In 1994, Cho-Liang Lin made an extraordinary recording of the Prokofiev violin concertos (and the Stravinsky concerto) with Esa-Pekka Salonen and the Los Angeles Philharmonic (see right.) The recording was much lauded, Gramophone magazine stating at the time:

Cho-Liang Lin's (recording) has an exceptionally generous and very apt coupling... the command of Lin at every point has one marvelling that such poised, flawless virtuosity can also convey such warmth along with such positive characterization.

Born in Taiwan, Cho-Liang Lin began playing violin at age five. Recognizing he needed to pursue his violin studies abroad, he made his way to Australia by himself at age 12 where he spent three years. His commanding technique and precocious abilities then led him to Juilliard, where he studied with the eminent Dorothy DeLay, teacher to such greats as Itzhak Perlman, Gil Shaham, Midori, and Sarah Chang. He made his public debut in New York at age 19, playing the Mozart Third Concerto at Avery Fisher Hall.

This meteoric rise to the top ranks of the violin-playing world has placed him among the most sought-after violinists in the world. He plays regularly with the world's top orchestras and teaches as well at his alma mater Juilliard. Prokofiev is among Lin's favorite composers -- during the 2000-2001 season he will play the First Concerto with the Boston Symphony in March, as well as in Aspen, Tokyo and Paris. He playes a Guarneri del Gesù violin made in 1734 and most of his recordings can be found on the Sony Classical label.

In this interview, Lin talks about his fondness for Prokofiev, his years with DeLay and her influence on him, his assessment of Prokofiev's violin works, and many other subjects.

Prokofiev.org: Do you enjoy Prokofiev's music?

Cho-Liang Lin: Yes, I like Prokofiev's music very much. I think of him as one of the great composers of the 20th century.

Do you have any particular favourite piece?

I don't know an extensive amount of Prokofiev's music, especially his piano music. But I do love the likes of Romeo & Juliet, Classical Symphony, Third Symphony, F minor Violin Sonata, Fifth Piano Sonata, First Violin Concerto, Scythian Suite, Second and Third Piano Concerti and Overture on a Hebrew Theme. I am sure I am forgetting some.

When were you first acquainted with any piece by Prokofiev? When did you attempt to play your first Prokofiev piece?

I first heard a Prokofiev work when my father brought home the Isaac Stern recording of the violin concerti with the New York Philharmonic and Mitropoulos and Bernstein conducting. The First Concerto was instant magic to me. The Second Concerto took a lot longer for me to like, but I was only nine years old then. The recording, now reissued, is still incredibly beautiful to this day. I learned my first Prokofiev work when I was 17. On that occasion, I played the D major Sonata, and for my first performance of that work, in Spain, Madame Prokofiev came to the concert. It made me nice and nervous.

What do you think is the essence of Prokofiev and his music? Are there any particular qualities that you especially enjoy or admire in Prokofiev?

I like so many characteristic things about his music: his incredible use of harmony, the unlikely and unexpected modulations that sound so spontaneous and yet natural. I find his two sides, the motor-driven and often percussive dissonance versus the sensuous and elegant lyricism, very fascinating. The violin works utilize the natural lyrical quality of the violin while the piano works are much more driven and harsh and exuberant. Atmosphere is very important to Prokofiev: just listen to the beginning of the First Violin Concerto or the Balcony scene from Romeo & Juliet. It is so unique and haunting.

Do you think Prokofiev writes 'difficult' music (in the sense that it's hard to comprehend)? How would you advise a newbie to approach the music of someone like him?

Works like his two violin concerti, Third Piano Concerto and Romeo & Juliet are as "romantic" and easy to relate to as any Richard Strauss or Rachmaninoff work, for example. There are some works which are harder to grasp right away like the Third Symphony or the Sinfonia Concertante. But even these works can be understood and appreciated if one has a little patience.

What do you make of each of the two violin concerti?

The two violin concerti are very different from each other. The Second Concerto is really more like a traditional violin concerto with a fast-slow-fast three-movement format. And the finale is very virtuosic. But that is where I have a problem with this work: the first two movements are predominantly lyrical while not lacking in drama, but the finale is suddenly driven and harsh. It's very different from the previous movements. Like in the Barber concerto, I don't understand why a composer would choose to radically depart from the established mood in the finale.

The First Concerto has no such problem. There is a consistent sense of optimism; there is plenty of impressionistic coloring and the predominantly lyrical melodies which are very beautiful. The violin part is really more a part of the overall orchestral color and texture than a part that stands out from the orchestra (which is what one gets in Second Concerto). This kind of writing is similar to what we find in the Ravel G major Piano Concerto. The soft ending does not send the audience into a frenzied standing ovation. That's too bad. It's such a beautiful work, full of fairy-tale-like colors and characters.

I'm sure you agree that there are some composers who, by virtue of the fact that they themselves are violinists, write violin music that is especially well-suited to the instrument and the technique behind it. Prokofiev, however, was an accomplished piano virtuoso. Are his violin works awkward to play in any way?

Not at all. Prokofiev wrote violin parts which are well suited to the instrument. This does not mean that they are easy to play. I merely mean that one need not struggle unnecessarily with the violin part.

You made a recording of the two violin concerti with Esa-Pekka Salonen and the Los Angeles Philharmonic, which, incidentally, is one of the primary recommendations on Prokofiev.org. Are you happy with what you did then? If you can recall, what was your approach to each of the two concerti then?

I was happy with the LA/Salonen sessions. There was plenty of time during the session unlike a typical rushed session with an American orchestra. Salonen was a superb colleague.

Do you still play them? Often?

This season, I will play the First Concerto often. I will play it in Aspen during the music festival there, as well as in Paris, Tokyo and with the Boston Symphony. I am looking to bring back the Second Concerto next year after dropping it for 5 years now.

It's been 8 years since you recorded them. How do you think your approach has changed (if at all) today?

I am sure I play certain things now differently from how I did it in the recording, and that is only natural. I don't listen to my past recordings unless I must, such as sitting in a radio station during an interview or visiting the home of an over-enthusiastic relative. Therefore I have not really checked out my own interpretive progress (or regress).