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Lang Lang review – captivating, astonishing and disorientating

Barbican, LondonIn a programme of Fauré, Schumann and Chopin, the pianist’s take felt at times wilfully eccentric as in his hands, this familiar music became quite alien.Think what you will of Lang Lang’s brand of pianist-celebrity, but his technical control is absolute. The right-hand melody of Fauré’s Pavane was so smooth it might have been glued together. Descant lines tinkled like a tiny music box. His left hand was heavyweight throughout, as if he had decided to turn up the bass.Such oddity was nothing compared to his take on Schumann’s Kreisleriana – a set of eight self-consciously eccentric miniatures. Lang Lang launched himself on to the keyboard for the first, driving hard and loud, his hands flying theatrically at the end. For contrast: more of that hushed music-box tone and passages of precious, gossamer delicacy before instantaneous switches back into muscular rollicking dissonance. A more-is-more approach to the sustaining pedal turned some moments into spectacular slush. Just occasionally, there was a magical, quiet sense of storytelling and the penultimate movement was suddenly, playfully dry (pedal briefly abandoned) until yet another gear change into a passage smashed out so quickly it blurred. In the final movement Lang’s ever-dominant left hand treated Schumann like Rachmaninov. Continue reading...

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