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Jack Massarik's rating
Herbie Hancock to the rescue
By
Jack Massarik
13 Jul 2009
This strange concert, a thing of fits and starts, took the form of a mystery tour. Music-lovers who had paid up to £60 a ticket were surprised to hear no introductory announcements. No programmes were found either, not even a set-list flyer, so at the first interval the information desks were besieged. People demanded details of the unspecified overture (Mozart, the Marriage of Figaro) just performed by an uncredited orchestra (the Philharmonia) and its anonymous conductor (John Axelrod). Staff rolled their eyes, chattered into walkie-talkies and promised details after the show.
Of course the star pianists needed no introduction, which was just as well because they didn’t get one either. But it would have been instructive to identify their opening score. Allegedly Vaughan Williams’s Concerto for Two Pianos and Orchestra, it was somewhere between classical and modern, with leisurely whole-tone arpeggios which, without taxing their illustrious keyboard technique in the sightest, created a Thirties feel.
Part Two found the co-stars sharing a piano, with Lang on bass-clef for a delicate piece (Ravel, Mother Goose Suite) apparently designed to test who could play the quieter. Lang remained barely audible for two Debussy preludes and jazz fans sat on their hands until Part Three, when Hancock finally played some solo piano, a polished medley of his two most elegant standards Cantaloupe Island and Dolphin Dance.
Bear-hugs of mutual admiration from the bill-toppers helped the packed hall to relax as the orchestra returned for Gershwin’s Rhapsody in Blue. This high-spirited, jazz-tinged hybrid was enjoyed by both pianists in different ways.
For an encore, Lang suggested excerpts of the Hungarian Rhapsody No 2. Hancock gamely agreed — “I’m gonna try and improve on Liszt?” —but China outplayed the United States here, Lang unleashing for the first time some of the awesome technique that has made him famous. It was the last act of an evening of indifferent production rescued by sheer star power.
Details are correct at the time of publication - please check with venue before booking.
Reader views (4)
The music was great! Lang Lang and Herbie demonstrated their ability to create unique interpretations of these great standards. Each artist pulling their respective talents to meet in the middle between jazz and classical.
Herbie performed an amazing medley of Cantaloupe Island and Maiden Voyage which interleaved classical and jazz timings. If you wanted pure classical, or pure jazz, you may have been disappointed. But, if you wanted to hear an innovation by two of the best artists out there, then like me, you had a good time.
- Ronald Higginbotham, United Kingdom, 14/07/2009 23:01
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for me the Gershwin was what the concert was about and what the 2 pianist from different genre, races, and ages really came together on. I agree with first writer that Lang Lang played some delicate pieces, I think a bit too much for some of the audience who were not educated enough to stop COUGHING !!!! The acoustics of RAH are not good enough for quiet music.
- Richard, london uk, 13/07/2009 17:03
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What? This was music at its best; two virtuosi from different schools playing out of their skins. Improvisation meets re-interpretation. I thought the lack of programme and introductions was refreshing; who needs tradition? The whole point of the evening was to focus on the music. Even Axelrod (who was fantastic), had to stay on his toes during the Rhapsody -noone quite new what was happening, but for the duelling pair upfront that was the spark. I was very impressed with how Lang Lang responded to the improv duel with Master Hancock, and equally impressed with Herbie's refined take on the piano.
By the way, Herbie didn't say "I'm going to try and improve on Liszt", he said "I'm going to try and IMPROV over Liszt" -which he did!
It was knock-out stuff. A one-off. Applause to whoever put it on and to the legends involved.
- I Should Have Your Job, London, UK, 13/07/2009 13:37
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The Hancock solo spot was the highlight of the evening by a long way for me.
The orchestra overpowered the pianos for most of the Vaughan Williams, and it all seemed a little under-rehearsed.
Was always a peculiar pairing. But the program was very curious for such a big space.
- Tom H, London, 13/07/2009 12:32
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