郎朗《肖邦鋼琴協奏曲》
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2009/01/04 音樂
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專輯名稱:肖邦鋼琴協奏曲
演唱歌手:郎朗
唱片公司:Deutsche Grammophon
發行時間:2008年12月11日
專輯語種:純音樂專輯1CD

專輯介紹:

  期待已久的一張郎朗唱片。這是郎朗首次錄制自己最心愛的肖邦鋼琴協奏曲全集。

  無可比擬的夢幻組合演繹。除了郎朗,在唱片中擔任指揮的是著名指揮大師祖賓梅塔,樂團則是大名鼎鼎的維也納愛樂樂團,錄音地點則是維也納金色大廳,這也是中國觀眾最熟悉的維也納新年音樂會組合。

  肖邦的作品是最動聽、最為普羅大眾熟悉的古典音樂,郎朗曾多次在國內巡演中演奏肖邦的鋼琴協奏曲,廣受歡迎。

  擁有將近50萬銷量的保證+奧運表演嘉賓,郎朗魅力不容置疑!

  演奏:郎朗 (鋼琴)、維也納愛樂樂團
  指揮:祖賓.梅塔
  地點:2008年6月21日維也納金色大廳音樂會現場實況

  混音工程師:史蒂芬·弗洛克
  鋼琴技師:安德拉斯·梅澤
  執行監制:克里斯蒂安·列恩斯
  制作人:克里斯托弗·埃爾德
  項目執行:布克哈德·巴特什

  千呼萬喚,郎朗演奏肖邦兩部偉大鋼琴協奏曲的錄音終于出版發行了,這一張專輯中的第一號鋼琴協奏曲是2008年6月21日在維也納金廳的演出實況錄音,第二號鋼琴協奏曲則是錄音室錄音。由祖賓.梅塔麾下的維也納愛樂樂團一起協奏,獻演于2008年6月21日維也納金色大廳現場音樂會。這是至今為止,郎朗最晚錄音的鋼琴協奏曲錄音,實際上郎朗從1995年13歲成名于柴可夫斯基國際青少年音樂比賽,贏得首獎就是彈奏這部作品的,事隔13年才錄音,在經歷了無數次音樂會表演、專家大師們指點和勤學苦練,終于大成。郎朗彈出了一種無與倫比歌唱性的鋼琴音色,詩意,唯美、浪漫、嫵媚、陽剛、溫暖、五彩繽紛的琴音,這是最漂亮的聲音,既是屬于肖邦的,更是屬于郎朗的,他終于找到了屬于自己的肖邦,彰顯一代青年大師的風范。

  鋼琴與管弦樂團的作品多半是肖邦在華沙音樂院時期的作品。第一號鋼琴協奏曲是肖邦早年為自己所寫的作品。鋼琴部份不但光輝燦爛而且浪漫,特別強調鋼琴嘹亮的聲音以及優雅的表現方式。定居巴黎后,肖邦的創作幾乎都是鋼琴獨奏作品,擴展了這項樂器的表現力與深度,從這首早期的協奏曲里可以聽到肖邦成熟時期的風貌。第二號鋼琴協奏曲表現的是肖邦對女同學愛戀的情感,是一首富于浪漫情趣的作品。

  很多人以為,彈肖邦的作品一定要激情、奔放、浪漫,甚至有的演奏家無拘無束彈得輝煌、火熱燦爛的,但真實的肖邦究竟是怎樣一個樣子呢?是非常內在的,即使是音樂前奏的高潮部分,又如《E小調第1鋼琴協奏曲》前奏交響樂部分很強的幾個音,都不是作曲家故弄玄虛,而是表達一種內心青春朦朧的沖動,心潮澎湃卻又不知如何說出口,很內在的。

  詮釋上,郎朗把兩首協奏曲想象成一則愛情故事。由于肖邦在第二號鋼琴協奏曲里潛藏對女同學的愛戀,風格比起第一號協奏曲更為靦腆羞怯,郎朗認為,這就像是情侶在瞹眛時期的青澀與純真。第一號鋼琴協奏曲則是成為愛侶后的互動,或是在花園里散步的情景。

