provisional perfection? By turning somersaults in the aisles? Such matters have increasingly been put to the fore in recent years. And in my own mind, the question was put yet once more. In dead earnest. For I was among the few in the house who did not stand.
“How come you’re not standing, either?” I playfully remarked with a twinkle, to the gentlemen next to me who also remained seated. This led to a nonplussed response from each, a struggle to quickly but definitively put a finger on something elusively and disturbingly not quite right about Ms. Wang’s otherwise near-perfect performance, something discomfiting and unpleasant, like an ill-fitting garment, something about . . . about the loud parts. Earlier, during intermission, my dear friend Bob Moon (our blogger) had joined me to compare listener experience. With a perplexed, concerned expression, he came over to check: Is he hearing things, or is there actually something ‘off’ about the loud parts? How come (another highly respected and distinguished Asian, female concert pianist) doesn’t sound like that?
Well, that's four of us, 'hearing things.' Right from the beginning of her recital, I had thought for sure it was me, my own problem, and blamed myself for being so hyper-critical as to be unhappy with her loud-fast, the first of which was in the Schubert/Liszt. But it became apparent that what we each were hearing was not imaginary, and we were not being overly critical --- nor was it an assumption attributable to faulty, diminished tracking abilities in 'older people's hearing,' for the two gentlemen next to me were quite younger. "Can't really get what she's saying clearly"... "maybe the loud parts were too loud?"... "she was playing too fast, maybe?"... "sounded flat and harsh"... was the gist that triggered our lively post-performance discussion in the lobby, the two lovely gentlemen David and Neil, Bob our blogger, and I. (Yes, absolutely, a gentleman can be lovely, just as a woman can be handsome, both qualities being expressive of distinctive presence and generosity of spirit.)
Throughout the program, every extended loud-fast passage blazed by in a wall of sound that wanted more sculpted definition, especially the loud-fast pieces. Orchestras, conductors, soloists, are taking speeds faster these days . . . because they can. Their ‘clocks’ tick faster. Their ‘neuros’ transmit with high-speed frequencies. Sometimes it’s virtually impossible and downright painful, almost, for people of contemporary generations to slow down. Racing through her runs, Ms. Wang was wont to crank it up even faster, when she should have instead held her tempo. In each of the Ravel Left Hand Concerto’s glissandi, she finished those phrases ahead of MTT and the orchestra. Throughout last evening’s recital, every run started off speedy and got speedier.
The vibration level, active consciousness, and thus functional dexterity of the more recent generations of artists is such that, steadily, over time, we have been hearing music played at ever-faster tempi. Compare a contemporary performance of, say, a Brahms symphony --- Simon Rattle’s recent concerts here with the Berlin Phil come to mind --- with that of a Walter, for example, or even a Toscanini. And as to loud, the tensile strength of body in today’s generations are marvels of contained power and resilience, where the massive shoulders of an Alicia de Laroccha in the producing of big sound likely will soon become an anachronism. So, the capacity for loud and fast may be here to stay, be it sometimes the incoherent blur. However, it is possible to make even the most fleet fortissisimo sensible, sensical, intelligible, and ultimately, musical.
The performer hopes for, while the audience expects, an instrument of clear and crisp sonority, such that forte massive chords and running passages don’t sound dulled in palette, but retain their transparent sparkle and clear hues even as the sound decays. Remarkably, Ms. Wang’s instrument was not among the finest Steinways I have listened to, in voice, sonority, color, and clarity. After all, her artistic caliber is such that she should have only the very finest piano available. But unless you travel with your own, personal piano/s (Maurizio Pollini and Krystian Zimerman each fly with not one, but several, of their own concert grands when on tour), you’ll only get whatever you can, even from among the very best pianos, those which are the artist instruments. This is ever the musical dilemma and handicap for pianists.
Nonetheless, it goes without saying, that innate musicality overrides and redeems any less-than-ideal instrument. Especially critical, musicality in the loud-fast assures that music does not present as merely a flat, undifferentiated wall of massed, unintelligible sound. The faster the speed and the louder the volume, the more exacting the expectation and demands, such as the highly nuanced shaping and unfurling of a line’s contours, the finely controlled dynamics of varying intensities through the sequence of notes, the elastic, fine-gauge adjusting of acceleration/deceleration, to create the illusion of an arc in the unspooling of a phrase.
Musical music is executed as curves within curves, within one grand arch that falls away and rises into another great curve, containing its smaller arcs and contours in the rise and fall of a phrase, a breath, a gesture. Even angular music such as the evening’s Prokofiev sonata is intrinsically built with bends and twists. Shaping and phrasing breathe, provide structure, support meaning, in the loud-fast’s sometimes dangerous headlong, mindless plunge. Ms. Wang’s musicality was exquisitely, wondrously present in the beautiful cadenza so poignant and tender, in last week’s Ravel Left Hand Concerto with MTT and our Orchestra, but it turned up missing in the second movement of that concert’s Stravinsky Capriccio. But while her pianism was otherwise gratifyingly musical in her SF Symphony program, it was strangely missing again, or indiscernible, in all the loud-fast of last evening’s entire program.
