Piano World Home Page Forums Our Most Popular Forums Pianist Corner Kissin at Carnegie 4/11/05

Here goes. I ought to mention that I'm in a somewhat crappy mood because the subway took twenty minutes to get moving once we got on. But that's neither here nor there.

This was my first time seeing Kissin live. Everywhere I go, I seem to pick up on the same two big ideas about Kissin: first, that he is still "maturing," and second, that he is at his best with his Chopin playing. After the recital, I found that I agreed with the first but not at all with the second. Kissin, at 34, is a very mature pianist, lightyears different from the babyface 17-year-old I see on my DVD of him playing the first Tchaikovsky concerto in 1988 with Karajan. I commend him for knowing exactly what he wants to do and executing it with an almost intimidating boldness, from his crystal-clear sixteenth-note octaves in the middle section of the Polonaise, Op. 53, to his utter refusal to smile. Once. Still, after the first all-Chopin half of the program, I was disappointed by sounds that were overly percussive and completely milked for their musical and emotional value. Rubato was everywhere. Climaxes were ignored. I was not pleased. "I figured as much," my friend told me as I explained these things to him. "You and your Rubinstein." Yes, me and my Rubinstein. But this is hardly to say that my mind was not open. Before moving on to the second half, I shall add a miscellaneous compliment, which concerns Kissin's choice to play the Fantasie-Impromptu. I know, and he knew, that it's at the top of every other amateur pianist's got-to-play and thus is butchered constantly, yet he boldly programmed the warhorse. And needless to say, the cordial New York audience was dazzled. The second half of the program was worth the ticket price alone. On the bill was Medtner's Sonata Reminiscenza and Stravinsky's Petrouchka Suite transcription. These two, particularly the latter, sparkled. Not necessarily thought provoking, but sparkling and oohaah-deserving. And, since that's what New York loves, the audience was able to suck a whopping four encores out of him.

Anthony Marek

* * *

Program:

CHOPIN Polonaise in C-sharp Minor, Op. 26, No. 1
CHOPIN Polonaise in E-flat Minor, Op. 26, No. 2
CHOPIN Impromptu in A-flat Major, Op. 29
CHOPIN Impromptu in F-sharp Major, Op. 36
CHOPIN Impromptu in G-flat Major, Op. 51
CHOPIN Fantaisie-impromptu in C-sharp Minor, Op. 66
CHOPIN Polonaise in C Minor, Op. 40, No. 2
CHOPIN Polonaise in A-flat Major, Op. 53
- Intermission -
MEDTNER Sonata Reminiscenza in A Minor, Op. 38, No. 1
STRAVINSKY Pétrouchka Suite

Just curious, how many encores did he play. I saw him in concert in LA years ago and I'll never forget his playing. That and his hairdo. His hairdo was so huge I couldn't stop looking at it. I mean it was huge. It swayed around everytime he'd make a move. I was scared it was going to knock me over. After the concert, he playing about 10 encore, no kidding.

Sounds like Marge Simpson was playing

How did he play the Medtner sonata? I'm pleasantly surprised that he programmed such an "obscure" piece. I love that sonata.

He played four. A perfect opportunity to showcase his broken English.

I like it too, and he played it very well. I find him more suited to the Russians.

...and that has what to do with his playing?

I think that Kissin's best recording was his first (the two Chopin Concerti + misc. encores). Taking it for what it is, it's impressive playing because I think he didn't feel or understand the pressure of concert life at that age and that relaxation couldn't be clearer.

His Schumann and Mussorgsky discs are pretty dreadful, though.

His encores were:

Chopin/Liszt: The Maidens Wish
Moszkowski: Caprice Espagnole
Godowsky: Alt Vien
Tchaikovsky/Wild: something from one of his ballet's(maybe Dance of the Sugar Plum Fairies- a famous Wild transcription but I can't remmeber the name)

Good morning to you too, sweetheart!

The encores were great choices. Thrilling pieces, and the audience went wild. Three virtuosic, and one delicate and lyrical (Godowsky). Someone's cell phone (ironically the 1812 Overture) went off three seconds before the last chord of the final encore.

Ahahahaha!

If it makes you feel bettter about yourself to knock his English, please go ahead.

Brendan:
Could you explain a little more about why you dislike those recordings? I've heard his Schumann Abegg Variations(his NYC debut) and Toccata live, but have not heard his recording of the Sonata No.1.

I don't know why a previous poster would criticize his English(even it were relelvan, which it isn't) because it sounded absolutely fine.

Not at all. It was cute, simple as that.

And I don't know why you'd take a free shot at me just to get your anger out. What you said's already been said. It was a lighthearted comment, and hardly critical, though while we're on the topic of criticizing English...

The point I was making was that Kissen doesn't speak in broken English. This had not been mentioned previously. Nor is your comment about my English relevant unless you think spelling is the most crticial part of posting.

I don't know where you were sitting, but it was pretty broken. If everybody in the auditorium turns to each other and whispers "WHAT DID HE SAY?" to each other after an encore piece is announced, uh, that's pretty broken.

If anybody has a problem with my opinions or the "relevance" of my comments, nobody's forcing you to respond. If it's a problem for you, then keep quiet about it. Because I certainly don't care. This isn't the New York Times, guys. I believe this is an internet forum -- 96% of everything said here could be called "irrelevant."

No one's allowed to disagree with you?? If you don't care, why do you get so upset when they do disagree?

Utter nonsense.

I wouldn't call it upset. But if you're offended by my posts, write about it in your diary. Nobody said you had to respond.

lol

Why don't you just leave, Tony.

All you seem to have done on this forum is attempt to master the art of slandering others, which -I think we will all agree- you have failed quite miserably at.

These are the cheap shots I'm talking about. That's fine; it was expected.

Check your definition of "slander," though.