Concert Going

Posted: November 14, 2016

The large concert that took place in the simple stage was attended by many people, including children and senior citizens. I was overwhelmed by the construction of the large modern art gallery that was not only amazing, but also had diverse and fantastic art collections and incredible screenings. The audience was attentive as they enjoyed the visual orchestra, which increased my excitement.

The only instrument used was a black piano, which was played by one pianist during the entire show that took one hour. The pianist was Einav Yarden, who wore a black dress and hit the keys with passion while moving her body. The performance took place in the Los Angeles County Museum of Art on April 10, 2016, at 6:00 pm. The music performed were Beethoven’s Bagatelles Opus 33, William’s Bolcom’s Nine Bagatelles, Schumann’s Kinderszenen Opus 15 and Beethoven’s Sonata in A flat major.

The favorite piece that I head was Robert Schumann’s Child Falling Asleep, which is a thirteen piano piece of 1838. Yarden perfectly intertwined the pieces that had varying moods into one seamless piece. She achieved the unique piece with an intrusive narrative flow that eventually gave a beautiful piece. In short, she played with ecstatic and divine perfection, enthralling many audiences with the music.

The chosen sonatas skillfully shared a spirit of liveliness that was evoked by the inventive playing of the pianist. The choice of songs was of the 1880s, but the Yarden added the mechanical bustle to the Beethoven’s relaxed and unenergetic refinement. Therefore, Yarden shared the songs with more polymorphism and joviality, thus bridging the time distance with today’s energetic styles. The pianistic fluency was flexible in style due to its perfect and beautiful sound, spark and lightness. Her unique pianism was primarily due to her absolute mastery of the instrument, which enabled her to use diverse characters in different pieces to bring together a seamless and exemplary performance.

Yarden intelligently, directly and incisively used the elegant and graceful musical genre with incredibly metaphorical scripts that ultimately gave tasty frictions and sharp trills. She focused on clarity and clean lines, making the Baroque Allegretto in Sonatas sound beautiful and pure. She drew her attention by depicting the overall music structure, which allowed the pianist to communicate the message in the music in a quiet and magisterial authority. The rendition of the Sonata by Beethoven with dance genre was transcended to human aspirations using warm modern and romantic pianism. The program music was inspired by early Sonata works of intelligent musicians such as Beethoven’s that were dance inspired. However, Yarden transformed them into elegant musical pieces mostly enjoyed by today’s generation.

The new rendition of Beethoven’s Allegro Motto, Sonata Opus 110, was shared with great success, presenting Yarden’s musical talent that had extreme agility with the particular idea for romantic style. The tempo rubato converted the intense emotional feelings into good sound and truly enchanting the audience. Beethoven was also played in a unique way by restraining emotion, penetrating the heart and adding technical perfection, and enhancing the music’s experience. Memorable feature in the performance was how Yarden displayed her emotional side by making the Beethoven’s four bagatelles sound edgy and adventurous and revealing the quick shimmering textures and playful crafty humor with serenity.

The musical theme varied in a different section of the program, reflecting different musical ideas. For instance, in her Kinderszenen section, Yarden played the theme of story-telling correctly to both her adults and children audience with the aim of making them recapture their childhood. In this section, she made her audience put themselves in their lives and bring back their childhood memories. Yarden also joyfully executed humor theme using the early 19th century Beethoven’s pieces by paying tango and waltz and gracefully explored the classical forms of artists of the early times.

The dynamics were variant, flexible and soft and Yarden observed the articulation marks and dynamics of Beethoven carefully. She portrayed her understanding of the markings to give musical intelligence to listeners. The piano work was also immaculate with every note played with fluency and clarity. Yarden used tempo rubato that gave a sense of liveliness, and her Sonata was genuinely classical, which was audible. She played with rhythmic precision, closing her performance with the Beethoven’s late Bagatelles opus 110, which persuaded her audience due to the stylish combination of natural and precise rubato.

Compared to other young pianists, Yarden manages to give better and logic Beethoven Sonatas. She gauges each movement with classical rigor and refined dynamics range and at the same time conveys the tension and urgency of music. The warmth and roundness in her tone captured the ears of the listeners, bringing an exceptional transparency to the sound of every piece she performed.

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