  郎朗在開篇立章的布局上是有克制的,樂句非常有條理,每個音都交待得很清楚,分句的輕重緩急很有分寸,絕不添油加醋,第一樂章的發展部做得很唯美,詩意,而且很有一位熱情小伙子初戀的魅力。他和樂隊的配合很好,不會搶拍搶表現搶速度,而這是一位有專業水準的職業演奏家所具備的優秀素質。郎朗在這次的演奏錄音上,也受到了歐洲哲學詮釋學派的啟發、影響。詮釋學即是 "每個人都可以是經典的解釋注解者,在不違背原作作品藝術價值和本意的基礎上,詮釋者可根據時代發展對文本的研究和需要,重新獲得新的理解"。郎朗對肖邦的協奏曲準確的解讀,用優美的琴聲向我們闡釋了一個內心焦灼、情感質樸內在的作曲家、鋼琴詩人的形象,更有豐富的音樂層次和立體感.

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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



English:

More improvisatory flair can be found in Lang Lang's superbly engineered recording. His enormous variety of colour and texture, of dynamic range and rhetorical gesture, is dazzling. He can sing and sustain a line, knows when to subordinate accompanying figures, and achieves a huge range of articulation. In Lang Lang's hands these works are dramatic and exhilarating, and as one-off performances there is much to enjoy.
Record Review / Tim Parry, BBC Music Magazine (London) / 01 November 2008
 

. . . he consistently channels his rippling fingerwork and instincts for tone colour towards lyrical, poetic ends. His lively and varied keyboard textures highlight inner voices and counterlines without undue exaggeration, and help prevent the slow movements' broad tempi from dragging . . . the VPO's disciplined support offers marvellous string work and well profiled first-desk solos (save for the elusive bassoon in the E minor's Larghetto) . . .
Record Review / Jed Distler, Gramophone (London) / 01 December 2008
 


German:

[Lang Lang] hatte gleich klar gemacht, dass er in diesem Genre die Referenzeinspielungen der Zukunft in den Fingern trägt. Die Chopin-Konzerte spielt Lang Lang nun . . . dynamisch, das e-Moll Konzert in dieser Live-Aufnahme fast schon mit mediterranem Esprit. Doch die "Wiener" mit Zubin Mehta am Pult federn die Luftsprünge dieses quirligen Virtuosen gekonnt ab.
Record Review / Jens Peter Launert, Der Musikmarkt (Starnberg) / 04 October 2008
 

Die Darstellung . . . ist geprägt von seiner fabelhaft gewandten und geschickten Pianistik. Sie ermöglicht ihm eine nahezu grenzenlose Freiheit im Umgang mit den Noten, und Lang Lang setzt sie hier für eine sehr subtile, facettenreiche, oft überzeugende . . . Detailmalerei der Solopartien ein . . . sein Musizieren [wirkt] nie sentimental oder auch nur sonderlich romantisch. Denn Lang Langs Espressivo wird abgefangen durch eine Tongebung und eine Gestaltungsweise, die keinerlei verfließendes Clair-obscur kennt.
Record Review / Ingo Harden, Stereo (Euskirchen) / 01 November 2008
 

Die Darstellung des "schon" 26-Jährigen ist geprägt von seiner fabelhaft gewandten und geschickten Pianistik. Sie ermöglicht ihm eine nahezu grenzenlose Freiheit im Umgang mit den Noten, und Lang Lang setzt sie hier für eine sehr subtile, facettenreiche, oft überzeugende . . . Detailmalerei der Solopartien ein . . . sein Musizieren [wirkt] nie sentimental oder auch nur sonderlich romantisch. Denn Lang Langs Espressivo wird abgefangen durch eine Tongebung und eine Gestaltungsweise, die keinerlei verfließendes Clair-Obscur kennen . . . Aufs Ganze gesehen eine . . . im Stil geschlossene Wiedergabe . . .
Record Review / Ingo Harden, Fono Forum (Euskirchen) / 01 November 2008
 



LANDSCAPES AND LOVE STORIES

    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.
        
        
        

    CD and Download No. 477 7449
        International Release Date: November 2008

        
              
    • 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)
    •     
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