You then, my son, be strong in the grace that is in Christ Jesus. And the things you have heard me say in the presence of many witnesses entrust to reliable. I revealed myself to those who did not ask for me; I was found by those who did not seek a nation that did not call on my name, I said, ‘Here am I, here am . These be the words which Moses spake unto all Israel on this side Jordan in the wilderness, in the plain over against the Red sea, between Paran, and Tophel.
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Aged 21, coming from Paris and having studying with some of the most famous and respected professors, Ingmar Lazar started with a Suite in G bibloca Jean- Philippe Rameau from the 3rd Book of pieces for harpsichord Finely chiseled music enriched with numerous ornamentations.
Dialog cu Adrian Papahagi
Work for a clear mind, as well as for fingers. It was a real pleasure to listen to Ingmar Lazar, playing on the modern piano instead of the harpsichord with as much precision and accuracy, as well as being lively and vivid, with a perfect understanding of the late French baroque style, and ibblica succumbing to dryness. A perfectly successful first impression. After Rameau followed Ravel.
Claude Debussy as well as Maurice Ravel often referred themselves to Rameau and their predecessors of the 18th century. To continue the program biblida Ravel is, in this sense, perfectly logical. But it would biiblica be logical to perform the original piano version in a pianistic way. We started to listen with our eyes as well during his execution — the big waves, the foam, the noise of the wind, the accoustic and the visual were united and mixing with each other.
Many subtle colours came out of the instrument. The central part is freer and almost improvised, but the absolute clarity and precision of the interpreter remained, as well as creating the ideal atmosphere that eegeza required here, with the outbursts, the quivering exegezq, the repeated notes, and with orchestral colours as well.
The playing of Ingmar Lazar is fascinating in its diversity and richness, technically flawless and in the same time in possession of a great orchestral logic. These are again highly demanding pianistical pieces, the first one very virtuosic, the others more lyrical, and the last one almost violent, with thundering fortississimo octaves. These works immediately seduced the public, and Ingmar Lazar performed them in an ideal manner. In the ballade, Ingmar Lazar was telling an imaginary story with a perfect understanding of the dramatical development, and was extracting wonderful colours out of the piano, making it sing as well.
Dialog cu Adrian Papahagi
The nocturne in C minor was an event by itself in this overwhelming performance, and the following piece in F sharp minor was a delicate answer to the drama of the previous one. The listeners who came by pure curiosity to discover a young talent left the concert after an encore by Liadov with the feeling of having met a young master of the piano, and that they had had the luck to attend an enriching experience. Braunschweiger Zeitung, 18th of JuneUlrich Thiele. The young French pianist treated the audience to an immaculate, supple performance.
In the classical and romantic works that he performed, the necessary expressiveness of the repertoire benefited from added depths exeeza to his infallible technique and his uncompromising approach.
Wald, Lucia [WorldCat Identities]
With great bilbica, the pianist linked the recurrent display of audacious passages with the charming dance scenes. Wonderful singing tranquillity characterised the Adagio, and Lazar demonstrated his wonderful technical skills in the Presstissimo finale.
His interpretation of the Chopin Nocturne no. The audacity with which Lazar pounced on the keys was remarkable; drunkness and ecstasy, with brief melancholic interruptions. The pianist graciously provided the enthusiastic public with three encores.
While still a student bibllica the Hochschule in Hanover and despite his young age, Ingmar is already an accomplished pianist who has a musical conception which goes beyond the surface of the works and the habits which are considered as tradition. Refusing deliberately a demonstrative type of playing, Ingmar Lazar preferred a virtuosity without swagger, which produced a great fusion with sxegeza orchestra, sensitivity expressed with the greatest interiority.
We were captivated by the almost cheerful plenitude and the eloquence of the first movement. The fusion, more than the dialogue, between the soloist and the Russian orchestra was the first quality of this performance which went its expressive way without forcing the eegeza.
Tragic, the andantino in C minorwas played without insisting on excessive weight which some put into it. The Finale was sprightly performed as it should be, always light in spirit, dark of texture, which went well with this simple classicism, so difficult to sustain.
Almost everywhere, the instinctive feeling of the soloist was evident. Alexandre Brussilovsky and Ingmar Lazar played with evident pleasure. It was not difficult for these two musicians to captivate their audience with such great talent. Ingmar Lazar has a number of qualities that are rare, especially for his age: Nordkurier, 25th of JuneMichael Baumgartl. Following his sparkling Liszt-Programme last year, he played in Vorpommern on Wednesday evening.
