Why the fourth Beethoven Piano Concerto? There are so many recordings of
this concerto that I admire, from Emil Gilels, Claudio Arrau and
Wilhelm Kempf from one generation to Lars Vogt and Leif Ove Andsnes to
another. The simple answer is that I wanted to record something that I
enjoyed playing, and this concerto—one of my favourites—has always
intrigued me. The moment the piano opens with this passage almost from
nowhere, the association in the second movement of the tale of Orpheus
taming the Furies at the gates to Hades to the jubilant Rondo third
movement, I took to the concerto immediately when I first began studying
it and I have travelled with the work having performed it several times
over the years, and recently with the culmination of this recording.
Pairing
it with the Mendelssohn Double Concerto was a very natural choice for
me, because Zsolt is a regular duo partner and I wanted to have
something on the disc that demonstrated both solo and duo repertoire.
With
Clemens we really explored both the complexities of both concertos, the
two requiring sometimes very different approaches, but both allowing
the dialogue between the soloists and orchestra to come through. We
learnt so much together and had a lot of fun.
Recording this disc
is a realisation of the many people who have supported me throughout my
musical years. I am so grateful that this has been achieved. (Min-Jung Kym)
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