But wait! Maybe it was because of her pedaling. How the sustaining pedal is used is an utterly critical factor, and nowhere as crucial as in the loud-fast. Knowing piano players have intricate footwork going on the pedal, variously called “half-pedaling,” “feathering,” “tapping.” Constantly lifting the foot, just a tad at key points, clears the flooding mush and smearing of harmonics, maintains clarity and definition. The faster and louder the music, the more dangerous is lead-footed pedaling, for it destroys the integrity of brilliant, virtuosic, high-speed fortissimo passages.
Fortissimo chords can be played to carry bell-like clarity of the sonic mass, where the chord’s tones and intervals retain pitch differentiation through the decay phase. Though hands might come crashing forcefully down upon the keys, those hands immediately lift off the keybed, like a bounce into and off the keys. This raises the hammers off the strings, allows the strings’ full vibration, defines the pitches, and creates a richly complex, ringing sonority that carries across the hall and resonantly fills the ambient space, glorious sound reflecting off every surface. Conversely, pushing downward into the keybed for the loud, holding down onto the keys, such technix interfere with the mechanical lifting of hammers from the strings, constricts resonant harmonics, dulls color, dampens sonority’s amplitude, and imparts a harsh timbre to the chords.
donjuan (2010-06-23 08:27:21) No.19 At the Symphony’s concert last week, a falling passage near the beginning of Ms. Wang’s Ravel Left Hand Concerto was pedaled too deeply toward the floor, and without enough lifting. That may have been merely idiosyncratic. But last night’s recital left no doubt that every loud-fast in the entire program needed more judiciously placed and shallower pedaling. On the other hand, a primarily loud-fast work like last evening’s Prokofiev uses very little pedal, but requires exquisite shading, well-contoured shaping, finely judged phrasing, with almost constantly springy, bouncing lift-off from the keys. In this respect, wanting such refinements and technix, Ms. Wang’s Prokofiev resulted in a clangorous, recognizable though unintelligible performance, unfortunate in that such glittering, skittering music absolutely needs not only to be “loud,” shall we say, but clear.
Interestingly, Ms. Wang plays louds the same way my friend does (another Asian, female concert pianist), that is, pushing down into the keybed, and the holding down of keys. I’d noticed this kind of technic before among pan-Asian pianists, more pronounced with women than men. Could it be a commonality of training that attempts to compensate for the slight physical frame of Asian women? For the massive sonics of Western classical music? For the power, stamina, and endurance required for huge concert halls and orchestras? For media-driven, high-speed jet travel and tightly booked, worldwide performance schedules? Do concert artists suffer from jet lag, yet the show must go on anyway? Et cetera? I don’t know.
I do know, however, that the springy ‘bounce’ in the forte/fortissimo attack on the keys spares the arm and wrist by its reflexive motion, that this is a technique which accords synergistically with the physiology’s natural biophysics of movement, as well as the mechanical and acoustical physics of the piano. And I do know that such an approach bypasses entirely the supposed problems attributed to the small frame, spare upper body, thin shoulders, tiny wrists, and to the need for sustained sonic power, physical endurance, and performance stamina.
Certainly, there must be Asian paradigms of musical training and performance in the Western classical tradition, of which we have only limited or no awareness on these shores at this time --- not to even mention the abstruse cultural differences, exceedingly subtle yet highly distinctive, that contextualize the Korean, Japanese, and Chinese character and temperaments, which I can sometimes discern in the individual performer’s uniquely consummate artistry.
In fairness, however, I should also explain that I am Asian (American-born), a female pianist classically trained, and have lived with concerts and recordings in critically attentive, not passive, listening since early childhood. In matters musical, therefore, and even extra-musical --- I hear many observations regarding Ms. Wang’s stage presence, for example --- there is a certain compassionate appreciation, grounded especially in a particular empathy for the Asian-born and -trained performing musician in Western art music.
So there we were, sitting at the closing of Ms. Wang’s recital when most everyone else was standing. Maybe it was due to our position in the hall, that the four of us experienced a thrilling though less-than-ideal musical offering. Maybe the hall’s acoustic peculiarities did not flatter Ms. Wang’s high-speed forte/fortissisimo, to sensitively attuned, discriminating listeners sitting in the wrong place. The orchestra section, those main floors in many concert and recital halls, is notorious for seemingly irremediable “dead spots,” where music’s complex properties seem to dull, diffuse, and lose differentiation. They’re the concert-hall analogue to the doldrums of the equatorial tropical oceans. Were we four adrift in such a musical dead spot perhaps, sitting in the acoustic doldrums of Herbst Theatre? I don’t think so. For, apart from the loud-fast, Ms. Wang’s musicality and the hall’s sonics seemed beyond reproach.
