24個比利 潘瑋柏

This CD has been released in memory of Tatiana Shebanova, who died not long after these recordings were made. It shows the exceptional relationship which she had with the historic Erard piano heard here. She fell in love with the instrument the very first time she played it.

This CD has been released in memory of Tatiana Shebanova, who died not long after these recordings were made. It shows the exceptional relationship which she had with the historic Erard piano heard here. She fell in love with the instrument the very first time she played it.

This CD has been released in memory of Tatiana Shebanova, who died not long after these recordings were made. It shows the exceptional relationship which she had with the historic Erard piano heard here. She fell in love with the instrument the very first time she played it.

The 2018 Leeds International Piano Competition gold medalist plays music by three of the 19th century’s greatest piano composers. The bulk of the program goes to Chopin’s extraordinarily rich and varied 24 Préludes, Op. 28, which he plays with a winning sense of poetry and a sparkling technique. Lu’s Curtis Institute training allows for no weakness in his technical ability and his finger-work is very fine. Brahms’ most popular intermezzo is played with a lovely feeling for its mood of gentle melancholy before we end with those strange, final compositional thoughts written before his voluntary admission to an asylum, where he spent the final two years of his life. Lu gauges its atmosphere superbly.

These preludes and fugures by Shostakovich are not the easiest in the world for interpretation. Think a Slavic Bach. It is unfair to call these works "modern" and it's not just because they are with the confines of a Medieval form. But sometimes the listener will catch something that is reminiscent of 20th centyury Soviet music. These works are miniatures - a form totally at odds with the usual way we consider the composer. Tatiana Nikolayeva is simply brilliant in her interpretation - the clarity is startling. It may take a while but this is a recording that appreciates the more it is heard.

Les 24 Préludes de Mieczyslaw Weinberg (1916-1996) furent initialement écrits pour Rostropovitch en 1968, mais le célèbre violoncelliste n’eut jamais l’occasion de les jouer lui-même. La plupart des grands solistes de notre temps l’ont désormais inscrit à leur répertoire, bien sûr, mais Gidon Kremer nous en donne ici une version adaptée pour le violon, dont voici la première mondiale discographique. Une musique intense, souvent brutale, parfois cocasse et drolatique (l’influence de Chostakovitch, sans nul doute, mais l’influence s’arrête bien là : le langage de Weinberg reste d’une profonde originalité personnelle), souvent lyrique dans son âpreté brillante, provocante – n’oublions pas qu’on est en 1968, les terribles souvenirs de la période.