정갤에 올라옴

정병아 온갖 잡스러운거 실시간으로 물어다 되도않는 억까하더니 호평은 올라온지 몇 시간이나 됐는데 보긴 봤냐



A last-minute substitute brings the audience at the Lucerne Festival to their feet, while the Royal Concertgebouw Orchestra scores with a formulaic program and evokes a peculiar sense of nostalgia.

This evening consisted of an astonishing yet familiar phenomenon and an obvious question. The Royal Concertgebouw Orchestra and conductor Myung-Whun Chung had to perform their guest appearance at the Lucerne Festival on Friday evening at the KKL with Seong-Jin Cho at the piano instead of Sir András Schiff. The cancellation was due to health reasons.

Seong-Jin Cho Impresses with Sensitivity, Delicacy, and Power at the Right Moments

And there it is, the obvious question: Can a 30-year-old pianist fill the shoes of a man who has been knighted for his musical services? The résumé of the South Korean at least gives cause for optimism—Artist-in-Residence with the Berlin Philharmonic, performances with the Vienna Philharmonic, Bavarian Radio Symphony Orchestra, New York Philharmonic, and a successful solo album. But what ultimately matters in the art form of music is still the performance itself. And this performance makes the question posed at the beginning fade away.

Cho doesn’t need to be like Schiff.  

Cho doesn’t need to imitate Schiff; his approach is independent enough. He presents a delicate, almost fragile Beethoven, who gradually fights his way free and gains strength, particularly in the cadenzas. The structure of the Fourth Piano Concerto already allows the orchestra more space than its predecessors in the genre. On Friday, however, the conductor shifted the balance even further, to the point where it almost tipped over.

For brief moments, the grand yet velvety string sound makes one forget that the piano is supposed to have the leading role. There’s nothing of Beethoven’s sharpness and angularity here, just a noble buzzing of the basses, with the woodwinds delivering precisely assembled chords. Cho delicately handles shimmering chains of sound, ghostly pedal work, and finally, a magnificent finale in the Rondo. He receives the audience’s enthusiastic applause with composure and then joins them in the audience for the symphony.