Wharton Journal

Issue date: 10/2/06 Section: Insider

Lang Lang is a pianist whose notoriety precedes his stage presence. Groomed under Gary Graffman in the Curtis Institute just off Rittenhouse Square, Lang has gained international stardom with his "shock jock" antics. For years, his exaggerated grimaces and outsize body movements, abetted by his virtuosic display, have sparked heated debates among concert-goers.

But not on Tuesday night. If anything, he seemed to go out of his way to dispel his former image. His understated demeanor and relatively sedate posture suggests a mature artist in the wings. His thoughtful and highly nuanced playing imparts a sense of intimacy seldom found in a concerto setting where the soloist is featured so prominently. Throughout Chopin's First Piano Concerto, which he performs with the Philadelphia Orchestra under Christoph Eschenbach, Lang gives the illusion he is playing a symphonic work as an orchestral member. Emphasizing economy of motion, Lang proves that less can be more.

Instead of dramatizing his first entry, he eases into the piece as comfortably as one slips into a bespoke suit. In reversing some of Chopin's dynamics markings, he makes listeners perk up in rapt attention with his often pianissimo playing. There is a youthful earnestness and graceful handling in his playing that I find refreshing. But don't get him wrong. Lang is certainly there to make a statement, only this time he does so with charm and subtlety in lieu of show-stealing gimmicks and merciless banging.

He weaves a compelling narrative by micro-managing each phrase to give it a fresh new twist. Definitely no easy feat in tried-and-true classics such as the Chopin concerto. He pads the tone oof his fortissimo and never comes across as brash and strident. At times, he takes your breath away by reducing the volume to a mere murmur and stretching the rubato almost to its brink.

Yet his approach fits within the framework of his interpretation so it does not come across as contrived. Again, no easy feat considering how easy it is to fall into the trap of trivializing such a well-known work. There is certain tenderness in his playing, vulnerability even, that resonates very well with Chopin's marking for the second movement- "Romanza."

Given Lang's approach so far, it is easy to find his playing slightly underpowered and curiously reserved, as if he were holding something back. In the Finale rondo movement, Lang finally lets it rip. Relishing his new-found freedom, Lang dashes off arpeggios and runs with electrifying elan.

Continued...

Page 1 of 2 next >

Article Tools