专辑英文名: Lang Lang Chopin
专辑中文名: 郎朗 肖邦
艺术家: 郎朗(Lang Lang), Vienna Philharmonic Orchestra Zubin Mehta
古典类型: 协奏曲
资源格式: MP3
版本: DG
发行时间: 2008年11月
地区: 美国
简介:
专辑介绍：
钢琴与管弦乐团的作品多半是肖邦在华沙音乐院时期的作品。第一号钢琴协奏曲是肖邦早年为自己所写的作品。钢琴部分不但光辉灿烂而且浪漫，特别强调钢琴嘹亮的声音以及优雅的表现方式。定居巴黎后，肖邦的创作几乎都是钢琴独奏作品，扩展了这项乐器的表现力与深度，从这首早期的协奏曲里可以听到肖邦成熟时期的风貌。第二好钢琴协奏曲表现的是肖邦对女同学爱恋的情感，是一首富于浪漫情趣的作品
这一张专辑中的第一好钢琴协奏曲是2008年6月21日在维也纳金厅的演出实况录音，第二号钢琴曲则是录音室录音。继门德尔松、柴可夫斯基、拉赫曼尼诺夫与贝多芬的钢琴协奏曲专辑后，郎朗把目标专项肖邦两首钢琴协奏曲，原因在于肖邦的音乐最容易打动平常没有接触古典音乐的年轻人，而打进年轻族群一直是郎朗的目标。诠释上，郎朗把两首协奏曲想像成一则爱情故事。由于肖邦在第二号钢琴协奏曲里潜藏了对女同学的爱恋，风格比起第一号协奏曲更为腼腆羞涩，郎朗认为，这就像是情侣在暧昧时期的青涩与纯情。第一号钢琴协奏曲则是成为爱侣后的互动，或是在花园里散步的情景。（来源：YVV.cn, 音乐杂货铺）
Lang Lang creates sparkling Chopin with the Wiener Philharmoniker and Zubin Mehta
Lang Lang's passionate performances of the Chopin concertos have been acclaimed worldwide. In these recordings, accompanied by the superb Vienna Philharmonic under Zubin Mehta, he invests these much-loved works with his profound empathy for Chopin.
MAIN
- A long-awaited recording: Lang Lang performs Chopin’s Piano Concertos nos. 1 & 2, two of the most beloved pieces in the repertoire
- Lang Lang has performed these concertos for many years with many different orchestras before deciding to bring his interpretations into the recording studio. Here he is partnered by the supreme musicianship of the Wiener Philharmoniker and Zubin Mehta, who ensure that the orchestral part is far more than mere accompaniment
- Both concertos were recorded in the world-renown acoustic conditions of the Vienna Musikverein’s Golden Hall, concerto No. 1 in a live-performance and concerto No. 2 in studio conditions
- Lang Lang has frequently received highest praise for his readings of Chopin’s Piano Concertos; their mixture of virtuosic expressiveness and lyrical tone bringing forth some of his most acclaimed performances
- “There may be no work better suited to Lang Lang’s talents and inclinations than Frederic Chopin’s Piano Concerto No. 1” (Washington Post)
- “Lang Lang went about the entire piece [Chopin Piano Concerto no. 1] in a gentle, velvety way, rippling beautiful chromatic passages with a liquid touch, rarely raising his voice above the level of mezzo-forte.” (Los Angeles Times)
Recording Credits
CD 477 7449 · Also available for download
Recording: Vienna, Musikverein, Grosser Saal, 6/2008
Executive Producer: Christian Leins
Producer: Christopher Alder
Recording Engineer (Tonmeister): Stephan Flock
Assistant Engineer: Jürgen Bulgrin
Project Coordinator: Burkhard Bartsch
Piano Technician: Andras Mezö
INSIGHT
In conversation with Michael Church, Lang Lang and Zubin Mehta talk about Chopin and the pianist’s first album devoted to his music.
MC: What prompted you to make this new recording of the Chopin concertos?