So, in the final analysis, whether it was the piano, the natural speediness of her generation, her pedaling, her fortissisimo attack, or even the hall, whether every loud-fast exhibited a lapse of her otherwise considerable musical sensibility, notwithstanding, Yuja Wang is quite simply a stupendous talent and exceptional artist. When her loud-fast refines, defines, and clarifies, she will be an extraordinary artist. Though her performance, in the seasoned assessment of the four of us (David and I as pianists, blogger Bob a music-writer/CD-reviewer, Neil a connoisseur of music), was flawed in the loud and fast and thus did not merit a standing ovation, it certainly was near-perfect. As such, therefore, her performance did indeed merit the sitting ovation we gave her, loud and clear. :::
dcm
6.21.2010
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I am wondering what they would response if it were Giles or Richter playing in town. :-) Another thing is where did they usually sit? Davis Hall at least, the sound can vary a lot depending on the seat. As for Herbst Theater, I think the best seats would be the center dressing cycle, although the sound at the lower balcony is also pretty good. The only time I heard Yuja sounded harsh is the Rach 3rd concerto, I was sitting in the third row, almost in the reaching distance. A bad, bad choice, but since I booked Perter Serkin's two concerts the following two nights, that was the only seat I could got for that day. Before that concert I was kind of concerned over her actual physical power to delivered the sound needed to soar over the whole orchestra, as shown on video that she didn't do quite well in Prokofiev 3rd with Abbado at last year's Lucerne Festival opening night. To my much surprise, she succeeded the managed well, even though I am not quite happy with the up-closing piano sound. Her recital at the 6th and I synagogue in Washington DC last months however, are quite different (with the same regular repertoire as she played at the Herbst). Actually I was not very happy for the first half, but definitely NOT due to the banning sound. On the contrary, I found her Schumann was overly pedaled and even muffle at times. The best I like from the first half was her Schubert/Liszt Der Erl Koenig transcription, it fit the mood perfectly well, the vanishing youthful tenderness and the death's persistent chasing all very well presented. The second half, it was a day and night difference. The Scriabin was very well played with all shades of color. Which turned out to be my cousin's favorite of the night. The came the real power house, the Prokofiev sonata No.6, I was totally dumb folded by the sheer power she created, it was not like another Argerich was playing at all, it was like another Richter in the building. It has a full spectrum of color, not just the ones that make those velvet gloved lovers feel comfortable, but Cannons and Machine Guns too. For heaven's sick, it's war sonata, not for a one who is just looking to easy listening. No wonder there are those playing in front a world stage, and those who make a living teaching at school creating even more nonentities. :-)
http://ionarts.blogspot.com/search?updated-max=2010-05-26T06%3A00%3A00-05%3A00&max-results=15
http://voices.washingtonpost.com/the-classical-beat/2010/05/two_views_of_yuja_wang_in_perf.html
donjuan (2010-06-25 19:24:52) No.20 http://berkshirereview.net/2010/06/yuja-wang-michael-tilson-thomas-san-francisco/
Musical Life in San Francisco: Yuja Wang, Michael Tilson Thomas, and the SF Symphony play Poulenc, Stravinsky, Villa-Lobos, Ravel, and Stravinsky
Posted by Steven Kruger • June 25, 2010 •
The San Francisco Symphony
Davies Hall, San Francisco
Thursday, June 17, 2010
Michael Tilson Thomas, Conductor and Piano
Yuja Wang, Piano
Poulenc, Sonata for Piano Four Hands (1918/1939)
Stravinsky, Capriccio for Piano and Orchestra (1929)
Villa-Lobos, Bachianas Brasileiras No. 9 (1945)
Ravel, Piano Concerto In D major for the Left Hand (1930)
Stravinsky, Le Sacre du Printemps
Michael Tilson Thomas may sometimes over-program his orchestra and over-instruct his audiences, as locals will attest, but a cooperative sunset, a dazzling young Chinese soloist in a red dress, and a frothy line-up of arch and knowing pieces helped transform last Thursday evening's SF Symphony concert into something of a summer gala.
I had the good fortune of sitting next to a rather starchy woman of the "old school,” who called to mind Mary Tyler Moore at her most forbidding. She wasn't thrilled to see that the concert was about to begin from a stage bereft of players.
"If he reaches for a microphone, we're in trouble," she said, laconically.
As it happened, at that moment the audience welcomed Yuja Wang and MTT to the stage for Poulenc's Sonata for Piano Four Hands, the former in a crimson dress, the latter without visible means of amplification.
"Now, that's a proper red dress for a concert!,” my neighbor thrilled, as Yuja Wang bowed like an acrobat, almost to the floor. And with the arrival of this sylph-like "slip of a girl,” the evening, so to speak, was saved.
The infatuation between Yuja Wang and the San Francisco public is by now quite far advanced, and deservedly so. As various stage gallantries and seat switchings played themselves out in the Poulenc, it became clear that Ms. Wang is an effortlessly accomplished pianist, with the whiplike power of a stingray.
She sits upright, as simply as at a kitchen table, reaches out a nearly limp arm as though to turn over an egg-timer, and unleashes a torrent. Some have compared her to Martha Argerich, but if we continue the simile, I expect we'd have to say Argerich would only get similar results by stabbing intently at something in the sink.
The Poulenc Sonata, which Michael Tilson Thomas effectively helped dispatch, contains within itself the lesson of the evening's musical survey, which is that nearly all of these composers keep turning into each other. (The "nearly" is Villa-Lobos). Poulenc's Prélude quotes Le Sacre, for instance. The Rustique movement frequently suggests Petrouchka, and the windup "Final" concludes with a plummy non-chord from somewhere between Charles Ives and Satie.