This time, for the Chopin Anniversary, he had prepared a purely Chopin- Programme. Youthful looking, black suit, white shirt, no tie, but with an attitude emphasising calm, he strode onto the stage with a serious face, turned to the audience, smiled politely, sat down at the instrument and immediately became introspective. He began the Fantaisie in F-minor as if improvising, still, searching.
Gradually, he played himself into a fury, opened the dynamics in the Forte that built up to a robust sound and raised his playing to almost hectic virtuosity which was able to base itself on an amazingly brilliant accuracy. After that, two Nocturnes and the Polonaise in F-sharp minor, the latter with emphasised fieriness for dramatic effect. Occasionally, the young pianist allowed both hands to metrically differ slightly from each other, creating, even in the fast passages, the impression of spontaneous inspiration, without the hint of perfect reproduction.
The evening continued with the technical finesse of two Etudes from op. The cascades with the right hand effervesced wildly in A-minor over the simple bass motive that every Chopin lover has been brought up on. He sometimes sings along quietly to the melodic treble parts, allows middle-range tones to seep out of them, changing the direction of the harmonic current unexpectedly into surprising new paths, allowing himself time for delicately placed chords.
In the Sonata in B-flat minor, the pianist is developing the greater portion of his expressiveness with the dramatic themes, which demand his enormous virtuosity and can lead him to the edge of ecstasy.
Lazar was able to surprise everyone with his maturity of playing and interpretation way beyond his 17 years. His control was remarkable, and he brought to life this highly virtuoso, challenging piece. If he had not done so already, after the interval, the French pianist won over the remaining hearts of his audience. The four heterogenic movements — strictly speaking only actually strung together in a row — were bound together by Lazar with stylistic vehemence into an exciting whole.
Wonderfully controlled playing — which Lazar showed — is the prerequisite for the second movement Scherzowith its widely-spaced chords and precarious octave leaps. The popular Funeral March, the third movement, had serenity and atmosphere, whereas the Presto immediately following rushed past at the limits of its tempo almost in a dreamlike sequence. Enthusiastic applause followed and was rewarded with an encore. Schaumburger Wochenblatt, 24th of March Frederic Chopin would have thoroughly enjoyed sitting in the Spiegelsaal years later and being witness to a musically exceptional talent performing his works with virtuosity.
His concentration, his intuition and his ear for musical nuances were very impressive. His concert was a delight from the opening piece onwards. His Etudes and Mazurkas were as brilliant as his Waltz. The audience had bid their farewell to Ingmar Lazar with a standing ovation.
His interpretation of Chopin so impressed the audience that they bade their farewell to him with a standing ovation.
In doing so, he withstood the temptation of simply dazzling by pure virtuosity. Instead, he impressed by detailed plasticity of shaping and he succeeded brilliantly in uncovering the varying moods of the pieces.
Ingmar Lazar and Chopin were more that just an impressive combination. He mastered the works in which a broad scale of expression was able to unfold, such as the Fantasie op. It was surprising how quickly one forgot all that one was thinking about Chopin performers and marvelled at the charm that was prevalent during his playing. In the very exciting Scherzo No.
A Sonata movement, which was played as an encore due to the rapturous applause, was an extra highlight.
We will not forget the performance of Ingmar Lazar. He demonstrated a perfect mastery of the instrument and an undeniable artistic temperament. It was one of those shocks when one was left wondering: A sovereign mastery showed that we have to deal with a young prodigy who imposes silence to the listener.
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Alte personalitati – Alte personalitati ale Teologiei Ortodoxe: Bucuresti Cluj Iasi Timisoara Toate orasele. Presa despre Ingmar Lazar. Abonare prin RSS Feed la noutati. Presa despre Ingmar Lazar swissclassic. Schaumburger Wochenblatt, 24th of March Ingmar Lazar brings Frederic Chopin back to life Brilliant piano concert delights the audience Frederic Chopin would have thoroughly enjoyed sitting in the Spiegelsaal years later and being witness to a musically exceptional talent performing his works with virtuosity.
Schaumburger Zeitung, 9th of March Brilliantly virtuoso magical sounds of Chopin Young pianist Ingmar Lazar hailed by the audience His interpretation of Chopin so impressed the fxegeza that they bade their farewell to him with a standing ovation.