Op 29 april 2012 ben ik met de meisjes van de klas meegeweest naar de Bozar in Brussel om te gaan kijken naar de 17-jarige pianist Jan Lisiecki.
Nu al wordt hij omschreven als de meest sensationele pianist van onze
tijd. De 17-jarige Poolse pianist Jan Lisiecki ontving reeds vele
onderscheidingen, waaronder de Révélations Radio-Canada (2010), de
Diapason Découverte (mei 2010) voor de opname van beide concerto’s van
Chopin, samen met Sinfonia Varsovia (uitgegeven door het Fryderyk Chopin
Institute), en de Jeune Soliste 2010 des Radios Francophones Publiques.
Ondertussen tekende hij ook een contract bij het prestigieuze label
Deutsche Grammophon voor de opnames van Mozarts Piano Concertos
onder leiding van Christian Zacharias met het Kammerorchester des
Bayerischen Rundfunks. Zijn palmares oogt bijzonder indrukwekkend, en
ook in 2012 staan verschillende hoogtepunten op het programma, zoals
concerto’s onder leiding van Antonio Pappano en Daniel Harding.
Excuseer mij dat het in het Engels is en dat het gaat over een ander concert dat hij heeft gegeven, maar hierin wordt mooi aangehaald wat Lisiekcki eigenlijk weergeeft met de piano.
The lucky audience which attended the UW
President’s Piano recital at Meany Hall Wednesday was privileged to hear
the Northwest debut of perhaps the most exceptional pianistic talent to
be presented here in a generation, perhaps two generations, or more. I
don’t think, after six decades of concertgoing, I have ever heard a
young man with the kind of mature musicianship and technical ease
displayed by 16-year-old Jan Lisiecki. I heard several other audience
members commenting, “This is thrilling.”
This Polish-Canadian young
man from Calgary began his concert career aged nine, and has been
concertizing all over the world, in recital, as orchestral soloist, and
as chamber musician. He graduated high school January 2011 after being
accelerated four grades by Calgary’s school board, and he speaks four
languages. One wonders when he has had the time to learn all this.
It would be easy to think,
before hearing him, that this would be a technical whiz kid whose
musical intention would be to play everything faster, louder and more
spectacularly than anyone else. Or, that his musical tastes would be
parroted, at this age, from a fine teacher. And we’d be wrong in both
cases. Technically, he is already a master, with his hands completely at
the service of the music. Musically, there is no doubt these are his
own interpretations of music which he has subjected to profound
consideration. His programming is clearly his own.
Lisiecki is a sober
presenter. Clad in a plain black suit and tie, he walks out on stage,
bows, sits down, takes a moment of sitting quietly, hands in lap, and
then plays. No arm waving, no body swaying, nothing to distract from the
music. And the music!
He chose to start both
program halves with a Bach Prelude and Fugue, No. 14 in F-Sharp Minor,
and No. 12 in F Minor, following those with Beethoven, Liszt and
Mendelssohn, then Chopin.
His Bach was orderly with
subtle dynamic nuance, clear articulation and rock-steady tempi. His
Beethoven, Sonata No. 24 in F-Sharp Major, was remarkable for its ease
of touch and lightness on the keys, with plenty of light, shade and
dynamism, but no fortissimos. Lisiecki appears to stroke the notes out
of the keys, and legato runs sounded like a flow of sunshine.
His intelligent approach to
Liszt’s Trois études de concert elucidated some of the mysteries of the
composer’s thinking, something which often gets steamrollered by the
chance to let everything roll out in an emotional outpouring. This had
depth, and here, as in Mendelssohn’s Variations sérieuses in D Minor,
Lisiecki could extract rich fortes from the piano without ever going
overboard.
He ended the concert with
Chopin’s Twelve Etudes, Op. 25, a good choice to finish with its
fireworks towards the end, though each etude had technical difficulties
to marvel at, his were so neat, so lively, so clean, and at the same
time so thoughtful, so musically right, and apparently so easy.
Lisiecki’s hands were relaxed all evening. He never pounded to achieve
emphasis or volume, they were just there. Nor did he seem to tense up
for runs, no matter how fast, and flawlessly even.
In short, a mature
musician, no matter his chronological age. I found myself thinking he’s
in the same genre as Alfred Brendl, a thinking musician’s musician.
The Sun Break, February 2012
Zoals ik al zei ben ik akkoord met deze recensie. Hoe Lisiekcki zo vloeiend met zijn handen over de toetsen van de piano heen beweegt is echt niet te doen. Ik stond met open mond toe te kijken. Het lijkt precies niet echt gespeeld, zo snel, zo vloeiend dat hij zijn handen beweegt, hij laat het heel makkelijk lijken. Het is ongelooflijk wat hij kan, zeker op zo'n jonge leeftijd... Ik zou gerust nog eens naar een concert kunnen kijken van hem, het is zeker fascinerend. Zeker een aanrader!
Hier zie je hem aan het werk...
