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The article correctly mentions that conductors & orchestras love to work with him. Apart from his great fame which obviously helps to boost ticket sales, he has one major attribute that many lesser soloists lack - humility and generosity towards his collaborators, including other soloists. He never plays the prima donna, and he's always supremely well-prepared, and he's always willing to defer to others, even though he's a much bigger star than them. I've seen him play chamber music, and even in works where the piano part is the biggest and most virtuosic (like Tchaikovsky's piano trio), he never hogs the limelight.
And of course, he almost single-handedly inspired zillions of budding young pianists around the world, not least with his series of concerts where children play alongside him.
"I don't play accurately - anyone can play accurately - but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life."
Never was a big fan. Nonetheless he has my respect and admiration for clearly he is an extraordinary talent. That sad, he sometimes has a very unauthodox hand position which I suspect attributed to his injury. Gyorgy Sandor taught how to be relaxed while playing and he and his top students could play difficult pieces all night and never get tired or fatigued.
Never was a big fan. Nonetheless, he has my respect and admiration for clearly he is an extraordinary talent. That said, he sometimes has a very unorthodox hand position which I suspect attributed to his injury. Gyorgy Sandor taught how to be relaxed while playing and he and his top students could play difficult pieces all night and never get tired or fatigued.
What unusual hand position are you referring to? Also, I think there is a difference between playing relaxed/without injury and playing difficult pieces all night. No one can do the latter because playing difficult pieces is physically exhausting.
I'm not an expert but after seeing several videos of him performing one of which was the Liszt 2nd Rhapsody in the Horowitz rendition his left hand position was clearly unusual in difficult passages and although he hit the right notes it seemed to me creating more strain than necessary. With regards to Sandor he could play Prokofiev and Bartok concertos without breaking a sweat and apparently had a teaching method he used to prevent the player from tiring irregardless of repertoire. Just saying. It is a shame about Leon Fleischer because he had outstanding renditions of the Beethoven and Brahms Concerti before his injury. We could have had a complete set of the Beethoven Sonatas from him. Here's Fleischer playing an early work of Bach definitively reminding us of our loss.
Once saw LL in a concert playing Chopin Concerto #2 and ended with a short Etude for encore. The acoustics of the hall was horrible. You hear the orchestras in the background blasting away but hardly the solo pianist LL. Didn't sit close enough to see his hands working. As always he was able to impress the audience.
Watched a documentary on LL: "Do or Die: Lang Lang's Story" made by the BBC in 2012. He started off as an unknown in China. It was just after the Cultural Revolution when LL started playing the piano. His father G-R Lang wanted to be a musician was sent to work in a factory instead so the father had ambition for the son to succeed in music. The teachers back then didn't recognize LL's talent and very few had the luxury to travel outside China so teachers didn't have any outside exposure. LL got into an argument with his father and quit playing for a while before going back to the piano. And somewhere down the line his father got LL a new teacher and personally paid for him to enter an international piano competition in Germany privately instead of chosen to represent China.
I disagree with some of the theatrics that he pulls, but he is certainly a great pianist, and seems like a good guy. It is good to hear he has recovered from his injury, I look forwards to hearing more of him.
I'm hoping he comes back to Seattle. My son and I had tickets last year and my son was terribly disappointed when he had to cancel. We'd read a biography together and it was very inspiring for my son and got him to take his lessons far more seriously.
I for one have no problem with the theatrics, anything that gets an audience (especially kids) interested in classical music is a good thing as far as I'm concerned.
Now learning: Chopin C# minor Nocturne (posth) and C minor Prelude (big chords), Mozart Sonata in C K. 545 Instruments: Yamaha N1X, Kawai ES110, Roland GO:PIANO