let on

ブロンフマンのコンサートレビューからの落ち穂拾いです。昨年ブロンフマンは、プロコフィエフのピアノソナタ（激しい曲であります）を弾いている時に指をけがしてしまいました。ピアニストにとっては悪夢です。

Yefim Bronfman is known far and wide as a pianist who relishes a tough workout, whether in one of the established monster pieces of the past or some newly concocted obstacle course by Esa-Pekka Salonen or Magnus Lindberg. But as in strenuous athletics, things can happen.

It happened to Bronfman last October in Berkeley when, while winding up Prokofiev’s Eighth Sonata, he broke a finger – every pianist’s nightmare. He was forced to cancel his concerts a few days later with Gustavo Dudamel and the Los Angeles Philharmonic.

Yet the resilient Bronfman was back in action sooner than predicted, even staring down the same Prokofiev sonata again at Carnegie Hall last March. And he came to the Hollywood Bowl on Tuesday night armed with Brahms’ big, bad bear of a Second Piano Concerto, itself known to have caused physical problems for some pianists.

If there was any trepidation, any caution while dealing with some of those massive hand-stretching chords, leaps and octaves, Bronfman didn’t let on. His huge metallic bass sound thundered as always, with sharp accents emphasizing key points. He could also melt into the orchestra with lyrical delicacy, and cellist Tao Ni supplied a subdued, understated, always musical solo obbligato in the third movement.
http://www.latimes.com/entertainment/arts/culture/la-et-cm-music-review-yefim-bronfman-lionel-bringuier-and-los-angeles-philharmonic-at-hollywood-bowl-20120801,0,915720.story
let onは『ジーニアス英和辞典』(大修館)に「[しばしば否定文で]白状する・口外する」とあります。OALDにも”(informal)to tell a secret ”とあります。そのほかにも「ふりをする」という意味もあるそうです。

ここでの使い方として、演奏したブラームスの協奏曲2番も連続のオクターブや跳躍が多く、技巧の面で大変難しいのですが,かつての怪我が影響して「虚勢を張る」ようなものでなく、素晴らしい演奏をしたことが分かるでしょう。(Minnesota)