Given the complexity and depth of expression heard in the two piano concertos of
Frédéric Chopin, it's sometimes easy to forget that they are in fact youthful works, written only a short time after completing his studies at the Warsaw Conservatory. They were instrumental in cementing
Chopin's reputation both as a performer and composer during his early premieres. Despite the now-customary numbering and gap in opus numbers, the two concertos were written within only about a year of each other, with Concerto No. 1 actually written before Concerto No. 2. The present recording of pianist
Lang Lang and the
Vienna Philharmonic Orchestra under
Zubin Mehta does a splendid job of overcoming some of the shortcomings inherent in these works. The orchestral tuttis, often criticized as being derivative and poorly scored, are played with exceptional vigor and intensity.
Mehta treats the accompanimental passages as what they truly are: vehicles to enhance the piano part; the dialogue between soloist and conductor is fluid and seamless.
Lang Lang's playing deftly avoids the trap of over-romanticizing or over-indulging in rubato.
Lang Lang cites
Artur Rubinstein as one of his primary inspirations for
Chopin interpretation; this is quite clear in these recordings. Both
Lang Lang and
Rubinstein trod the fine line between lush Romanticism and outright sappiness, and both pull a rich, lush tone from their instruments. Whereas
Rubinstein's performances were notoriously marred by technical errors and over-pedaling to cover them,
Lang Lang's playing is as technically precise as it is musically. Throughout the recording, listeners are presented with a true sense of intimacy and closeness to the piano's sound; recorded sound quality is well-rounded and balance between orchestra and piano is exceptional.