Liszt, My Piano Hero
Franz LISZT (1811-1886)
Romance “ô pourquoi donc” in E minor, S 169 (1848) [3:05]; “La campanella”
in G-sharp minor from Grandes Études de Paganini, S 141/3 (1851) [4:47]; Consolation
No. 3 in D-flat major, S 172/3 (1849) [4:19]; Grand Galop chromatique in E-flat
major, S 219 (1838) [3:58]; Liebestraum No. 3 in A-flat major, S 541/3 (1850)
[4:53]; Hungarian Rhapsody No. 6 in D-flat major, S 244/6 (1848) [7:19]; “Un
sospiro” in D-flat major from Trois Études de concert, S144/3 (1848) [5:26];
Hungarian Rhapsody No. 15 in A minor “Rákóczy March”, S 244/15 (Horowitz version)
(1847) [5:43]; Ave Maria (Schubert), S 558/12 (1837-38) [6:31]; Piano Concerto
No. 1 in E-flat major, S 124 (1835/1856) (I - Allegro maestoso [5:47]; II
- Quasi Adagio – Allegretto vivace – Allegro animato [9:33]; III - Allegro
marziale animato [4:09])
Lang Lang (piano)
Vienna Philharmonic Orchestra/Valery Gergiev
rec. 23-28 April 2011, Teldex Studio, Berlin, Germany; 4-5 June 2011, Großer
Saal, Musikverein, Vienna, Austria (Concerto)
SONY CLASSICAL 88697891412 [73:33] 
One modest piece of advice: Don’t read the liner notes. Whether the superstar
pianist Lang Lang is explaining that his love of Liszt was sparked by a “Tom
and Jerry” TV cartoon, or that Liszt was a rock star just like Elvis Presley,
the resulting observations are unlikely to enhance the listener’s appreciation
of this recording.
And yes, there is much to appreciate in this collection of solo Liszt pieces,
plus the first of the composer’s two piano concertos. Although the classical
purist’s lip may curl at the mere mention of Lang Lang, the playing here is
admirable not only for its technical prowess - an aspect of performance for
which this pianist is already legendary - but also its very considerable delicacy
and clarity of line.
Lang Lang’s career has followed the usual three-part media trajectory of the
young sensation in our times: (1) shock and awe over the spectacular early
virtuosity, (2) subsequent incredible over-hype, and then (3) negative overreaction
and prolonged sneering. We are now in Phase 3, but perhaps Phase 4 is on the
horizon - a more balanced assessment of both virtues and shortcomings. While
this disc is not Lang Lang’s finest hour - or, to be more precise, 73 minutes
and 33 seconds - it is never less than respectable and is often astonishingly
good … as in his impressive reading of “La Campanella”.
This is a recording for which you will probably need to adjust volume controls
constantly. The softer pieces, like the dreamily unfocused Consolation
No. 3, are followed with the more glittery, hard-edged selections like
the Grand Galop chromatique and the Hungarian Rhapsodies, as the disc
alternates slow/soft with fast/loud solo works. The very lively studio recordings
of the solo pieces sound almost strident next to the tamped-down ambience
of the live Piano Concerto No. 1 recording in the Großer Musikvereinssaal.
Valery Gergiev whips the Vienna Philharmonic into a fine frenzy in the concerto.
Thankfully the ambient audience noises – and the applause – have been edited
out.
Hearing this disc alongside the Liszt of such interpreters as Nelson Freire
- still one of this reviewer’s all-time favorites - with his purity of line
and his subtle inflections of each phrase, suggests that Lang Lang still lacks
some of the interpretive depth that may come with maturity. But those looking
for sheer febrile excitement will find it here.
Melinda Bargreen
Sheer febrile excitement.