黑郎朗的麻煩自己去谷歌一下郎朗近期的評論# WaterWorld - 未名水世界
p*d
1 楼
這裡有一篇。
http://www.smh.com.au/entertainment/music/flying-fingers-take-d
Flying fingers take drama to the edge
Peter McCallum
June 14, 2011 - 12:01AM
SYDNEY SYMPHONY AND LANG LANG
Opera House, June 10
THE ''fate motive'' that introduces Tchaikovsky's Fourth Symphony becomes an
immovable rock as the work proceeds. When it returns like a stern father
throughout the course of the work, all the other ideas, be they passionate
or capricious, simply rebound against it.
The conductor Jahja Ling established a steady pace at the opening, giving
the music fluidity and space in which its lyrical tendencies could develop,
and in the quicker music that follows, the agitation was marked by gentle
urgency that did not distort the sense of line.
Ling's approach on the whole was balanced and rounded rather than dramatic,
and when that motive returns in the finale to disturb the festive atmosphere
, it was like a disturbance quickly dealt with, rather than a cataclysm.
With Dene Olding leading, the orchestra played with welcome discipline under
Ling, which was reassuring after some recent performances where the
ensemble has at times been somewhat unkempt.
Rachmaninoff's Second Piano Concert in C minor, Opus 18, is an almost ideal
vehicle for pianist Lang Lang. Its impact propelled Rachmaninoff to popular
acclaim comparable to that which Lang Lang enjoys today, and its overt
emotionalism was exactly the kind of Romantic pianism parodied in the Tom
and Jerry cartoon that was the catalyst for Lang Lang's childhood interest
in the piano.
He doesn't push the drama of the soloist into parody but takes it to the
edge, tossing off the work's difficulties with effortless deftness as though
they existed only to create balletic gestures for the hands.
As Ling had done with the symphony, Lang Lang played the opening very
broadly. Although never lacking in projection, Lang Lang's decorative
abilities excel most in the brilliance of finger articulation in rapid
passages rather than power. Occasionally he was submerged under Rachmaninoff
's billowing waves of orchestration, although in the fanfare before the
climactic return in the finale the sound rang out thrillingly.
Different performers have different approaches to this final return. Some
performers save the greatest expressive intensity for this final moment but
Lang Lang played every moment to the maximum, and it brought many in the
audience to their feet.
This story was found at: http://www.smh.com.au/entertainment/music/flying-fingers-take-drama-to-the-edge-20110613-1g0bv.html
http://www.smh.com.au/entertainment/music/flying-fingers-take-d
Flying fingers take drama to the edge
Peter McCallum
June 14, 2011 - 12:01AM
SYDNEY SYMPHONY AND LANG LANG
Opera House, June 10
THE ''fate motive'' that introduces Tchaikovsky's Fourth Symphony becomes an
immovable rock as the work proceeds. When it returns like a stern father
throughout the course of the work, all the other ideas, be they passionate
or capricious, simply rebound against it.
The conductor Jahja Ling established a steady pace at the opening, giving
the music fluidity and space in which its lyrical tendencies could develop,
and in the quicker music that follows, the agitation was marked by gentle
urgency that did not distort the sense of line.
Ling's approach on the whole was balanced and rounded rather than dramatic,
and when that motive returns in the finale to disturb the festive atmosphere
, it was like a disturbance quickly dealt with, rather than a cataclysm.
With Dene Olding leading, the orchestra played with welcome discipline under
Ling, which was reassuring after some recent performances where the
ensemble has at times been somewhat unkempt.
Rachmaninoff's Second Piano Concert in C minor, Opus 18, is an almost ideal
vehicle for pianist Lang Lang. Its impact propelled Rachmaninoff to popular
acclaim comparable to that which Lang Lang enjoys today, and its overt
emotionalism was exactly the kind of Romantic pianism parodied in the Tom
and Jerry cartoon that was the catalyst for Lang Lang's childhood interest
in the piano.
He doesn't push the drama of the soloist into parody but takes it to the
edge, tossing off the work's difficulties with effortless deftness as though
they existed only to create balletic gestures for the hands.
As Ling had done with the symphony, Lang Lang played the opening very
broadly. Although never lacking in projection, Lang Lang's decorative
abilities excel most in the brilliance of finger articulation in rapid
passages rather than power. Occasionally he was submerged under Rachmaninoff
's billowing waves of orchestration, although in the fanfare before the
climactic return in the finale the sound rang out thrillingly.
Different performers have different approaches to this final return. Some
performers save the greatest expressive intensity for this final moment but
Lang Lang played every moment to the maximum, and it brought many in the
audience to their feet.
This story was found at: http://www.smh.com.au/entertainment/music/flying-fingers-take-drama-to-the-edge-20110613-1g0bv.html
