[LJ2ME] Adam's Apple
I had bought my usual front row seats, but for a lark, decided to schooch two seats to the right, only to realise it was a miscalculated judgment and now my view of the piano had just barely missed the keyboard.
Fortuitously, in line with the previous stops on his world tour, a big screen projection of the keyboard up close allowed an unparalleled perspective of Adam György's hands at the keyboard.
His repertoire for the evening was almost similar to that when he was last here two years ago. Guess the mantra of if it ain't broke, don't fix it rings true.
Familiar favourites were the order of the day, with Chopin's Ballade in G minor and Liszt's La Campanella making my day and my ticket's worth.
The narrative structure of the Ballade was stretched out with yard-spinning tricks-of-the-trade. Hesitant pauses countered dramatic exclamations and rambling passages interweaved with succinct phrases. The fantasy conjured up knights-in-shining-armour and damsels-in-distress, albeit not with a happy ending as the premonition of the tragic and foreboding opening spoke true.
La Campanella was a crowd favourite as the delicate music sparkled like diamonds in the fleet and fast delivery of the virtuosic work. This piece will always bring to mind levistud competently ekeing out the melody on the grand piano on the stage in the school hall to dontlikeyou and my envy.
Liszt was the mainstay meat and potatoes of the evening with a substantial allocation of his works. The Rigoletto Paraphrase and two Hungarian Rhapsodies were pyrotechnic-filled works that seized at the jugular from the get go and had the audience gripped in anticipation and appreciation.
Bach's Sheep May Safely Graze and Jesu, Joy of Man's Desiring were crafted with meditative reflection and beauty of tone, resulting in a reading of melting delicacy.
György only gave one encore. His Flight of the Bumblebee was a token that left many disappointed that there was definitely no more to come when the announcers's voice came on over the air.
This mat, downy haired and dark-suited pianist is forgiven though. What to do when he's as good to see as to listen to?
Fortuitously, in line with the previous stops on his world tour, a big screen projection of the keyboard up close allowed an unparalleled perspective of Adam György's hands at the keyboard.
His repertoire for the evening was almost similar to that when he was last here two years ago. Guess the mantra of if it ain't broke, don't fix it rings true.
Familiar favourites were the order of the day, with Chopin's Ballade in G minor and Liszt's La Campanella making my day and my ticket's worth.
The narrative structure of the Ballade was stretched out with yard-spinning tricks-of-the-trade. Hesitant pauses countered dramatic exclamations and rambling passages interweaved with succinct phrases. The fantasy conjured up knights-in-shining-armour and damsels-in-distress, albeit not with a happy ending as the premonition of the tragic and foreboding opening spoke true.
La Campanella was a crowd favourite as the delicate music sparkled like diamonds in the fleet and fast delivery of the virtuosic work. This piece will always bring to mind levistud competently ekeing out the melody on the grand piano on the stage in the school hall to dontlikeyou and my envy.
Liszt was the mainstay meat and potatoes of the evening with a substantial allocation of his works. The Rigoletto Paraphrase and two Hungarian Rhapsodies were pyrotechnic-filled works that seized at the jugular from the get go and had the audience gripped in anticipation and appreciation.
Bach's Sheep May Safely Graze and Jesu, Joy of Man's Desiring were crafted with meditative reflection and beauty of tone, resulting in a reading of melting delicacy.
György only gave one encore. His Flight of the Bumblebee was a token that left many disappointed that there was definitely no more to come when the announcers's voice came on over the air.
This mat, downy haired and dark-suited pianist is forgiven though. What to do when he's as good to see as to listen to?