Jan Lisiecki is just fantastic. And what is almost even better: He is also fantastic and easy. The canadian Pianist is not in his appearances in the foreground. He always strives to the composer, he plays to come as close as possible to fathom the soul of the pieces.
it’s fitting that photography is his Hobby. With open eyes through the city to strip his environment, which helps the 23-Year-old also in his interpretations. He does not consider the works as a Solitary, but also the music history look at around you in the spiritual context of their creation time of files. In December, he has played in Berlin, all the piano concertos of Beethoven and the sound is absolutely convincing from the Tradition developed, in which they are incurred, so, in the spirit of Mozart. Where Beethoven deviates, however, from the conventions of his time, was able to Jan Lisiecki to do that for the listener acoustically traceable. A Mature performance.
Nimble scurrying fingers
On Tuesday now he is playing at the Berlin-guest performance with the Royal Philharmonic Orchestra in the Philharmonic hall, Chopin’s 2. Piano Concerto – and kidnapped his audience in a very different world, namely, in the time of the sensitivity. With a great dramatic gesture, Jan Lisiecki joins spectacular in the piece, makes the head set but not to ego-trip, but immediately mentally contact his fellow musicians and music inside. Yes, it almost seems as if the developments in the orchestra to be inspired to his own game, the effect like a spontaneous Improvisation, born from the atmosphere of the moment, as the fantaisie romantique of the highest virtuosity.
In the ensuing Larghetto is the Pianist for the delicate young man who makes his overfull heart by the many, in the melody of river interspersed Warbling air, in the middle part is pathetic as a young Werther, and finally gently back glide sighing, in the realms of his love dream. A melancholy shadow hanging about on the Finale, and the Bouncing issue at the time of Jan lisiecki’s fascinating, nimbly whipping fingers sounds like an emotionally Wounded to the joy ferrule, to Smile through her tears.
With the 1986-born Lionel Bringuier, a conductor of his Generation, is Jan Lisiecki. As a sensitive accompanist to the soloist, the Frenchman, who had only experience once in Berlin, in 2013 as he was involved in a tour for the Music Director of the Zurich Tonhalle orchestra, David Zinman, whose successor he was, a short time later.
The symphonic pieces fall to a straight line
the two symphonic pieces Bringuier is offering on Tuesday with the Royal Philharmonic Orchestra, he is very straight forward and determined. Festive Overture unfolds to Otto Nicolai’s “The merry wives of Windsor”, but the buffonesk Clever, tongue-in-cheek, which belongs also to the German Opera, is little felt. Not more than a superficial gloss also Rimsky-Korsakov’s “Scheherazade,” because of the conductor fixed only to the leading voice. Unfortunately, the London-based think hierarchically, each voting group, if it is tuned, and the way the duck otherwise. The dazzling Opulence and the intoxicating perfume of this tone poem can unfold but only if the player of the seemingly ridiculous most of the accompanying figure, contributes its part to the Whole. Because Lionel Bringuier don’t know but, missing it by concertmaster Duncan Riddell with tasty Violinton listed Scheherazade-stories of depth, of internal voltage, it remains in a succession of beautiful moments from 1001 night.