LL: I'm always trying to reach young audiences, and Chopin is the perfect composer for that. His music is so universal that even people who don't usually like classical music like Chopin. What they respond to is his Romantic and noble personality. If you play him too Romantically, the work becomes a pop song - Classicism saves you from that. He represents the perfect balance, as does, in a different way, his idol Mozart. But I find Chopin very difficult to talk about. Chopin is all about feelings, about instinct. And about quick reactions to what has just been expressed musically - you need to think like an improviser.
What was the first Chopin piece you played?
His waltz in D flat major - when I was five. Then I played the "Black Key" Etude at seven, then more waltzes and rondos, and went on to the Ballades, and played all the Etudes when I was 13.
How have you worked on these concertos?
I've lived with them so many years, they are in my fibre. The F minor was the first piano concerto I ever played, when I was 13 and playing with the Moscow Philharmonic in the final of the Tchaikovsky Young Musicians' Competition. I chose it as my competition piece because I loved it so much. It has always meant a lot to me, though at 13 I was too young to understand the pathos of Chopin's love for that girl, which she didn't return. My father told me not to think about the emotional situation, just to think about a beautiful landscape - and about missing my mother! That worked very well: I won the competition.
How do you work on pieces in general?
I always need to find a character - to define its quality and uniqueness. And since the E Minor Concerto is like a love story, I let my imagination go, and think about lovers. Or I feel I am walking with someone in a garden. It all feels very close to nature.
Are there any moments in that concerto you particularly like?
My little solo near the beginning of the second movement. It's as though you are on a boat just pushing off from the shore. And when the orchestra comes in, you see a girl. It's so vivid to me.
I love that obliquely descending pattern, about nine and a half minutes in.
That's as though you have fallen asleep to the sound of bells. Sometimes bells wake you up, but not these - they send you ever deeper into the dream. But in the second movement of the Second Concerto the bells are intended to wake you up.
How do you see the difference between these concertos?
The F minor is like he's longing for someone, he still sounds shy, and the E minor, which feels so much more brilliant, is like he's already found her. And this difference is reflected in the dances that underline the two finales: the mazurka (in the F minor concerto) is graceful, but the krakowiak (in the E minor, which was written later) is open and wild. There is a progression here.
Is any pianist your ideal, in terms of performance?
Artur Rubinstein. Very natural, very passionate, and above all warm. And through Daniel Barenboim, with whom he performed, his wisdom on one particular problem has been passed down to me. The hardest thing with this music is to connect your rubatos to reflect the sonata form, and it's very easy, with frequent rubatos, to play slower and slower. Rubinstein showed Mr. Barenboim that you can make as many rubatos as you want with your right hand, provided your left hand stays regular, to which the rhythm of the right hand must always return. I found that extremely helpful.
What is the relationship between piano and orchestra in these works?
Much more clear-cut than in the Rachmaninov or Prokofiev concertos. Here the piano is the boss, it always leads. But it's in the third movements, it's hard to accompany the piano, to keep the rhythm and lightness, the pulse.
What do you hope you have achieved with these recordings?
We have great recordings already available, like Zimerman's for example, and those of Martha Argerich and Ivo Pogorelich and Murray Perahia. But everybody who records Chopin says they feel close to him, and I do too. These recordings are very personal to me, as other people's are personal to them. I wanted to reflect his warmth and excitement, and above all Chopin's poetry. But I also decided to do these recordings because I wanted to explore the possibilities of the cantabile technique.
Zubin Mehta, tell me about working with Lang Lang.
ZM: I have done so often, and what strikes me is his complete humility towards the work he's performing. He auditioned for me in the late 90s - he was a great friend of my son, who brought him to me when they were both studying in Philadelphia, and Lang Lang played me some Mozart.
Did you feel, as is sometimes said, that this was a quintessentially Chinese player?
Absolutely not, and I wouldn't know what that meant anyway. The first work we performed together was by Tchaikovsky, then we did some Bartók and Brahms, and I realized that he approaches everything in a very studious way - he wants to be correct, and to make the right sound, and sound is, of course, style. And the piano is part of his body. I once heard him practising all by himself in Los Angeles: he didn't know I was watching, but he played exactly the same way as he does in public, with the same movements and gestures. Those things are not for the stage - it's just the way music comes out of him. It's very physical..
（来源：DG官网）
