Digressions Tony Chen Lin

• Béla Bartók (1881-1945): Piano Sonata Bb 88 Sz. 80:
• 1 I. Allegro Moderato 04:41
• 2 II. Sostenuto E Pesante 04:54
• 3 III. Allegro Molto 03:48
• Johann Sebastian Bach (1685-1750): French Suite No.5 in G Major, BWV 816:
• 4 I. Allemande 02:46
• 5 II. Courante 01:39
• 6 III. Sarabande 04:34
• 7 IV. Gavotte 01:12
• 8 V. Bourrée 01:12
• 9 VI. Loure 02:21
• 10 VII. Gigue 03:22
• Tony Chen Lin:
• 11 Digression (Meditation on R.S.) 05:25
• Robert Schumann (1810-1856): Humoreske, Op. 20:
• 12 Einfach 05:47
• 13 Hastig 05:17
• 14 Einfach Und Zart 05:11
• 15 Innig 03:04
• 16 Sehr Lebhaft 03:57
• 17 Zum Beschluss 06:52
• Total Runtime 01:06:02

Info zu Digressions

Life seems to be an endless stream of unforeseen digressions; it is often difficult to distinguish them — when they occur, what they depart from, where they lead to. Seen in this light, the realisation of a debut album has certainly been a happy and fortuitous “digression” in my life, and I am thrilled to present it here on Rattle.

The programme consists of three seemingly unrelated works presented in an order that exploits their contrasts to the fullest, suggesting a “narrative” in which each work digresses from a “main subject” to which we may or may not return. In lieu of the token classical sonata that often opens a concert, I jump in with Bartók’s utterly unapologetic Piano Sonata, a unique work deeply rooted in Baroque and Classical traditions — yes, as dissonant as it may sound! I conclude the recital with Schumann’s mercurial Humoreske, a work that exemplifies his polyphonic tendencies in forming ideas. In this respect, both works point to Bach (as great music often does) who occupies centre stage in the programme.

Squeezed in among these giants is my composition, which is partly inspired by the digressive nature of Schumann’s piano music, and partly from digressive — or rather, distracted — moments while studying the Humoreske. Thus, motifs from Schumann’s work surreptitiously find their way in. In concert I often serve it as an hors d’oeuvre of sorts to segue into the tender opening of the Humoreske, cheekily bypassing the difficulty of beginning a work that seemingly does not begin ... but I digress.

My thanks first and foremost go to Prof. Jack C. Richards, without whose generosity and support this project would only have remained a dream. I would also like to thank producer Kenneth Young for his sharp, discerning ear and for pushing me to perform at my best, and engineer Steve Garden, with all the magical powers he seems to possess. I am forever indebted to my wonderful mentors who have been an endless source of inspiration over the years: Rosemary Stott, Edith Fischer, Jorge Pepi-Alos, Balázs Szokolay, Andreas Immer and Neville Baird.

I dedicate this album to my parents, who support me in every way yet beckon me back whenever I digress too far, and to my friends, but above all to my audience. My heartfelt thanks goes to you all for your unwavering support, and for continuing to remind me at crucial moments that what I do actually matters.

Tony Chen Lin, piano

Tony Chen Lin
Born in China, New Zealand pianist Tony Chen Lin’s first encounter with music came at the age of 12 with keyboard lessons before advancing to piano the following year. He made his concerto debut at 14 after winning the Christchurch Junior Concerto Competition. Since then he has won the 40th New Zealand National Concerto Competition in 2007, 2nd prize and the Best Classical Sonata Performance Award at the 2008 Kerikeri International Piano Competition, 2nd at the 2011 Lepthien Piano Competition in Germany, is a multiple recipient of the Dame Malvina Major Foundation Arts Excellence Award, and has received support from the Farina Thompson Charitable Trust, the Anne Reid Memorial Trust, Kiwi Music and Keith Laugesen scholarships.

After receiving his Bachelor of Music in piano performance and composition with Péter Nagy and Gao Ping at Canterbury University in 2009, Tony moved to Europe where he completed his Master of Music under Gilead Mishory and Andreas Immer at the Hochschule für Musik in Freiburg, Germany. In 2015 he graduated from the Konzertexamen (Soloist Diploma) programme with Distinction. He studied part-time with Balázs Szokolay at the Liszt Academy in Budapest, and has benefited immensely from the mentorship of Chilean pianist, Edith Fischer.

Tony regularly performs in New Zealand and Europe, notably at the Semaine Internationale Piano & Musique de Chambre festival in Switzerland where he in recent years gave masterclasses and conducted, and as soloist with the Stuttgart State Orchestra as part of the “Rising Stars!” Festival. Recent highlights include performances of Bartók’s First Piano Concerto, a solo tour with Chamber Music New Zealand, performing with the renowned Quatuor Sine Nomine, and serving as an adjudicator at the Royal Over-Seas League ARTS Chamber Music Competition. Tony has received masterclasses from renowned pianists such as Paul Badura-Skoda, Ferenc Rados, Leon Fleisher, Andrzej Jasiński, Jorge Pepi-Alos, Dmitri Bashkirov, Robert Levin, Lilya Zilberstein and Jean-Marc Luisada.

As a composer, Tony has had works played by the New Zealand Symphony Orchestra, Auckland Philharmonia, Christchurch Symphony Orchestra, and Christchurch Youth Orchestra. He is a four-time recipient of the Lilburn Trust Student Composition Award, as well as the 2007 NZSO Todd Young Composer Award.

Tony’s debut solo album will be released in 2018 on Rattle Records.

Dieses Album enthält kein Booklet