“…the hottest artist on the classical music planet may well be the Chinese pianist Lang Lang.” – The New York Times.
Wednesday evening, the 29 year-old Chinese pianist, Lang Lang, lifted a sold-out crowd at Zellerbach Hall out of their seats, offering works by Bach, Schubert, and Chopin. It was the pianist's first performance at the university in six years.
First on the program was Bach’s Partita No. 1 BWV 825 (1726) in B-flat Major. The technical requirements of this piece showed the pianist’s marksmanship to be spot-on. From the start, Lang navigated with a confidence and style entirely his own. One gets the impression that playing the piano is, for Lang, the easiest thing in the world. In the difficult Allemande, voices were distinctly treated and appreciated by the audience, capturing for moments the glory of Bach’s architecture and his beautiful melodies.
Before the intermission, the pianist performed Schubert’s Piano Sonata No. 21 D. 960 (1828). The sonata, a staple in the repertoire of virtually every pianist of renown, was written by the composer in the final month of his poverty-stricken life. What impressed this listener was Lang’s mechanical ability with respect to dynamics. Lang Lang is not primarily known as a colorist like a Gieseking or a Friedman, however, his obvious technical facility allows him to reach any level of sound whenever he is moved to. There were some beautiful moments in the first movement and as well, some interesting musical decisions. As in the first, the exalted second movement was played at a high level of technical control, however, noticeable liberties were taken with respect to rhythm and meter.
Following the brief intermission was the centerpiece of the evening, Chopin’s rigorous Op. 25 Etudes. With anticipation, this listener was eager to hear the pianist’s mechanical abilities stretched to their limit. Having performed the entire set of Chopin Etudes at the age of thirteen, Lang Lang has known every note of Chopin’s studies for nearly two decades now.
In the first, the pianist opened with much rubato and gradually moved up to speed. The difficulty of maintaining the balance between inner-and-outer voices was of little trouble for Lang; the melody in the right-hand was clearly sung, while the thumb of the left-hand was also given special attention with respect to voicing.
The dreaded “double-thirds” etude, Op. 25 No. 6, one of the most arduous pieces in the entire piano literature, was sufficiently but not convincingly delivered. While the sheer speed of Lang Lang’s double-thirds was indeed admirable, ascending and descending lines were often noticeably played out of rhythm. There was enough bravura in the performance, however, to show that the pianist was more than capable of delivering the study.
In the seventh etude, one of the less taxing in the set, Lang captured his audience with his musicality, bringing colors and creating an intimacy that was felt by his audience. The beautiful melody in the left-hand was beautifully sung, and there was a notable freedom in the performance.
In the “double-sixths” etude, Op. 25 No. 8, the pianist changed gears and raced through the study in what must have been under a minute. It was a fine display of speed and accuracy.
The ‘octave’ etude, Op. 25 No. 10, prepared the audience for what was to come. Here, Lang Lang showcased his incredible nervous system and octave-playing to a frenzy, delivering power and blistering speed. In contrast, the middle section was voiced carefully and effectively. The result was an inspired audience. The pianist received an ovation before the next offering.
In the ‘Winter Wind’, Op. 25 No. 11, Lang delivered showmanship through to the final page. Audience members were taken aback as the pianist added a noticeable fury to his playing. Certain passages, as found in the second return to the principal theme, were played with brilliance, energy and precision, while others were passed through in a rhythmical blur. In awe, however, this listener watched as the young pianist showcased his remarkable facility, adding extra-musical movements in the hands and arms even while delivering the most difficult passages. At the conclusion of the etude, audience members were compelled to give the pianist another ovation. But Lang rode the momentum and immediately launched into the final study, the ‘Ocean’ etude.
There was a ferocity to Lang's playing on this night, and the pianist impressed with his utter facility at the instrument - one that is, in fairness, altogether rare. His charged mechanism and ability to inspire large audiences is something to behold at least once. Lang received four curtain calls, and he played one encore: Liszt's Romance.
The pianist will be performing in Los Angeles on November 6 at the Walt Disney Concert Hall.
Comments