La Voce del Loggione – Lang Lang

Originally from La Voce del Loggione.” – Daniel Barenboim (5 Novembre 2007) Daniel Barenboim with Lang Lang

JIWON: I dropped my jaw while reading the comments. Well… I was not the only one who was against Lang’s technical showmanship protected under the umbrella-Barenboim. They seem to prefer the same concert by pianist Barenboim and conductor Boulez, if they have to pay the same amount of money. Or they want to invite more qualified pianist, if young. It surprised me… BTW, what means Comment #13?

Comment #25: I also heard some Wagner (in practice last night, instead of hearing berciare to five at a time the usual political known Ballarò, I replayed the concert Monday evening with Celibidache, Karajan and, in spite of Marco Viz., With Mravinsky his Tannhauser, some ‘duretto actually risentirlo, especially compared to Celibidache). I came to the conclusion that what seems somewhat lacking ‘in Wagner of Barenboim is the poetry … The sound effects abound and sometimes are committed to wind unreliable, it is certainly a noble attempt to make an epic Wagner, , but always lyrical little martial and the funeral march of Sigfrido may come to mind Marche funèbre et solennelle Berlioz (great trombonata) or the singing of where Priam returns home the body of Hector, depending on how it performs … Homer knew also be lyrical, when required, and Wagner is a bit ‘of the Homer. Maybe I go out of the sown, but I would like to say to friends and Leonardo Luciano what I write, and also applies to other friends of blogs, is simply sincere. If there is to praise Lissner Barenboim or award them, if I have to criticize them critically. Then not a musicologist, but a simple fan, I can also write silly little things like that, but sincere.

JIWON: After Comment #30-something, I lost my way… I wish… I could read them in their original language. BY THE WAY, all the Loggioni, including Barenboim supporters, seemed to be disappointed at Barenboim’s “Toscanini Concert.” May I add more to their contribution? The fact that I consider myself as a Toscanini-disciple is well-known. I had to study Furtwangler only because of Barenboim, who seemed to be the only one left with a willingness to save my hopeless student life when my American boss, Dale Clevenger, decided to kick me out of his territory after his more powerful position was secured in the Chicago Symphony Orchestra, where all the members of Solti’s band were knocked out by my writings. Now, I am studying Furtwangler all by myself and my sole reason is that unlike other pros who admire bla-bla-bla of Furtwangler, from tempo fluctuation (sic!) to whatsoever depth (sic!) of dark sound, the only thing I hear from his interpretation is that there exists a precision in his music, and that his precision always wants to go somewhere, to unknown but better place. Then I want to study more, because I know, unlike other precise, strict music, what a difficult job it is to achieve this kind of music making.

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