Lang Lang’s (1982-) The Mozart Album — a double-CD set — is the first all-Mozart (1756-1791) recording from the Chinese-born piano virtuoso Lang Lang, who at age 32 has achieved something approaching matinee idol popularity for his performances of classical music.
He has also enjoyed unusual cross-over success: This year alone he popped up at the World Cup concert in Rio de Janeiro, where he appeared with tenor Placido Domingo (1941-), and at the Grammy Awards, where he performed with Metallica.
Until now, Lang Lang’s prodigious technique and charisma have seemed best suited to composers of the 19th-century romantic repertory, including Liszt (1811-1886) and Chopin (1810-1849). So for this foray into Mozart, he was wise to choose Austrian conductor Nikolaus Harnoncourt (1929-), a specialist in 17th and 18th century music, as his collaborator.
Photo: AFP
照片:法新社
On the first CD, Harnoncourt and the Vienna Philharmonic Orchestra accompany Lang Lang in two concertos, the sunny Piano Concerto No. 17 in G Major, K 453 and the majestic Piano Concertos No. 24 in C Minor, K 491. Lang Lang plays the solo parts with a restraint that is no doubt due in part to Harnoncourt’s careful shaping of the musical line.
The pianist is on his own for the second disc, a solo tour through three sonatas, plus some shorter works, including Piece in F for Keyboard, K. 33B, that was written when Mozart was just eight and clocks in at a mere 56 seconds.
Here the results are less consistent. Lang Lang’s technique is never in question: Note how fearlessly and accurately he races through the familiar Rondo alla turca. But occasionally his penchant for the dramatic — a particularly emphatic crescendo here, a stretched-out melodic phrase there — threatens to overwhelm these elegant pieces.
(AP)
中國鋼琴家郎朗(1982-)的雙CD《莫札特專輯》是他的首張全莫札特(1756-1791)錄音。現年三十二歲的郎朗,其古典音樂演奏造詣,如師奶殺手般的受歡迎。
他同時也在跨界音樂上,成就非凡。光是今年,他就現身於里約熱內盧世足賽音樂會上,與男高音普拉西多‧多明哥(1941-)同台獻藝,也受邀出席葛萊美獎頒獎典禮,與美國重金屬樂團「金屬製品」合作演出。
一路走來,郎朗高超卓越的技巧與舞台魅力,被視為詮釋李斯特(1811-1886)與蕭邦(1810-1849)作品的最佳人選。這次所要涉足的作曲家卻是「古典時期」作曲家莫札特的作品,因此他很有先見之明地選中奧地利指揮家尼古勞斯‧哈農庫特(1929-)為合作對象,因為這位指揮是闡釋十七世紀與十八世紀音樂的專家。
專輯第一片CD中,郎朗在哈農庫特指揮維也納愛樂管弦樂團的伴隨下,帶來兩首協奏曲—陽光的《G大調第十七號鋼琴協奏曲,K.453》與堂皇肅穆的《C小調第二十四號鋼琴協奏曲,K.491》。郎朗在獨奏部分顯得克制而收斂,原因之一無疑來自哈農庫特對音樂線條的精細雕琢。
第二片CD是郎朗的獨奏錄音,帶來一場對莫札特三首鋼琴奏鳴曲的巡禮,外加一些小品,其中包括莫札特八歲所創、僅短短五十六秒的《F 大調鋼琴小品,K.33B》。
這張專輯缺乏一氣呵成的感覺。郎朗的技巧是沒話說:可留意他是如何無畏且精準地奔馳在大家熟知的「土耳其進行曲」音符中。但他偶爾出現過於戲劇化的演奏傾向—時而在這裡來個突兀的漸強,時而又在那裡來個延長的旋律樂句—蒙蔽了這些作品的簡練確切,讓人為之捏了把冷汗。
(美聯社/翻譯:林亞蒂)
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