Piano Critique

Evgeny Kissin has been an international sensation for his piano playing skills in many concerts since he was the age of 10. At the age of 27, his phenomenal has experienced growth continuously. The media refer him as a genius who exists beyond affection. His memorable concert was a performance at the Royal Albert Hall in August 1997. It turned out to be the first prom in the 103-year history of the public walk performances whereby a solo recitalist made it became trendy as it enticed the most substantial viewers ever in all of those 103 years they had of the history of pianists live performances in a concert having an attendance of approximately six thousand people. One of the leading managers in London once quoted saying that it had generated more enthusiasm than any other recital in London and other major cities in the UK for the last five decades. The music performed in the concert was by Chopin, Schubert, Kissin, Beethoven, Haydn, Gluck Liszt who was the composer. At the conclusion of the Albert Hall recital, Evgeny Kissin was one of the most interminable series of the encores ever played in the history of the proms, it was a historical and extraordinary event.

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The concert at the Royal Albert Hall

The performance was done in August 1997. On this day, Evgeny Kissin played the first solo recital ever to have been performed in the history of the London public walk performances. Even though it was a hot Sunday, Kissin was able to pull out one of the most phenomenal achievements in the playing of pianos. After the concert, some of the skeptics made remarks that it was not easy for one to hear much from the Barn despite Evgeny Kissin displaying his grandest style. To the audience, he was almost like the legendary Michael Jackson, tiny doll-like. His hall was packed to the capacity that there was not enough room for Kissin to take bows on either side of the piano. The entire arena, and the orchestra space and virtually any other part of the hall.

During the performance, there was a significant difference in the performance of the pieces written earlier and those done during the concert. The dynamics during Lists Liebestram are different from those in Chopin. This was signified by the enthusiasm and energy that Kissin portrayed when playing the piano during those two different moments. In the first quarter of the performance, Kissin played the piano in a manner to create a tremendous rhythmic effect, and towards the end of the performance, he played to create melodies. The tempo of the concert was high during the start of the event, and it could be seen by the audience too but became low towards the end.

Due to the massive number of the audience, Kissin decided to trot down from the loggia stalls, which continued until he was able to give his seventh encore. He was able to grant them a professional wan smile after two and a half hours of performance. Regarding the sound, it was adequate all the way to the back stalls behind Kissin. However, to those at the very end, the playing of the piano was a bit distant, but the central revelation was to tell it was with the vast acoustic. This enabled Kissin to show off his skills in a fabulous range of body movements and touch on the piano during the first movement of the sonata of Haydn, which facilitated the creation of an overwhelming sense of orchestral. If Haydn had been present during the performance, he would have been delighted and amazed by the skills that Kissin was portraying on his works.

In spite of all that, the somewhat static middle movement was rather unsuccessful. It failed to show intimacy and the continuity of sound, for Lists Liebestram, though it had a high supply of art and sonic upholstery with a sense of travel which worked a treat. After the interval, the nocturnes of the Chopin two op 27, the genre of their classics were spun exquisitely into a tumultuous climax. This was done with the intentions of preparing the way for Chopin's epic in the third sonata. Kissin played this part with great delicacy as well as with sweeping panache. However, that good performance was disturbed for a moment when a group of violent listeners started to applaud at the first moment. Not everyone was happy with this act, but later normalcy resumed and the performance continued as intended. However, there were mixed reactions during the performance; some individuals would boo Kissin and people would think that it signified disapproval while their real intent was to approve the performance.

The organizers failed to make it clear that people should remain put so that their reactions might not act as an act of interference to the rest of the audience who were keen and followed the performance with great interest and to ensure that the concert looked organized. Nonetheless, it was a tradition for such performances to start with a scherzo which was virtually attack. Generally, the concert was a great success and displayed one of the most talented people in orchestra and playing of the piano to be particular. The vast audiences were an indication that the audience appreciates his work and are entertained by his skills and talent.

References

Allegrofilms. (2016, November 28). Retrieved November 13, 2018, from https://www.youtube.com/watch?v=8WDU14w_AZc