Π Π
- Paris, Théâtre des Champs-Elysees
- Schumann, Carnival of Vienna , op. 26 - Brahms, 6 Pieces, Op. 118 - Chopin Nocturne in F major, Op. 15 / 1; Fantasy in his minor, op. 49; Prelude in C sharp minor , op. 45; Scherzo No. 4 in mid major, op. 54, Nocturne in D flat major, op. 27 / 2; Polonaise in A flat major the , op. 26
- Nikolai Lugansky, piano
There is little and a lot to say about this recital, go to the Theatre Champs-Elysees as ritual appearances Sokolov . The next concert in Paris Lugansky (March to Pleyel with Marek Janowski) will be my tenth evening with the little Russian prince. I hope very much, because it is the fourth of Rachmaninoff, because Rachmaninoff is short indeed, because it incidentally Janowski. And also because, ultimately, it is never to TCE that I heard the best Lugansky, and tonight was no exception to the rule double rule, in fact, that seems to stubbornly than programs without Russian music, let alone Rachmaninov him partially successful or very little. So we were TCE, and there had neither Rachmaninoff nor Prokofiev showing. There was nothing new from the rest: Opus 118, Lugansky chose particular, twelve years ago already, to one of his first recitals at La Roque (released on DVD). The Carnival of Vienna was already in its programs in 2007. Chopin in the selection, which reproduced essentially that of his (excellent) last record, it is also a shed on the loom (the Fantasy , the scherzo and the Nocturne in D flat had already been previously recorded ). Challenge (s)? It does seem, at least as regards the first part, devoted to the Germans.
Schumann The original may be in retrospect that I keep the best of the recital. Yet the start has anything exciting for the Lugansky: conduct is prudent or cautious, and especially we do not recognize this piano timid, lacking in projection and body, surprisingly neutral on both sides of the medium. But things are gradually improving, thanks mainly to the intelligence of characterization: the irruption of new episodes are remarkably related to choruses and impose a sense of listening rather uncommon here, while remaining a very sober. For the rest, the qualities "minimum" of Lugansky are waiting for you: on the readability never-articulated plans, the quality of depreciation, in short, lack of prosaic. For the fire and elevation, it was not until the Romanze, beautiful (the intensity will be no great effect on an audience coughing particularly painful). The Scherzino may seem trivial, but it is on paper, after all: the whole story is to make the distinction, what Lugansky succeeds very well (though the conclusion is not natural). The Intermezzo, he had already restored encore two years ago (video below) is perhaps the only piece of the recital to be struck by the novelty of his interpretation, at least compared to how Lugansky has already played a lot more in the first degree. The first degree, in this case is well illustrated by the bis 2009, and it is superb. But what is here proposed in a dynamic general much more efficient and successful, is a delicacy most fascinating and probably richer in harmonic and melodic exhibition. A delight. The finale is an admirable trait continuity without ever grown, and treatment of a lyrical theme Natural exemplary again, only the coda dullness and necessity.
The case of Brahms leaves much perplexed. If Lugansky still present, although it must be to look for new things to say. However, if there is a national frustration with this execution, that's the impression Lugansky trying anything new, or, alternatively, more intense or invested. And besides, somehow, that makes sense and almost desirable: if the pianist is a master of characterization "pure" without musicality voluntarism or school this dimension of her deeply admirable style disappears when it does not seem to feel a partition in an absolutely immediate. If there are few signs of that in Schumann, Brahms in the phenomenon is unfortunately far more cruel compensate musicalisation, attract attention, Lugansky is unclear how, precisely because it is not a doer. But persisted in defending a cycle with which it does not really seem to connect, he condemns almost bored. Especially on a night when the piano is as good only. The sacred fire will re-aim the tip of his nose (and no more), at best for a few moments of Section Allegretto grazioso the fifth part. The rest is mastered and applied without desperately poetry agrees to go out alone, and without that we can neither expect nor desire that the force out. It is understandable why so admires Lugansky Sokolov, in many ways its polar opposite in the Soviet tradition: it has that other genius of characterization, the obsessive mode, visceral, the ability to add a charge authoritarian discourse and hypnotic. How else to explain, with two pianists who can bring both to heights of emotion, as one of Brahms is so vastly superior to that of another? Perhaps also we should see this limit Lugansky to better understand why so many people see him as an icicle expressionless and others the ultimate piano poetry: his power of seduction is a very complex phenomenon to the bottom, and especially fragile.
This fragility, which is also that of her piano, we have found in some Chopin strange in many ways. In its construction, first, quite ordinary and academic first - short and long piece piece twice that mirrors the patterns and relationships - and then pulling on a surprising to the potpourri recital pianist second class (or Chinese pianist). But what he did he added the two large cream pies, especially after the mid scherzo is a major peaks of the absolute work of Chopin? Especially since I did not understand the need Lugansky himself could find. Before that, I was surprised by his nocturnal major, wonderful success of his latest disc, which here is of great quality but differs substantially from the record. The basic tempo is more restrained, and especially the work of dissociation plans much further: the right hand is very outside (timbre, dynamics still very controlled), while the last two notes of each triplet, while distinct, seem played una corda. The central part is remarkable clarity and meaning of the song. The Fantasia concert is never completely satisfactory, and this is no exception to the rule: it's still the beautiful work, technically impeccable, extremely intelligent building, but ... it lacks the piano most transcendent Lugansky, who sings Rachmaninov around. The prelude, however greatly disappointed, but I'd do the same remark as Uchida last month: the same As for the Nocturne in D flat, it may take some time after the Pollini recital in these pages again become audible to anyone else. The fourth Scherzo is for me one of two or three works of Chopin's most difficult in terms of the conduct of the speech (with Barcarolle and 3rd Sonata). Lugansky appears as a synthesis of his recital, while there is clearly capable of much better: up trio, nothing really strong and lyrical happens, the richness of tone is missing, the diachronic the song just as the left hand does not talk enough. The trio, it is very beautiful, and From the return of the theme (the difficulty of this discursive passage will never cease to amaze me!) everything is improving and is much more rewarding.
Lugansky is one of the most pianists customary series of bis most admirable, making the exercise too seriously and many issues as possible. Any sign of an evening, these series do not offer anything extraordinary. The Fantaisie-Impromptu is clean and anecdotal, the two Rachmaninov, we have already heard many times before his hands are far from what he can produce at its best, and Chasse-Neige not equal those , superb, he had already given the TEC (the program in 2008, as an encore in 2010). Lugansky remains a mystery: as is my custom, I placed second in the bottom part of the orchestra in the center. It's been a long time since I'm convinced, but there is little finest pianists (in the sense of pure beauty, but also and above all exemplary) to watch that Lugansky - there Ranki and Andsnes, say . But the great pianists in the evenings without, usually give a visual impression of the lowest bidder proportional to what one hears. This is not the case Lugansky, who is superb in all respects - location, depreciation Standing wrist, maximal relaxation of the hand in the features seminated, etc.. and always so beautiful that way to let fall the arm along the body when a chance presents itself. Must the ear and head are fragile and dependent on many things. It is also the trait of humanity that we love about Lugansky, and for which he was eventually pardoned all his concerts means.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Terms Alike 2.0 France .
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