How do you detect if a pianist is "dwelling on the details" in a long work?

[nomis]

From reading many reviews, I frequently find that critics will say that a recording of a long work will sound disjointed. Frankly, I can't detect this. Can anyone tell me how and give specific recordings of pieces where they sound coherent/disjointed?

[allthumbs]

I never listen to critics. The very fact that a pianist is good enough to record his playing says something and is out of my league.

Remember the old adage (modified to fit the question) "Those who can - do: those who can't, ...become critics!

[clem4705315]

ask horowitz. i'm kidding!!! peace. usually, i notice an artist dwelling on the details when a lot of musical ideas that he does become rather out of context to the established main idea. i don't know.. it depends on the pianist's personality that his sound will fit his own ideas, too. i find horowitz's chopin barcarolle quite like it. sometimes, u hear a passage where he takes off the pedal without preparing his listeners for it. or taking off the pedal in some parts where it breaks the flow of the character. or sometimes, making voices which distracts the listeners from the more important elements. these are sometimes "effects" that a pianist may want to do in order to show off a little bit. u know, like, "see, i can do loud here the first time, and soft in the second time!" when musically, in fact, there is no essence in doing so. while i have nothing against pleasing listeners with such effects, i think one should minimize it in order to avoid making "one thing too beautiful for the rest of the music."
just an opinion...

[nomis]

That was very helpful Clem! Anyone else?

[AvoidedCadence]

Don't know if this is exactly what was asked but I'll have a go:

Pretty much all pianists (myself included) have a tendency to concentrate mainly on whatever part of a work they're playing at the particular moment, or at least not think more than a few bars ahead.  As a result, the music does sound disjointed.  Fortunately, this tendency CAN be overcome (I hope).

Here are ideas (and yes, I just spent a year learning to overcome this problem myself, mostly in Chopin and Rachmaninoff):

i. Keep in mind how long a piece is, and where the "high points" are.  Don't get too loud or bombastic unnecessarily.  Discover the composer's overall plan for dynamic and tension levels in a piece.

ii.  Don't destroy a phrase by using too much shaping or colouring (be especially cautious with rubato) in small sections.  The music must flow smoothly.  Regarding what Clem said:  contrasts are definitely necessary but often it is best to keep them small.  Don't suddenly double the speed or dynamic level between repetitions of a theme (sounds ridiculuous but some pianists have done this).

iii.  If there are breaks between parts (good example: Chopin 4th ballade), signal to your audience that you are moving into a new section, but don't rubato enough that the piece seems to come to a halt.  If there is an indicated pause, make sure you continue in tempo and don't slow down excessively to express the beauty of the new theme that's just arrived  - changing tempos between sections (unless marked) is a great way to break apart a piece.

[Waldszenen]

I never listen to critics. The very fact that a pianist is good enough to record his playing says something and is out of my league.

Remember the old adage (modified to fit the question) "Those who can - do: those who can't, ...become critics!

Wrong - listen to John Rusnak's Chopin Etudes.

[ahmedito]

If a 15 minute piece is starting to sound like it lasts 2 hours, then youve probably got that problem. It makes music boring to listen to and it gives the impression that it lasts a lot more than it really does.

I think the opposite problem is a lot more common though. Rushing through a piece, without any thought whatsoever at the little things going on. I have met too many musicians that think that giving a piece "good form" just means playing it faster and flatter.

[pianomann1984]

If a 15 minute piece is starting to sound like it lasts 2 hours, then youve probably got that problem. It makes music boring to listen to and it gives the impression that it lasts a lot more than it really does.

I think the opposite problem is a lot more common though. Rushing through a piece, without any thought whatsoever at the little things going on. I have met too many musicians that think that giving a piece "good form" just means playing it faster and flatter.

Quite true.  If a pianist is worrying about details whilst performing, it only proves that he/she does not know the work well enough.  When performing, the musician should be thinking only about the music and it's internal effect - not on technical details.  In a good performance, the musician simply plays.  If mistakes happen, then they happen - all that matters is the way you affect yourself and your audience, and it takes a lot of balls to do this and take chances!!!  I you find yourself bored and fidgety, or thinking about what you might have for dinner tonight, then the chances are the performer is not in the moment!