Recording of the Month
The 22-year-old Chinese-American pianist Eric Lu is one of the brightest rising stars in today’s classical music firmament, his playing revealing both an exciting engagement with the repertoire and a fresh and compelling new perspective on it.
Aged 20, Lu was unanimously voted winner of the Leeds International Piano Competition 2018, an achievement which propelled him firmly into the limelight and rewarded him with a management deal, major label recording deal with Warner Classics, and a concert commitment which might overwhelm the less assured player.
For his part, Lu would seem to have taken all this in his stride, the embodiment of a dream he has nurtured from a young age growing up in a house where classical music was cherished.
I briefly met Lu and heard him perform Mozart’s 23rd concerto at the Chetham’s Summer School last year (shortly before he made his BBC Proms debut with the same work), and was struck then by his poise onstage and off, his quiet confidence and calm energy.
But listening to his Warner Classics studio debut, a disc which includes Chopin’s 24 Preludes Op.28 as well as short works by Brahms and Schumann, it is the emotional range he brings to his playing which most immediately strikes me…
Continue reading Eric Lu: Chopin 24 Preludes
Sheet Music Review
Around this time last year I reviewed James Welburn’s Musical Escapades (you can read that review here), and was very positive about his original piano music, concluding:
“What impresses me most of all is the infectious good humour and the compelling imagination that runs throughout the whole collection…
James Welburn has with this collection made a stunning Editions Musica Ferrum debut; he is clearly a composer to watch, and among this publisher’s rich and growing catalogue, Musical Escapades becomes one of their best publications yet.”
Now Welburn is back with a new collection, once more published by Musica Ferrum. Reflections in Waltz offers seven new original pieces, again suited to players at late-intermediate level…
Continue reading James Welburn: Reflections in Waltz
As the words boomed along the station platform, I realised straight away that they were directed at me. I turned, looked up the platform towards a burly man in an official-looking hi-vis jacket and sheepishly gave him the thumbs up.
I had been momentarily transfixed in a meditation on the nature of fear.
Looking down at the rails I realised how easy it would be (having first checked there were no trains on the horizon) to step down from the platform, hop across the tracks and explore the beautiful verge that faced me on the other side.
And yet I would never, ever actually do so.
A self-preservatory terror of the rails had been instilled into me decades ago by my mother. My guess is that most of the passengers waiting on the platform would feel something of the same fear.
When movie heroes leap onto the tracks, we regard it as derring-do, suitably convinced of the huge risks involved. Meanwhile we ignore the thought that ordinary Network Rail employees routinely mosey around the rail infrastructure on a daily basis without being vaporised on the job.
Most of us rarely question the fears or values that were instilled in us at a young age. But perhaps we should do.
Continue reading “Stand back from the edge please!”
Sheet Music Review
Ask a group of pianists which edition of Chopin’s piano works is the best, and you will probably get little consensus.
Some cling to our old copies of the much-revered Paderewski Editions which have been widely used since their appearance in the mid-twentieth century, while of the more recent urtext editions, the Jan Ekier Polish National Edition comes highly recommended.
Alongside these, the ever-reliable Henle Urtext editions have been popular for many years, and enthusiasts will be pleased to hear that they have just added a new revised edition of the 4 Scherzi, edited by Norbert Müllemann and with fingerings by Hans-Martin Theopold.
Continue reading Henle’s revised Chopin Scherzi
Sheet Music Review
“Easy” collections of the core classical piano repertoire abound, but few bring to the table the depth of scholarship, reliable editing, fingering and expert advice found in the recent (and ongoing) “Urtext Primo” series.
Continue reading Wiener Urtext: ‘Primo’ Series
As the latest collection in the series – featuring the music of Clementi, Czerny and Cramer – hits the shelves of music stores worldwide, let’s take a look …