After this enjoyable warmup, the Stravinsky "Capriccio" turned out to be as much a star turn of the evening for Ms. Wang as did the Ravel Left Hand Concerto, a bit later.
There was a time when Stravinsky seemed "anti" and a hard sell for warmth, but this "Second Concerto" is a luxurious piece. It gleams with beautiful sounds and surprisingly rich, silky, almost Brahmsian moments in the brass and basses. Of course, everything occurs in Stravinsky's inimitable kaleidoscopic manner, with dazzling glissandi and sass, but this is music for bourgeois multi-taskers—not steel-rimmed radicals. Indeed, the piece contains a "Roumanian restaurant" cadenza in the second movement, as the composer himself put it, and it was jaw-dropping as sheer fun the way Ms.Wang played it.
The Ravel left hand performance was similarly accomplished. The relaxation of Ms. Wang's right hand and her limpid general posture only served to underline the impossibly large waves of sound emerging from the piano. There is room for nostalgic feeling in this music, too, and she caught it beautifully. Unfortunately, the orchestral accompaniment began too loudly, which is to say, in this somewhat awkwardly orchestrated concerto—flatulently. And the problem of blatty and unsubtle support persisted throughout. So much so, you wondered if bathroom noises might be part of the Dadaist tweak.
As Stravinsky lovers will readily admit, sweeping string lines do not abound in his musical output, (though "Apollon Musagète" comes close), so It was satisfying to have Villa-Lobos "Bachianas Brasileiras No.9" on the program, between the two large piano works. No. 9 is the concluding work in the "Bachianas" series, and as such dispenses with woodwind color in favor of all-strings gravitas. And a beautiful thing it is!
The piece sounds as though Leopold Stokowski had orchestrated something by Michael Tippett or George Dyson. That would be the Stravinskian connection, but via English links. Villa-Lobos had some English sympathies, and I I think you hear them in this work. But maybe it can be argued that most rhythmically complex string music, written in the polyphonic style, will tend to sound English, the way Alan Hovhaness' "Mysterious Mountain" symphony resembles Vaughan Williams "Tallis Fantasia". In the event, MTT led the San Francisco Symphony strings in a boldly rich performance. But if it sounded Brazilian, you could have fooled me.
The audience, which had packed the rafters to hear Yuja Wang during the upbeat first half of the evening, remained in full force to hear Le Sacre du Printemps after the interval. I'm always struck these days by how the Stravinsky ballet no longer holds any terrors for the listener. It might as well be the Tchaikovsky Fifth. And so it was.
Unfortunately, this time it was played the way the Tchaikovsky Fifth frequently is—but shouldn't be: all the important points in place, but no real insight conveyed. This was a loud, mainstream Sacre. It was neither pointillistic like Dorati or Boulez, nor rich in varied sonority and evocative of life and creatures, like Gergiev. All choirs of the orchestra simply pummelled you with an undifferentiated sonority. In the lower reaches of the orchestra, a generalized mush held sway.
This was a successful concert, let it be said, and it made for a happy evening, but something about the many shades of light and color in the depths of an orchestra may elude Mr.Thomas. One notes over the years that he shies away from string-dominated composers in favor of edgier sounds.
Can one build a musical legacy on the sardonic alone?
Lulu (2010-06-30 03:20:30) No.21 So much buzz here, what you call "life in the fast lane". To the last couple of reviewers, just tune down the volume and go see her again in a few years.
donjuan (2010-06-30 09:16:08) No.22 She will be in SF next summer for a week long residence, playing three set of programs including Bartok 2nd piano concerto, chamber music with members of SFS, and a solo recital, just like Lang Lang did in the late 2008. Since she has been playing there each year since 2007, I believe, many SF concert scene regulars must have seen her development pretty well. Some even started to fantasize what her unannounced program should be. Like this Yuja Adulation by Stephen Smoliar. But what he might have missed is the fact that she actually did have played the Rachmaninoff Cello sonatas with Lynn Harrell before. :-)
http://therehearsalstudio.blogspot.com/2010/06/yuja-adulation.html.
http://www.lynnharrell.com/2010/05/new-videos-rachmaninoff-cello-sonata-in-g-minor-op-19/
donjuan (2010-06-30 09:25:33) No.23 http://pianofortephilia.blogspot.com/2010/06/chopin-at-200-singapore-international.html
CHOPIN AT 200
Singapore International Piano Festival 2010
Victoria Concert Hall
Wednesday to Saturday
(23-26 June 2010)
This review was published in The Straits Times on 28 June 2010.
The music of Frédéric Chopin was purportedly the uniting theme of this year’s PianoFest. However under the watch of new Artistic Director Lionel Choi, the sub-plot of showcasing the instrument’s newest glittering names took a firm hold. In a line-up with shades of the 2001 edition (21st Century Pianists), the young and gifted illuminated a bright and promising future for the art of piano performance.
