Frederic RzewskiI suspect the microphone you see in front of Lisa isn’t turned on, as the voice part is barely audible.
My discovery of Rzewski’s (zheff-skee) music is thanks to Sarah Cahill’s radio program Then and Now on KALW. I’ve included my own archive recording of this piece because the video above has improperly recorded audio, and I consider this work to be very important. It is a piece by a living composer, played by a wonderful performer, incorporating passages of a work of tragic literature by a noted historical figure.
Demands on the pianist include speaking, whistling, laughing, humming, sighing, moaning, whispering, snapping, slapping, and the use of a bicycle horn. Present in the work is a fluency in many genres and techniques — including fugue, impressionism, post-romanticism and poly-tonality — all serving to illustrate and highlight the text. Also quite effective is the combination of finger drumming on the keyboard lid, shaking and hitting the piano, and whispering, during passages where Wilde addresses his vivid memories of time spent with “Bosie.”
When I heard Lang Lang’s live performance of Balakirev’s Islamey at Tanglewood, I was a little shocked. The piece is a well-known but seldom played tour de force in the virtuoso repertoire. He certainly got people’s attention that day. I think he was given an opportunity to fill a gap left by someone else unable to perform, at the last minute. I could not hear anything even slightly off. He did not take any simplifications — none of three “ossia” alternates for near-impossible passages. In fact, he appeared to add notes, if anything. However, he was never pressed for time.
Let’s watch that first - it’s not at Tanglewood; he’s apparently at an A&E studio. Starting at 6:00 until the end, the piece is unrelenting. He seems to play the ending a bit faster here, but remains in command. An amazing accomplishment for one so young.
Next we get a glimpse inside a new Chinese film score collaboration with Tan Dun, which pleases Lang Lang in its marriage of Asian music, piano, percussion, and a “Lady Hamlet” story of operatic scope. I didn’t catch the name of the film or release date; I’ll have to seek it out.
The next set of videos are about his Deutsche Grammophon release, “Memory.” During a visit to Mozart’s home he spends some time with one of Wolfgang’s keyboards. He performs the virtuosic Horowitz transcription ofLiszt’s Hungarian Rhapsody #2 –- a piece Lang Lang always dreamed of playing himself ever since watching Tom perform it in a Tom and Jerry cartoon. Then we have some Mozart, some Schumann and some of Chopin’s Sonata #3 in B minor. He talks about his relationship to these works, misconceptions about Liszt and the difficulty in Mozartian control. Then he tells about almost quitting piano after being “fired” by his private teacher in Beijing. Thanks to a public school teacher’s insistence that he play, he got back in the saddle. He is excited to record the Sonata as his first major Chopin piece.
And finally, we have a long, long Master Class — starting with a lovely gift. He talks to the lucky six, amd the first two play some Mozart. Then number three has difficulty starting out, so Lang Lang gets right into phrasing and dynamics but without intimidating the young lady. In fact, she is quite relaxed and so is he — and they get quite a bit done. He even mocks her shoulder movements, but does it in such a good-natured way it doesn’t seem to put her off. Then back to number two, a very young boy of 6 or 7 years who does quite well. Then a brave youmg lady starts playing Beethoven’s Waldstein Sonata — and doesn’t get too far because Lang Lang has a lot of interpretive suggestions for her. I don’t have to see much more to tell that Lang Lang is very well-suited to this high calling, generously sharing his talent and valuable time with the next wave of promising young students. I salute him, the young pianists, and the parents who managed to raise not just good children, but future guardians of the Lisztian flame.
I would be remiss not to mention Lang Lang enjoys “Rock Star” status in China — and has for seeveral years. I’m not sure exactly how large of an impact the Lang Lang phenomenon will have on the future of classical music, but I don’t doubt it will be huge. Ask me again in 10 yearrs. Did I mention he has a fan site? Yes he does, and it’s beautiful and tasteful at first glance.
One Hundred Two and ½ - Suite for Piano - for 88 keys, 8 fingers, 2 thumbs, 2 feet and 2½ pedals
N.B. “2½ pedals” refers to the damper, the soft pedal, and the grand piano’s sostenuto pedal.
This piece hasn’t gotten beyond the concept phase, but it did already yield some good improvisation.
In addition it helped me think a little differently when trying to work out a musical dialect. There isn’t so much one scale here, it’s more like one scale per chord. So passages that cross chords need to “modulate” to another scale for the duration of the chord.
Due to the symmetrical nature of the octatonic scale, this is not too hard.
There are really only 6 octatonic scales, 3 being different only in whether you start with a half or whole step. The octatonic scale is 4 pairs of [half step, whole step] or [whole step, half step].
As a practical matter, the 6-note sub-classes can be treated as 2 grouips of 3, one for each hand. This technique makes these scales surprisingly easy to play. Also, the scales really become extended harmony chords themselves, and end up blurring the answer to “what is a chord vs. what is a scale?”
You can hear some of that applied to the keyboard in the enclosed audio.
20100228 at 23:36 
Frederic RzewskiI suspect the microphone you see in front of Lisa isn’t turned on, as the voice part is barely audible.
Lisa Moore
Oscar Wilde
