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Topic: LL live from lincoln center tonight  (Read 1667 times)

Offline practicingnow

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LL live from lincoln center tonight
on: September 23, 2005, 05:09:19 AM
I really think that anyone who doesn't hear Lang Lang's enormous talent must be deaf.  Yes.  Deaf.
Or maybe just an untalented listener.

The concerto performance really shocked me - this was one the most well-understood performances of that piece that I have ever heard, period.  Extremely refined playing, really moving at times, and technically glittering.  The tone seemed lovely over the television, and the whole thing was really held together structurally.
I'm tired of everyone saying how superficial he is - how are Yundi Li or Kissin or Libetta or Hamelin so deeply philosophical?  Actually I find LL a much more thoughtful and sensitive an artist than any of them. 
Professional jealousy will never die, I guess...

Offline perfect_pitch

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Re: LL live from lincoln center tonight
Reply #1 on: September 23, 2005, 03:17:54 PM
I think it is the fact, that he has given HIMSELF a bad name with some of his performances... He doesn't seem to take the performing seriously..

HAVING SAID THAT... I haven't heard this performance you speak of, and probably never will (because I live in Australia - and I doubt he'll come here ever) and I have heard him do a damn good performance with the Mendlessohn Piano Concerto. So I know he can do a seriously good performance, it's just whether he decides to rurn it into a serious dignified performance or a jokeful freak show.

He can play good and I hope that he really matures in his playing, and he COULD become a damn fine Pianist, worthy or siding with Horowitz or Cliburn.

Offline arensky

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Re: LL live from lincoln center tonight
Reply #2 on: September 23, 2005, 06:43:32 PM
He plays very well. I cannot look at him. All that smirking and mugging and slow motion hand movements and goo goo eyes at the camera is revolting. It is all carefully calculated to draw attention to LL. At least Keith Jarrett (equally repulsive) is sincere when he does it. Affectations like this detract from the music, which he played very well. So I shut my eyes and listened , and it was fine.

Slow movement was somehow not centered or focused, this didn't work for me. Outer movements were great.
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"One never knows about another one, do one?" Fats Waller

Offline stevie

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Re: LL live from lincoln center tonight
Reply #3 on: September 23, 2005, 06:45:45 PM
its all in the name of comedy guys, get with it.

Offline arensky

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Re: LL live from lincoln center tonight
Reply #4 on: September 23, 2005, 06:48:45 PM
its all in the name of comedy guys, get with it.

For comedy, Victor Borge John Valby or Liberace... ;D
=  o        o  =
   \     '      /   

"One never knows about another one, do one?" Fats Waller

Offline spirithorn

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Re: LL live from lincoln center tonight
Reply #5 on: September 23, 2005, 07:38:19 PM
My wife and I watched this broadcast.  She is a great appreciator of music, but not a musician.  She enjoyed the Chopin very much, but had to close her eyes simply because LL's mannerisms were so distracting.  I found his reading of the piece to be interesting and not bad at all.  Didn't think the NYP sounded so great on this one.  Wish I had his technique, without the mannerisms.
Someone mentioned Keith Jarrett.  I love to listen to him, but absolutely cannot stand to watch him.  A colleague of mine said he has a solo appearance in Carnegie Hall coming up.  Don't know the date.
"Souplesse, souplesse..."

Offline perfect_pitch

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Re: LL live from lincoln center tonight
Reply #6 on: September 24, 2005, 02:44:05 AM
its all in the name of comedy guys, get with it.

CHOPIN IS NOT MEANT TO BE A LAUGH... You want a laugh - Watch Billy Connolly... You want a serious pianist to play Piano properly... Listen to Cziffra or Horowitz.

Don't give us that 'it's all in the name of comedy' crap. Piano Performance is not meant to be a comedy.
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Piano Street Magazine:
Women and the Chopin Competition: Breaking Barriers in Classical Music

The piano, a sleek monument of polished wood and ivory keys, holds a curious, often paradoxical, position in music history, especially for women. While offering a crucial outlet for female expression in societies where opportunities were often limited, it also became a stage for complex gender dynamics, sometimes subtle, sometimes stark. From drawing-room whispers in the 19th century to the thunderous applause of today’s concert halls, the story of women and the piano is a narrative woven with threads of remarkable progress and stubbornly persistent challenges. Read more
 

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