Yuja Wang
Whatever one has heard of China’s Yuja Wang in print, gossip or youtube, it is all true. At 23, her waif-like physical stature and guileless demeanor belied a thoughtful and often profound interpreter with devastating technical facility. Antithesis to the swaying and swooning Lang Lang, her ramrod straight posture and complete lack of affectation or extraneous effects rendered the range of sounds she produced all the more incredulous. Whether barnstorming Chopin’s Funeral March Sonata, teasing out singing lines in three Schubert-Liszt song transcriptions, or pummeling the life out of the Steinway grand in Prokofiev’s incendiary Sixth Sonata, every quantum was in service of the music. In the set of short pieces by Scriabin, her ability to negotiate between smouldering calm and outright violence within the space of seconds was uncanny and breathtaking. The full-house audience at the first evening was left wondering whether they had just witnessed the heir-apparent to legends like Horowitz or Argerich.
Benjamin Grosvenor
Six years younger was the Briton Benjamin Grosvenor, cradle-snatched for his Singapore début on Friday evening. Despite a slight awkwardness in stage deportment, everything he did suggested a close-to-formed artist rather than former child prodigy. Three of Nikolai Kapustin’s jazzy Concert Études served as delicious finger-warmers before the main course. His Chopin, two Nocturnes book-ending the Third Scherzo, juxtaposed seamless cantabile with scintillation and immaculate octave-work. Ravel’s devilish Gaspard de la nuit bristled, not just with stunning note-perfection but a multi-layered appreciation of its three movements; the variegated rippling of Ondine, desolation in Le Gibet and Scarbo’s impish malevolence. The mighty Liszt B Minor Sonata unleashed a young lion’s appetite for blood, reveling in arch virtuosity and stampeding pages, often pushed to the limit. Further years of experience might temper his approach but hopefully not quell the inner fire. In the meantime, let us all exult in Grosvenor’s youthful exuberance.
Piotr Anderszewski
In his early forties, Polish-born Piotr Anderszewski, who first appeared at PianoFest in 1997, is a veteran by comparison. Chopin was conspicuously absent from his well-balanced programme, in its place the pervasive spirit of J.S.Bach. As always, Anderszewski’s Bach is a thing of beauty. The English Suite No.5 brought out all these qualities: mastery of counterpoint, bell-like ringing clarity and rhythmic vitality in its seven movements. Completely different was Pole Karol Szymanowski’s Metopes, three impressionistic visions of Grecian maidens of mythology, fair and foul. An antidote to Ravel’s Ondine, these were seductive in a hypnotic and oblique manner, abetted by Anderszewski’s sensitive, tactile pianism that ranged from fleeting whispers to an orgiastic frenzy. Schumann’s Six Canonic Studies (Op.56) and Beethoven’s penultimate A flat major Sonata (Op.110) completed the picture, music hewn from common inspirations and carved out with the most crystalline of timbres. Never a harsh sound to be heard, Anderszewski turned sobbing lament in the sonata’s 3rd movement aria into a victory of hope and affirmation. It was this human and anti-virtuosic quality that made this recital the most satisfying of all. The next edition of Asia’s premier piano festival cannot come soon enough.
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With all the attentions concentrated on a few soon to be forgotten recent major competition winners (unless they reborn themselves), let's keep an eye on this Young Brits Benjamin Grosvenor, shall we? :-)
Lulu (2010-06-30 21:58:18) No.24 别自作多情了, 还 soon-to-be-forgotten 呢. Grosvenor 有那么 interesting 吗.
斋主 (2010-06-30 23:29:12) No.25 犹太集团在着力捧王羽佳，当然捧的前提还是实力以及价格：）
至于Grosvenor，不能说是比赛出来的吧？他12岁得了个BBC青少年音乐比赛键盘部分的奖，和钢琴比赛的大奖不能相提并论。如果这都算比赛出来，那谁不是？王羽佳不是也得了个爱特林根少年组第三名？
这个Lulu,说话很冲嘛，有潜质成为老夫的学生，哈哈！
Lulu (2010-07-01 01:04:46) No.26 得得, Dutoit 是犹太人吗? Abbado, Argerich 是吗?
斋主 (2010-07-01 14:55:18) No.27 呵呵，典型的线性思维，只看见表面现象。
DG,OPUS3都是犹太集团控制的公司。和大牌合作，更多是公司和经纪人的运作，比如顶替argerich的演出，可不是argerich推荐的，事实上阿婆青睐的是自己的阿根廷同胞名义学生FLINTE。
王宇佳现在的经纪人是opus3的资深副总犹太人Earl Blackburn ，这个老兄也是柯蒂斯毕业的，曾经是郎朗的第一个经纪人，后来从IMG跳到opus3,也是格拉夫曼的经纪人。
你看给王宇佳较多宣传好评的，也多是传统和犹太集团交好的。最先给王宇佳机会的，是祖克曼，风闻祖克曼不仅被王宇佳的琴艺，还被小王的青春吸引。
当然一切前提是王宇佳有实力
Lulu (2010-07-02 09:48:45) No.28 就知道你会说这样的话. 在美国, 有多少集团不是犹太人的?
讲出"祖克曼不仅被王宇佳的琴艺，还被小王的青春吸引", 可见斋主心术相当不正.
