今天公交车上都站着人了，车里和大街上都是热闹而嘈杂。普通青年泡吧，二逼青年爬屋顶，文艺青年就去听音乐会了。
Boettcher Concert Hall 是个圆形的音乐厅，很有层次感。进去第一张照片拍的不好，就删了。紧接着就走来一位大妈说不给拍照。好吧，反正这个想看都能google到。
音乐会开始就很有喜感。先是简单的介绍乐队，说到首席，是个华人，可是她名字叫Yumi Hwang…
之后独奏和指挥上台。独奏那个女人比指挥这个男人身材上要大一圈，于是指挥跟着独奏走上来就特别逗。
开始说演奏。我是拉三结束后的中场休息时看的节目单和演奏者简介。听完之后看独奏Valentina Lisitsa的介绍，特别特别有感触。这里为了讲故事方便就先摘录一点介绍（这段出自别处，但几乎是一样的）：
“Valentina Lisitsa: International Woman of Mystery.” This was the title of a feature article published just a few months ago in Canada’s leading newspaper “Globe and Mail.” It would be difficult to come up with a better or more succinct description. While Ms. Lisitsa is just becoming known to mainstream concert goers, she has already been a major celebrity in alternative media circles. Her YouTube channel has attracted more than 35 million views, with an average of 50,000 listeners every single day. This is an extraordinary number for a classical musician of any rank or fame. One of her self-produced DVDs has held the coveted #1 bestselling spot on the Amazon.com music sales website – a true feat, particularly when taking into account that she has been solely relying on word-of-mouth advertisement. And, speaking of mystery… She even made a cameo appearance in the best-selling thriller “Port Mortuary” by the American novelist Patricia Cornwell!
Fearless in exploration of new means to connect with her audience, Ms. Lisitsa embraces ever newer technologies. Last summer, she installed a webcam in her practice studio, while learning new pieces from the beginning stages to performance-ready versions. It took her two weeks of 14-hour long practice sessions (interrupted only by coffee breaks and watching the World Cup) to learn approximately 25 new works – 4 hours’ worth of music. At the same time, sharing the experience with thousands of people watching the whole process was well worth it, judging by enthusiastic response she got for her effort. Her latest recording sessions were streamed “live” over the internet in their entirety; this is something that very few musicians would be brave enough to share. Over two days’ time, audiences around the world could watch how the recording of 24 Chopin Etudes was taking place. People could witness not only the perfectly edited takes, but also the real work – sweat, mistakes, frustration… It made for an invaluable experience, particularly for inspiring young musicians, who were able to see how much effort and dedication goes into making a recording.
On the subject of recordings, while Ms. Lisitsa eschewed – until now – traditional audio recording format (you can’t even find her on iTunes), that is all about to change. Being a proud contrarian, she feels that she can buck a trend of declining CD sales in the music industry. Last year, she recorded a complete set of Rachmaninoff’s Piano Concerti with the London Symphony Orchestra, under the baton of the exciting young conductor Michael Francis. In addition to this monumental task, she has recorded a disc of solo Rachmaninoff works – his rarely heard First Sonata and “Moments Musicaux”. The Rachmaninoff discs along with the recording of 24 etudes by Chopin are planned to be released over the next year, and Ms. Lisitsa is confident that all these CDs will be a great success, in major part because of her enormous fan base.
As much as she enjoys making recordings, Ms. Lisitsa is at her best when performing in “live” concerts. She is a pianist embodying the old Romantic tradition of taking chances and embracing risk rather than being calculating and cautious. Combined with her unique command of piano colors, unrivaled touch, and dynamic range, it makes for an electrifying experience. Her latest project, a vinyl LP of Liszt masterpieces , was done in this grand old tradition – purely analog recording , no edits, live audience… a feat yet unmatched in classical music field of today…. As demand for her live appearances has grown quickly , she has appeared in the last couple of seasons with orchestras such as the Chicago, Pittsburgh Symphony , San Francisco , Seattle, West Deutsche Rundfunk, and Rotterdam Symphonies, to name just a few; collaborating with conductors such as Manfred Honeck, Yannick Nézet-Séguin, Jukka-Pekka Saraste, Lorin Maazel and James Gaffigan.
June 19th 2011 Valentina is making her recital debut in Royal Albert Hall in London UK. An invitation like this was reserved over last century to a very few classical artists. This is a historic event not to be missed.
用红色标出来的是让我特别有印象的。从这场拉三来看，就像我当时发的状态描述的那样，这是一个各种分裂的演奏。首先，这是我有史以来听过速度最快（所有的段落）的版本。开篇的独奏呈示就很快，而乐队呈示那段(piu moso)以及后面的Piu vivo的速度并没有提上去。用的不是大号的斯坦威，所以声音并不是很响，经常被乐队盖过。但是呈示部这段十六分音符跑得可真是顺畅，到处可见女人的细腻手法。可因为音量不太够，让人对后期的力度有点担心。副部之前华彩的结尾虽然简单，但是处理得很棒，我是感觉自己一直找不到很好的方式。副部呈示依然很快，有点不太舒服。方块8那段和弦也故意奏得很弱（第三乐章方块54也是），让我有点不能理解，不要太矜持嘛~倒是后面加速的十六分音符需要弱的又不够弱。我确定这不是能力问题，不知道她为啥这么处理。
方块12开始，独奏开始上力度了，左右的低音旋律终于超过了大管和大提。方块14这块的中音部不清楚，不够爽。到后面的高潮，开始给力了，那个和弦敲得非常霸气啊！华彩，不说什么了，独奏的能耐全展示出来了，unrivaled touch, and dynamic range, it makes for an electrifying experience。
第二乐章，乐队表现非常出色，木管和圆号的那声音真的很赞，独奏的火候也把握的不错，不算闷骚，方块30前那个低音用了八度增强，我之前怎么没想到呢！这个乐章是连接一三乐章的奇葩，真的是太煽情了！
第三乐章之前的华彩序幕就预示着这将是一个电闪雷鸣般的结尾。这个华彩弹的干净而利索，不带任何速度调制，直奔主题。只可惜，第三乐章进入后，开头那些个重音都没能听到，然后就是最大的悲剧，方块40这一段全部乱套，乐队和独奏互相听不见了，最后是独奏多弹了几小节，停了一会儿等到方块41那个和弦，才重新合上。Piu mosso那段和弦切分，最主要的问题是力度，四段下来没有那种推进的感觉，主要是开头太响，热上去了又没有及时冷下来。Meno mosso这里速度减得不是很明显，这倒是很合我的胃口，我自己弹是基本上不减速的。 中段谐谑曲，又是发挥细腻指法的地方，很漂亮。中段结尾定音鼓之后的那个几个和弦（方块59之前），我是不喜欢抠旋律的，因为那些和弦非常美妙，可是大多数演奏包括这次的都是把旋律强调出来的。后面再现没啥好说的，吸取教训，不再翻车。方块69-72，我听过最疯狂的速度，没抽筋简直是奇迹。最后那段催人泪下的高潮也没啥好说的了，直到结尾，一个字——赞！
总体的评价就是：速度足够快，但略微缺点变化。不过拉三标记出的速度变化太多了，有时乐队确实不好办，处于安全考虑，有很多版本也是忽略了一些的（包括拉赫本人演奏之后也意识到）。力度有时会莫名的弱下去，被乐队该了不少，但是有对比的地方还是很强烈。快速的小音符跑的很干净，大和弦虽然有几个明显的错，但是丝毫不影响整体的效果。真的是非常爽的演奏！就是我的目标了，努力努力！
