A product of the late Romantic period, the concerto also has its heroic symphonic sections.Ms Ott delivered cascading double octaves, arresting chords and keyboard-sweeping arpeggioswith great control. The Royal Stockholm Philharmonic Orchestra also gave an impressiveperformance under Sakari Oramo.
作为浪漫晚期的作品,格里格的协奏曲也有英雄交响曲式的部分。为了诠释这部分的音乐,奥特准确地控制着和弦和琴键,如瀑布倾泻一样向下琶音弹奏两个八度。皇家斯德哥尔摩爱乐管弦乐队,在沙卡里.歐拉莫的指挥下,也为大家呈现了一场印象深刻的演出。
Ms Ott chose as her encore another popular concert-hall piece, Liszts Grandes ?tudes dePaganini No. 3, nicknamed La Campanella. Liszt, himself a piano prodigy, also adored Griegsconcerto. When he visited the Norwegian in Rome in 1870, he purportedly sight-read theconcerto in its entirety, leapt up in delight and exclaimed to Grieg, You carry on, my friend;you have the real stuff in you. And dont ever let them frighten you! These words could alsobe valid for the precocious Ms Ott. Her performance established her once again as an artistto watch.
奥特的返场曲目同样是一首著名的音乐会演奏曲目。李斯特的主题大练习曲第三首诨名钟。李斯特,作为一位钢琴天才,也十分喜爱格里格的协奏曲。据说,他于1870年拜访格里格时,就完整地试奏了这首奏鸣曲曲,弹完之后,他高兴滴跳起来对格里格说:继续写下去,我的朋友,你有真材实料,尽情施展你的才华吧!这些话对天才奥特也同样适用,她这次的演出使她再一次成为众人瞩目的艺术家。
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