斋主 (2010-07-02 12:06:59) No.29 曾经看到祖克曼和王羽佳在一个音乐营地的视频，祖克曼看王羽佳的眼神，轻抚她手臂的动作。成年男人都懂。不过我无意延续这个话题。心术不正也是那个犹太老头，和我无关。
王羽佳和郎朗的风格相反，一阳一阴，和他们的性别也正好相反。郎朗是独树一帜的郎式弹法，王羽佳，正如上面那段评论的末尾，是霍洛维茨和阿婆的附体。王羽佳是很纯正的俄罗斯风格，霍洛维茨风格
Lulu如果真是新来的ID，那最好换一个，以前有个叫lulu的上海ID，不过那是个熟女。这个坛子没有避免ID重复的功能。
little grass (2010-07-02 16:40:49) No.30 刚从伦敦回来就一连四个晚上在VCH。
四晚以王羽家最好（跟PA比她年纪轻占了上风）。
她令人印像最深的是她的台上心理素质，这么年轻，可以弹得那么野那么放又不自我沉溺，不失控。V Lisitsa在这方面比她差远了。有C。Licad的老友跟我说Wang的控制力 像Licad， 我说王才多大嘛。
第二晚Dr TL没去。PIETRO DeMaria全肖邦，很不错的钢琴家，只不过偶有踏板用得不太一般，那肖邦听上去一截一截的，颇碍耳。
第四晚PA很好，不过因国庆庆典彩排，去VCH的几条路都改了道，待入座时上半场的BACH已弹玩。好可惜。
第三晚的BG 是四晚较差的。 拉威尔很好，但李斯特的B小调他似力不从心，右手时有含糊，颇有瑕疵。
美丽的小行板 (2010-06-09 13:26:22) 共有1条回复
http://blog.xmnn.cn/?2551/viewspace-13869厦门音乐世家
殷家
殷承宗夫人陶宗舜是钢琴家，中央音乐学院钢琴系毕业，1980年赴美留学，1993年获全美专业钢琴教学证书。他们的女儿殷悦，1999年毕业于耶鲁大学音乐学院，主修作曲。
殷承宗的姐姐殷彩恋是女歌唱家，曾赴美深造，20世纪20年代灌制过唱片《何处呼声》、《歌吾入梦》等。
殷承宗的哥哥殷承典是音乐教育家，曾任厦门市音乐学校常务副校长、厦门市音乐家协会副主席。
殷承宗的弟弟殷承基，是男中音歌唱家，毕业于上海音乐学院，1986年赴美深造。其夫人王伟芳是女高音歌唱家，毕业于上海音乐学院，1987年赴美深造。现在，夫妇两人均活跃于美国乐坛，事业有成。
许家
许家出了三兄弟——老二许斐尼毕业于中央音乐学院小提琴系，老三许斐星毕业于中央音乐学院钢琴系，老四许斐平毕业于上海音乐学院钢琴系。他们的母亲张秀峦是教堂里的司琴，是兄弟们的音乐启蒙老师。
许斐星的夫人刘锦嫒毕业中央音乐学院，是一位钢琴家、竖琴家。他们的女儿许兴艾毕业于耶鲁大学音乐学院，获硕士学位，是著名的青年钢琴家。
杨家
杨炳维是厦门市老一辈音乐家，笔名杨扬，国家一级作曲家。他早年就学于国立福建音专，毕业于上海国立音专，担任过厦门市音乐家协会主席、福建省音乐家协会副主席、厦门市歌舞团团长。他的创作颇多，在国内外有较大影响。他的四个儿女都从事音乐艺术工作。
大儿子杨镇是厦门大学艺术教育学院音乐系副主任、副教授；二儿子杨建是厦门教育学院音乐科主任、高级教师；三儿子杨鸣是中央音乐学院钢琴系主任、教授，曾赴美留学，后来又经常赴美讲学及演出，受到很高评价；女儿杨素芳是厦门歌舞剧院交响乐团大提琴手。
谢家
谢旭、胡朗夫妇早年毕业于重庆国立音乐院（中央音乐学院前身），是资深的音乐教育家、指挥家，在厦门市任教期间，培养了大批音乐人才，创作了许多歌曲，出版了专著《岁月留歌》。他们的儿孙们也有很多音乐人才。女儿谢嘉陵是音乐教师；儿子谢嘉幸是中国音乐学院音乐研究所所长、教授，创办了音乐教育系，发表许多论文，出版多部论著，2006年获得“北京拔尖人才奖”，并以访问学者的身份赴美国讲授“中美音乐教育比较”等课程。大孙女郭菱毕业于厦门大学音乐系，潜心于钢琴艺术；二孙女郭芸毕业于上海音乐学院钢琴系，现在中国音乐学院钢琴教研室任教并兼附中部钢琴教研室主任，她的丈夫张维毕业于上海音乐学院钢琴系，现在中国音乐学院钢琴教研室任副主任。他们最小的孙女谢谢，在中国科技大学附中读书时，于1995年，作为北京小钢琴家代表，赴澳大利亚交流演出。他们全家19人，共有10台钢琴，可谓“钢琴世家”、“音乐世家”。
李家
李未明的母亲颜宝玲是花腔女高音歌唱家，他的大哥擅长黑管，大哥的女儿李晓红毕业于集美大学音乐系。李未明的弟弟李希微毕业于上海音乐学院，获硕士学位；另一个弟弟李京榕毕业于福建师范大学音乐系，均赴美留学深造。
杜家
杜守达曾任武汉歌舞剧院首席小提琴演奏家，多次出国演出；其夫人李若梨为印尼归侨、钢琴家，在武汉歌舞剧院任职。1959年、1961年他俩回到鼓浪屿，从事小提琴和钢琴的教学工作，培养了一大批音乐人才。1979年，他们全家移居香港。
他们的儿子杜俊良，1980年考入美国茱丽娅音乐学院小提琴演奏系，1986年毕业后加盟西雅图交响乐团。他的演奏，获得国际间很高评价，并曾多次回国演出，是蜚声乐坛的青年小提琴演奏家。。
洪家
洪永明1937年毕业于日本东京帝国音乐学院钢琴系，长期从事钢琴教育及演奏工作，1992年逝世。他的三个儿子都跟他学过钢琴。大儿子洪昶于1957年考入中央音乐学院钢琴系，二儿子洪升、三儿子洪智均擅长钢琴演奏，经常参加演出。
郑家
郑兴三是厦门大学艺术教育学院音乐系副教授，他的母亲阮鸣凤是退休的中学音乐教师，她和孙女的钢琴四手联奏，深受中外宾客好评。他们家收藏了2000盒“世界名曲”音像带，经常举行家庭音乐会。
郑家
郑毅训、朱未夫妇均为20世纪60年代上海音乐学院毕业生，从事音乐工作30多年。他们的两个女儿也毕业于上海音乐学院，现从事音乐和艺术教育工作。
张家
