Here's something you might be interested in.
I want to explore a topic that is surging to the forefront of classical music. We had a solid representation of this topic in the first two SDSO concerts.
The first concert weekend was sold out while the second concert weekend was not even close. Yet, the second weekend had, by far, the greater artistic merit.
I had spoken of Lang Lang and Garrick Ohlsson in terms of The Godfather, mentioning that Lang Lang might be Michael Corleone but Ohlsson was Vitto--The Godfather. In retrospect I did not go far enough with that example. Lang Lang is ‘Fredo while Ohlsson is Mario Puzo--the author of the book.
When it comes to playing the piano, Garrick Ohlsson might be the best in the world at this point in his career. It could be argued that Kissin or Argerich are more accomplished but nobody would call it madness. Lang Lang is not in that discussion.
Yet Lang Lang’s concerts were sold out while Ohlsson’s were not.
Here we have the battle of image vs. substance.
Lang Lang has more image than substance. Of the pianist from last season and the two this season at SDSO, I thought Lang Lang was the most suspect.
His phrasing in the Beethoven Emperor Concerto, while exquisite at times, was also muddy at times. His encore of Chopin’s Waltz No. 3 was not what I could call inspired.
I want to emphasize that Lang Lang is a talent and that we need artists that have a broad appeal.
However, when an honest-to-god master like Ohlsson performs, there is a gravitational force at work that is not present in the images of a Lang Lang.
Ohlsson was not expressive with his body or his face. He was expressive with his playing of the piano. Ohlsson’s left hand did not hover suspended over the piano and float back toward the bass register like a falling leaf ala Lang Lang.
There was not one moment in Ohlsson’s performance that could be interpreted as disingenuous.
There is truth in classical music. Too much truth for it to ever die out. How do we best serve that truth?
Is it visual expressiveness or musical expressiveness?
How do we use a broad appeal to get new ears interested in classical music and then refine those ears to recognize the truth when they hear it?
I want to explore a topic that is surging to the forefront of classical music. We had a solid representation of this topic in the first two SDSO concerts.
The first concert weekend was sold out while the second concert weekend was not even close. Yet, the second weekend had, by far, the greater artistic merit.
I had spoken of Lang Lang and Garrick Ohlsson in terms of The Godfather, mentioning that Lang Lang might be Michael Corleone but Ohlsson was Vitto--The Godfather. In retrospect I did not go far enough with that example. Lang Lang is ‘Fredo while Ohlsson is Mario Puzo--the author of the book.
When it comes to playing the piano, Garrick Ohlsson might be the best in the world at this point in his career. It could be argued that Kissin or Argerich are more accomplished but nobody would call it madness. Lang Lang is not in that discussion.
Yet Lang Lang’s concerts were sold out while Ohlsson’s were not.
Here we have the battle of image vs. substance.
Lang Lang has more image than substance. Of the pianist from last season and the two this season at SDSO, I thought Lang Lang was the most suspect.
His phrasing in the Beethoven Emperor Concerto, while exquisite at times, was also muddy at times. His encore of Chopin’s Waltz No. 3 was not what I could call inspired.
I want to emphasize that Lang Lang is a talent and that we need artists that have a broad appeal.
However, when an honest-to-god master like Ohlsson performs, there is a gravitational force at work that is not present in the images of a Lang Lang.
Ohlsson was not expressive with his body or his face. He was expressive with his playing of the piano. Ohlsson’s left hand did not hover suspended over the piano and float back toward the bass register like a falling leaf ala Lang Lang.
There was not one moment in Ohlsson’s performance that could be interpreted as disingenuous.
There is truth in classical music. Too much truth for it to ever die out. How do we best serve that truth?
Is it visual expressiveness or musical expressiveness?
How do we use a broad appeal to get new ears interested in classical music and then refine those ears to recognize the truth when they hear it?