Beethoven: Piano Concertos Nos. 1 & 4
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Free Music Notes for Beethoven: Piano Concertos Nos. 1 & 4
Free Music Review: Counting Stars with Lang Lang.
Hit: 5 Stars
The sheer fact that some of those signing in here could decide to down rate this disc by such level reveals how nonsensical the so-called classical music market has become.
I don't care how Lang Lang `behaves' at the pianoforte. These are quite irrelevant to his music, as any seasoned listener would tell. Lang Lang and Eschenbach both embark on what could be called a novel to almost revolutionary course in this recording. Instead of resorting to `copy and paste' of some Gilels, some Kempff, some Pletnev and many others, Lang/Eschenbach work on originality. The result yields plenty of fireworks and impassioned music, showering listeners with unexpected joy note after note.
Lang Lang has managed to present `his' version of Beethoven's two challenging concertos for the pianoforte (compare the LP version of the same two pieces by Eschenbach/Karajan decades ago) in his lusciously youthful style, yet leaving much more in his listeners (not for those who adamantly refuse to `listen', though) to long for his future re-releases of these same pieces, where definitely more new things could and would be said then.
As for the collaboration, however revolutionary in interpretation, however unconventional in expression, both Lang and Eschenbach are never in doubt as to where and when to hold on to the reigns, and when and where to let go, even though at times at the least expected places. The teamwork is almost perfect. The cadenza of the first movement of No. 4 is shatteringly novel, while the third movement is one whole piece of explosive firework blowing the listeners away. The No.4 alone justifies the cost for this disc.
I absolutely look forward to the Lang/Eschenbach collaboration of Beethoven's Choral Fantasy, and more others.
Free Music Review: Very musical Beethoven from a pianist fast maturing
Hit: 4 Stars
Lang Lang has nothing to prove to the public, who have embraced him worldwide as a megastar. But critics are another matter. His meteoric rise came too fast for them, and they doubt his maturity, taste, even his sincerity. I for one am a fan, despite hearing one disappointing live recital in Boston, so I was eager to hear great things in this pairing of Beethoven's Piano Concertos #1 and #4.
To begin with, we get excellent sound from DG for both piano and orchestra, and Eschenbach leads the Orchestre de Paris in clean striaghtforward accompaniments. From the first entry of the piano, however, the spotlight is on Lang Lang. He shows a happy affinity for the First Concerto, keeping the rhythms light and springy; he punctuates a bit sharply at times but overall conveys buoyant cheer. The long, lovely melodic line in the Largo sounds as edelicate and refined as Mozart in Lang Lang's hands. The finale could show more brio but is fine. Is this a reading for the ages? No. One can think of several others, from Fleisher, ARgerich, Michelangeli, and Richter in particular, that scale the heights, while Lang Lang remains in the middle distance.
His real challenge comes in the great Fourth Concerto, a much deeper work and one suited to Lang Lang's sensitive touch. Despite his reputation for keyboard wizardry, this pianist tends toward poise and luricism. Here he gets a chance to shine, which he does--within limits. The recorded history of the Fourth contains great readings from Gieseking, Edwin Fischer, Rudolf Serkin, Fleisher, and Kempff, just to mention a few favorites. Lang Lang plays very well, and he is never less than fine, but I don't hear enough individual personality. Marvelous as his technique and phrasing can be, he needs a decade more maturity.
Overall, the musicality of these performances should quiet the critics if they are willing to listen honestly and not through preconceived notions. The fingerwork in the first movement dazzles, the hushed bridge between the slow movement and the finale brings a shiver, and the finale itself, if not up to Serkin's blazing standard, shows many nice touches. (I only wish Lang Lang had let himself go; the rhythms are a little cautious and foursquare.) Four stars are well deserved.
Free Music Review: The beginning of an anchorage - and Beethoven is well chosen.
Hit: 4 Stars
I could not agree more with Christoph Eschenbach's observation about Lang Lang - of the multi-repertoire that young Lang has savoured since his child prodigy days, he requires a specialty composer so as to be able to dwell deeper into the musical language, and Beethoven is probably the best choice for him.
