My favourite trio here performed wonderfully. Thank you to all concerned. Lang lang is the perfect trio pianist-he blends and doesn't dominate as some do.
Superfine performance . Lang lang has something with Mendelssohn .This music brings out the best in him. The strings are born to play this music. Mendelssohn spirit is in every bowstroke .
This music is some of the greatest music ever written in the history of mankind. It is art of the highest order. It provides an escape from the trials and tribulations of daily life.
Bravissimo! Best rendition of No. 1 I have ever heard. The pianist, violinist and cellist are all in sync and amazing. Such passion. Such expression. Their playing seemingly brings Mendelsohn back from the dead.
Not only each player is enjoying playing very much,but also sounds together great. I like to hear more piano trio played by those performores.Thank you very much
My own view is that Chris Edmunds finds non-existent faults in Lang Lang's ensemble performance to justify his partisan prejudice against the pianist's transported demeanour. The ensemble is every bit as good as the famous Borodin rendering of the epoch making, Mendelssohn Trios. Marvellous to hear how the composer wrote for string players as well as for strings! Listen to Lang Lang in the Tchaikovsky Opus 50 trio to bear me out!
Jayme Portugal No meu ponto de vista, os dois trios para piano foram as melhores peças escritas por Mendelssohn, pela sua riqueza melódica e pelo senso rítmico e elegante.
Great performance and thanks for sharing. For those who speak negative here, you better go and listen to some country music. This is not a place for you.
I know the tradition of not clapping between movements. Still, it is jarring to see the audience perfectly still and quiet after the rousing ending of the first movement. It seems to go against nature not to clap or cheer after hearing such wonderful performance.
One laments the necessity of presenting chamber music in a large hall like this, splendid as it is The players must rather muscle through it to make it heard. Much of what makes it chamber music, subtle shaping and interplay of motif and phrase and articulation must be sacrificed.
I disagree. Certainly, I understand what you mean about the nuances that are essential to music, especially chamber music, but I think that the true masters of their art are capable of projecting their sound whilst keeping perfect tone and attention to detail, not sacrificing anything.
I am sooooooo envious of these musicians, esp. Lang Lang -- they get to be paid large sums of money for something they would happily do for free! Ah, I wish I had their jobs.......
If you knew how much work it takes to bring it to such class, you wouldn't say that. These guys are practicing for hours and hours every day, and they do that since years.
I assume in this case it is because of the acoustics, not that he would be too small. Depending on the stage and the hall, such a platform can increase clarity of sound and sonority the same time.
To protect the stage. The cello's end pin would mar the surface of the stage. Using a rock stop, the normal practice, is visually undesirable so the next best alternative is to use a platform.
I beg to differ....if it has height - like in this case - it's strictly to help the cello's low notes to resonate better. Orchestras are using the flat, narrow varsity - that's for protecting the stage...
Cellist usually use a box for resonance and ease of projection in cello concerto performances (i.e cellist is soloist with orchestra)... as @Kirchner Musikmanagement said it increases clarity of sound. In response to @Clitoral Fantasy in F Sharp Minor's comment (btw what a name!!) You my be right because in all my years i haven't seen one person use a platform in specifically this form of chamber music! I take it his instrument is not...um... well...never mind :P
Proof that Bang-Bang does NOT listen. Separation from his fellow players, most certainly from Mendelssohn. He IS more talented as a soloist primarily because he can assume musical responsibility to no one but himself, and yet even therein lies the question of integrity. When will the public catch on?
It's all about Bang Bang's chops.......this piece is full of character. They all miss the point. Scherzo is simply rushed and frantic and that has little to do with tempo. What a travesty. Bang Bang is completely oblivious to the other players.....but.....they are oblivious to each other. Mendelssohn deserves better. Music deserves better.
My God, these musical critics! Mendelssohn deserves the best, and that does not depend on what you think, try better to have the performance of Lang Lang and then talk, and if you have it, make music, not criticism.
Usually im not against Langlang's play and I went to his concert where he played Haydn Sonate, and I like it and I got respect for the way how he makes music. People say about this facial expression blabla, yes I understand them but I do for Langlang's side. But this performance made me think.. that he was not that serious or respectful for the stage. Something really ridiculous wrong note reading(it is not about technical mistake).. and it seems like he wants to cover the lack of practicing with his too much show off. I really dont get it with his left hand, why does it have to fly away when the left hand plays strong? And from this performance, why the hell is the title 'mendelssohn piano trio, Langlang'? Why not together with the string players? This is so bullshit of the music world.
try practicing this piece and lifting the left hand when hitting bass notes, it's nice, a bit showy but the lang lang here is very tame compared to his solo performances. other names wont get views lol
After hearing the whole thing.....what a mess! The Scherzo is a joke not intended by Mendelssohn. Even his colleagues could not rein him in to at least fashion a phrase. The return of "A" section in the Scherzo was almost disastrous.
chris edmunds actually, it's not Lang Lang who does this piece injustice. The string players both often play far too harshly and are insensitive to the nuances in the score. In fact, Lang Lang seems to be trying to rein in his colleagues throughout the performance, not the other way around. I disagree with the interpretation at times, and while there's nothing "wrong" with some of what they do, there are a number of instances when the string players are simply ignoring the character of the music (and even the very clear markings from the composer) while Lang Lang is doing a very admirable job of keeping some semblance of poise and responsibility to the music. I encourage you to listen with an open mind and remain objective in your perceptions.
