New York Times が，17歳の若き天才ピアニストを評論していましたのでご紹介します．
この１年内で，私も，このブログで３人を若き天才（うち１人はチヤイコフスキー・コンクールの覇者）として挙げましたが，古いバイエルやチェルニーからコツコツ積み重ねる教育ではなく，ほとんど初めから音楽自体を教える方法への転換も背景にあったと思いますが，格子点次々と若き才能が芽生えるのは誠にありがとうございます．喜ばしいことです．
At 17, the musician Conrad Tao is already impressively accomplished. A pianist in the Juilliard-Columbia double-degree program, he is also said to be a talented violinist. He has won the Ascap Morton Gould Young Composer Award eight times; he received a Gilmore Foundation Young Artist Award last year; and he was the only classical artist named in Forbes magazine’s “30 Under 30 in Music” in 2011. He has performed as soloist with the Philadelphia Orchestra, the Baltimore Symphony and the San Francisco Symphony.
と,Taoは，Violinistとしての才能にも恵まれているといいます．既に，ピアノでthe Philadelphia Orchestra, the Baltimore Symphony and the San Francisco Symphony と協演しているといいます．
この評論の対象となったのは，Weill Recital Hallでのリサイタルですが，最初のバッハでは， a cleanly articulated, fluid and fleet rendition of Bach’s “Italian” Concerto. He played the slow second movement with poise and feeling.
次の「月光」では， “Moonlight” Sonata unfolded in an exciting blaze of notes. But at times his playing lacked a certain emotional depth and potency: hardly surprising, given his youth. と若さを露呈する部分もあったようです．
しかし，何曲とされるリストを弾いて，He brought lovely colors and poetic nuances to three works by Liszt: “Au bord d’une Source,” “Vallée d’Obermann” and the “Rigoletto” Paraphrase とその才能を遺憾なく発揮したようですが， his playing marred only by a tendency to bang in the more exuberant passages.
There were also bangy moments in his passionate rendition of Chopin’s Nocturne in C minor (Op. 48, No. 1). と未だ未熟な部分も認めています．
しかし，The program concluded with Prokofiev’s Sonata No. 7. Mr. Tao spoke eloquently about the work, which Prokofiev ostensibly composed as a birthday tribute to Stalin. The work pleased the authorities, although Prokofiev expressed his frustration with the regime in covert ways, like using a theme based on Schumann’s song “Sadness.”
The sonata is “a call for peace,” said Mr. Tao, who, even if he didn’t manage to scale the work’s emotional summits, certainly played with fiery panache.
と不足部分を認めながらも，彼の才能を高く評価しています．
誠に楽しみな新世代の台頭だとたいへん嬉しく思います．
Music Review
A Promising Star, Rising Above the Horizon
Conrad Tao at Weill Recital Hall
By VIVIEN SCHWEITZER
Published: February 29, 2012
At 17, the musician Conrad Tao is already impressively accomplished. A pianist in the Juilliard-Columbia double-degree program, he is also said to be a talented violinist. He has won the Ascap Morton Gould Young Composer Award eight times; he received a Gilmore Foundation Young Artist Award last year; and he was the only classical artist named in Forbes magazine’s “30 Under 30 in Music” in 2011. He has performed as soloist with the Philadelphia Orchestra, the Baltimore Symphony and the San Francisco Symphony.
Willie Davis for The New York Times
Conrad Tao This 17-year-old student at Juilliard and Columbia performing in a concert, “A Piece for Peace,” at Weill Recital Hall on Tuesday.
He was presented on Tuesday evening at Weill Recital Hall by the
Tanenbaum Center for Religious Understanding, a New York secular nonprofit founded in 1992. The concert, called “A Piece for Peace,” was preceded by remarks by administrators including Reynold Levy, the president of Lincoln Center, who commented on Mr. Tao’s gifts as a prodigy.
That Mr. Tao, who gave his first recital at 4, is hugely gifted was evident from the outset. He opened with a cleanly articulated, fluid and fleet rendition of Bach’s “Italian” Concerto. He played the slow second movement with poise and feeling.
His impressive technique allows him to navigate difficult works with ease; the finale of Beethoven’s “Moonlight” Sonata unfolded in an exciting blaze of notes. But at times his playing lacked a certain emotional depth and potency: hardly surprising, given his youth.
He brought lovely colors and poetic nuances to three works by Liszt: “Au bord d’une Source,” “Vallée d’Obermann” and the “Rigoletto” Paraphrase, his playing marred only by a tendency to bang in the more exuberant passages. There were also bangy moments in his passionate rendition of Chopin’s Nocturne in C minor (Op. 48, No. 1).
The program concluded with Prokofiev’s Sonata No. 7. Mr. Tao spoke eloquently about the work, which Prokofiev ostensibly composed as a birthday tribute to Stalin. The work pleased the authorities, although Prokofiev expressed his frustration with the regime in covert ways, like using a theme based on Schumann’s song “Sadness.”
The sonata is “a call for peace,” said Mr. Tao, who, even if he didn’t manage to scale the work’s emotional summits, certainly played with fiery panache.