张欣宁、张志玮姐弟的前辈都是音乐爱好者，成了他们的启蒙老师。姐弟俩均考入中央音乐学院附小、附中直至本科，毕业后，又先后留校任教。张欣宁受派赴美深造，现任中央音乐学院附中钢琴系主任、副教授，她的丈夫也是中央音乐学院的钢琴老师。
程家
程凤诗、吴佩茹夫妇均为小提琴演奏家，留美硕士，是厦门市音乐学校副教授。他们的两个儿子均为音乐学院高才生，大儿子程华威赴美攻读小提琴专业，获博士学位；二儿子程威维在中国交响乐团任第一小提琴演奏员。
吕家
吕振海、寿梅夫妇均毕业于上海音乐学院，现任厦门市音乐学校高级讲师，教授钢琴。其女儿吕奕书在上海音乐学院攻读西方音乐理论，毕业后留校任教。
吴家
吴培文，厦门大学艺术学院声乐教授，是我国著名的男中音歌唱家。其女儿吴迪是钢琴家。
张家
张长峰，钢琴教育家，厦门爱心培训学校校长，他的儿子张梓恒（又名张胜莨，小名牛牛）是“钢琴神童”。
？ (2010-06-10 08:13:17) No.1 牛爸是钢琴教育家？
DHL (2010-06-08 07:14:31) 共有0条回复
Little Grass:终于有一台SK2浮出水面，08年的新琴。你看还成？唯一的不足可能是尺寸（5‘10“）小点。过段时间可能有一台12年的Schimmel C208（Classic系列的，搞不清楚他家的Classic系列和Koncert系列的差别），要CAD26，000左右，我可能偏向Schimmel。
***Shigeru Grand Piano*** - $22900 (Lower Mainland)
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Date: 2010-06-06, 11:11AM PDT
Reply to: sale-n3fea-1778190975@craigslist.org [Errors when replying to ads?]
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Beautiful Shigeru Kawai SK2 offered for sale at an incredibly low price. Bought new in September 2008, I now need to sell this piano at a very substantial loss. This piano has been favorably compared to Hamburg Steinways for their tonal palate and expressive range. These pianos currently list for over $37000.
Anyone seriously considering a high performance instrument needs to come and play this piano. I can assure you that you will not find a piano of this quality and workmanship at or below this price anywhere in Canada or the USA.
Please check out the following websites for more information: http://www.georgekolasis.com/best-pianos.html and http://www.shigerukawai.com/ and http://www.pianobuyer.com/index.html
If you have any questions about this piano do not hesitate to contact me.
donjuan (2010-06-06 04:11:42) 共有0条回复
http://www.independent.co.uk/arts-entertainment/classical/reviews/brigitte-engerer-sintra-festival-lisbon-1988289.htmlBrigitte Engerer, Sintra Festival, Lisbon
(Rated 5/ 5 )
Tuesday, 1 June 2010
The garden of a manor house in Sintra, in the misty hills above Lisbon, may seem a long way to go to hear Chopin garnished with birdsong, but attendance at Sintra´s exquisitely civilised music festival was never exactly a trial.
Founded half a century ago by the redoubtable Marquesa de Cadaval – who presided over its proceedings until her death at 97 – this annual event has always flown the same flag whatever the political weather. The Marquesa defied the fascist Salazar regime to import droves of top Soviet musicians, and her Russophile policy survives.