I have listened and greatly admired the Harnoncourt Beethoven piano concertos (Harnoncourt being one of my favorite contemproary conductors since the 1970's). The orchestration in that recording was simply superb, and the character, style and soul of Harnoncourt in Beethoven's works hard to beat.
Eschenbach's conducting here is also good, but to my personal view, not as good as Harnoncourt's. This may be subjective, but I do find the authenticity in Beethoven's style some what lacking here.
Then the soloist - I must say that the soloist in Harnoncourt's set could not be compared with Lang Lang here. (Again my subjective view). That is not to say that Lang's playing is perfect, nor the best. Why compare him with Argerich? Argerich had declined Harnoncourt's invitation to record for HIM then, because she does not play the entire set of Beethoven Concertos, and would not want to learn those that she did not know.
So much for the mature pianist. The two concertos chosen here could indeed still be improved upon, though one must bear in mind that the 4th is considered to be the most introverted piano concertos of Beethoven, and Lang Lang had tuned down much of his highly inflammatory style. Lang's playing could interestingly be compared to Wilhelm Kempff's made in 1962 (when the pianist was 67 years old). Cannot imagine a young chap to be so reserved in this piece. A result of the vast criticisms he's got from negative reviewers?
The 3rd movement of the 1st concerto really should be more fiery, but Lang Lang some how missed the fireworks in this movement.
Lang Lang, so far, has NOT established himself as a virtuoso of any specialty, much unlike his compatriot Yundi Li. Well, in my humble view this is something that he should do right now. And I've heard that he is going to record more Beethoven concertos with Eschenbach. This is certainly good news.
Free Music Review: dexterity unquestioned
Hit: 4 Stars
He can do anything with a piano. All he needes now is to grow into these masterpieces.Free Music Review: Only an opinion, but a dissenting one
Hit: 3 Stars
Here, I diverge from most of the reviewers. Lang Lang's performance strikes me as marvelously balanced and effective. The Concerto No. 1 is performed here with youthful elan and high spirits in the outer movements: clean articulation and a nice bounce. The first movement cadenza is unfamiliar to me. It is not the rather perfunctory cadenza Beethoven wrote out for his pupil Archduke Rudolf (which I'm not sure Beethoven used when he himself performed the concerto; he probably improvised on the spot). The one in this recording is long. I don't know the cadenza literature; perhaps it's by Lang Lang or Eschenbach. Definitely a novelty for me; not bad. The slow movement has sentiment, yet it is cool in demeanor; we are still in a Mozartean world. The Fourth Concerto is played here with brilliance and virtuosity; Beethoven is assured and assertive and this concerto was meant as a showcase piece. Lang Lang articulates the runs and other passage work cleanly and precisely. The slow movement is ravishing in his performance: such delicacy and restraint!
The "but" part of this review rests with the "supporting cast." Let's face it, the Orchestre de Paris is not a first tier outfit. The woodwinds are particularly weak, the first clarinet is rather insensitive in phrasing and not attractive in tone. And Eschenbach is not the man to whip this ensemble into shape (perhaps a few kicked over music stands and score-throwing tantrums a la Toscanini would have helped). The ensemble work of the strings borders on the sloppy; the tuttis are leaden. I understand Eschenbach is a lovely person; Lang Lang seems devoted to him, as is Renee Fleming (the orchestral work on her Strauss disc with Eschenbach is terrible!) I just feel he is not a top-tier conductor. If the recording location had been a bit livelier, there might have been more allure to the sound, but the "room" is dead, dead, dead. Every careless entry is heard all too clearly. It's almost as bad as the dreaded Studio 8-H that Toscanini had to record in with the RCA Symphony. Lang Lang has not had good luck with his orchestral accompanists. His Tchaikovsky First with Barenboim and the Chicago was wonderful. But the Rachmaninov with Gergiev. . . not first rate. (Gergiev can be superb, but I think he cannot say "no" when asked to perform. I think if the East Transylvanian Fireman's Association Symphony Orchestra asked him to record some symphonies of Glazanov, he'd try to fit it into his crowded schedule.) G. is on auto-pilot there. Lang Lang's managers should choose his recording colleagues with great care.
So, to sort through all the above: Lang Lang 5 stars; the rest 1 star = 3 stars.