LISZT - Gnomenreigen (Dance of the Gnomes) - Enzo

[emill]

Played at the Cultural Center of the Philippines (CCP), February 7, 2010
in a Steinway Grand.  Video and audio through Cannon HD camcorder.
All comments and suggestions are most welcome

The staff of the CCP must have been so stretched by the thousands that came to the "Pasinaya" Festival, sort of an open house to the general public to watch and listen to concert/orchestral music, piano, ballet, classical guitar, folk/tribal dance, film, theatre, etc... so much so that many things went wrong when it was Enzo's time to perform...

The piano had no lid cover so that sound projection and dynamics suffered ... the spotlight was not turned on making the video dim ... many of the teens in the audience thought they were in a rock concert and could not control their gigling or keep their chatter down. I feared that Enzo would be so distracted ... but somehow he delivered, the show went on and everyone had a nice time.... I think.   Ahh.. what an afternoon... what an experience!!

[rachfan]

Despite the distractions of the audience, Enzo played a wonderful rendition of Gnomes.  I noticed that the longer Enzo played, the quieter the audience got.  Even those who know little or nothing of classical piano came to realize that that there was an artist on stage.  Bravo!

The best thing to do in a situation like that is to sit on the bench, glance out at the audience a few times without touching the keyboard, and wait patiently for silence.  They soon get the message and settle down.  I never found that to fail.  But  yes, the rock concert scene is where most young people are found now.  Those who attend classical music concerts increasingly have gray hair.  So when many youngsters are exposed to serious music, they're clueless as to how to act and not act.  Still, I think the old proven way of waiting for silence will still send the right signal.  The pianist is there to please, but in return deserves a little courtesy.

[ramseytheii]

The opening section and its repeat are not an appreciably different tempo than the music in between them.  There has to be at least three levels of tempo in this piece: the opening tempo, which frankly should be slower than this and more enchanting; the piu animato, which should actually sound in a different character - not the same ; and the piu Presto possibile.  (The vivacissimo can be interpreted in the same tempo as piu animato, or just as a dynamic difference).

I find this a common fault which is why I mention it here.  To become a more interesting pianist, the kind of self-discipline needed to bring out these differences is essential.

Nice fingerwork!

Walter Ramsey

[emill]

Hi ramseytheii !

Thank you for the specific observations which I know my son
will review intently on his own (& later with his teacher).
Observations like these, whether one agrees or not really expands
ones appreciation of the piece and how it is viewed and interpreted
by others.

THANKS a lot !!!

Emill

[ramseytheii]

You're welcome, but if we all can't come to an agreement on what piu animato means, what is this world coming to after all?

Cheers,
Walter Ramsey