The opening piano recital was by Brigitte Engerer, who, though French, is in pianistic terms a Russian through and through: she spent her formative years under Neuhaus´s tutelage at the Moscow conservatoire, where she acquired the forceful expressiveness which is her hallmark. She maintains her Russian links through a duo partnership with Boris Berezovsky, and now coaches lucky aspirants in Paris.
Opening with a series of Chopin Nocturnes, she created more magic than anything we have heard in the Southbank´s Chopin series so far, barring the amazing recital by Nikolai Demidenko. Each of these pieces is a drama self-contained and complete, and this was how she played them: here we were a million miles from the salon pianism to which Yundi Li reduced then in his Southbank recital. Not only was Engerer´s sound big: each drama was on a grand scale, with each note weighted and balanced with fastidious authority. Familiar Nocturnes like the E flat major came across with an unfamiliar freshness; mysterious ones like the C sharp minor had their mystery intensified. The Opus 32 Nocturne in B major is usually presented as a serene outpouring with a slightly bitter final twist: Engerer gave the opening a ghostly quality, and turned the harsh flourish at the end into a series of hammer-blows from fate. For the D flat major she made the piano a dark echo-chamber, and her sound was so huge in the majestic Opus 48 No 1 that even in this sylvan setting the air felt filled to bursting. The second half of her recital was devoted to Schumann, with a brilliantly characterised `Carnaval´, each of whose contending voices got its own particular touch on the keyboard.
All of which raises a question: why is this great pianist never heard in London?
**********************
Interesting. I recall I have walked away from her Chopin Nocturne recording before. Maybe it's time for me to trace them back. :-)
donjuan (2010-06-05 19:43:08) 共有0条回复
http://articles.chicagotribune.com/2010-06-04/entertainment/ct-live-0605-tsuji-review-column_1_ravinia-opener-nobuyuki-tsujii-cliburnGold-medal pianist wows 'em at Ravinia opener
Classical review
June 04, 2010|By John von Rhein | Classical music critic
With the Chicago Symphony busy with Beethoven downtown, Ravinia is relying almost entirely on piano recitals as place holders this month before the orchestra sets up shop for the summer at our Highland Park pleasure dome. One such artist, the young Japanese pianist Nobuyuki Tsujii, played the opening concert of the 2010 festival season in his area debut Thursday night at Ravinia's Martin Theatre.
There were many impressive aspects to his performance, mixed with a few lapses of musical judgment that will need to be addressed as the 22-year-old gold-medal winner (actually he shared first prize with a Chinese pianist, Haochen Zhang) of the 2009 Van Cliburn International Piano Competition settles into his career.
No doubt the Cliburn jury found Tsujii's back story as compelling as the audience in Fort Worth reportedly did. Blind since birth, the baby-faced pianist learns everything by ear, without resorting to the cumbersome Braille method. How he can commit so many notes to memory and deliver them with such fearless technical assurance, accuracy and musicality is simply astonishing.
Clearly he is blessed with extraordinary dedication to making music, and that, along with his nearly infallible fingers, shone brightly in the Liszt, Chopin and Schumann works on the first half of his program.
Liszt's "Un sospiro" ("A Sigh") and "Rigoletto" Concert Paraphrase roared and sang in the grand Romantic manner. The nonchalance with which Tsujii negotiated the etude's fiendish hand-crossings took your breath away, as did the ardent sweep he brought to the opera transcription.
I also admired the rounded tone, suppleness of line and lyrical grace he brought to Chopin's D-flat major Nocturne (Opus 27), although the darker, more enigmatic C-sharp minor Nocturne felt unfocused. Schumann's "Papillons" was similarly uneven. The delicate, fluttering caprice and warm colorations were undeniably ravishing but I wondered why he treated the waltz to such clipped, foursquare phrasing.
Tsujii ended with that knuckle-busting gift to all virtuoso pianists, Mussorgsky's "Pictures at an Exhibition," which just so happens to be Ravinia's "One Score, One Chicago" selection for this year. This grand tour of the Victor Hartman portrait gallery enlisted every weapon in his considerable arsenal. And much of his playing was as good as it was amazing – his light-fingered depiction of children at play in the Tuileries gardens, the menacing, sonorous sweep of "Baba-Yaga."
Alas, his breakneck speeds for both "The Ballet of the Unhatched Chicks" and "The Market Place at Limoges" reduced these pieces to a hash. Yes, he got all the notes in, but where was the charm, the atmosphere? There were no encores.
I'd like to check back with Tsujii once the three years of his Cliburn management are over to gauge his musical progress. His achievement is awesome, his potential extraordinarily high. But he needs time to grow, and I hope his handlers give him plenty of room in which to do just that.
jvonrhein@tribune.com
donjuan (2010-06-05 11:17:25) 共有0条回复
What? Lang Lang beats Joshua Bell? But why Hilary Hahn is also on the list is rather puzzling, to me at least, she is the lone odd one there. But, I do have better a candidate now who could fit right in the middle too. :-)From Lowbrow to High Culture
A selective scale of musicians who have straddled the worlds of classical and commercial.
http://online.wsj.com/public/resources/documents/info-enlargePic07.html?project=imageShell07&bigImage=LOWBROW-WSJ-100604.jpg&h=533&w=990&title=WSJ.COM&thePubDate=20080826
or
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