5/29 7:30 — Lifits plays Schumann 5-tet…
I'll flesh out my thoughts as the hour gets closer. But this little spud will be the placeholder for discussion about Michael Lifits' chamber performance.
I didn't hear any of Lifits' prelims, so this is all come to me with fresh ears. Fresh except for...
My only quick thought: is that he's in a pretty tough spot, playing this piece after the unique, intense and unforgettable experience that Tsujii enjoyed with the same piece just moments ago... How to follow an unforgettable performance of the piece you're playing? Goodness.
Cheers,
— Mike (mike@media.mit.edu)
OK: We're off and running. Nina has cooked a wonderful dinner — spicy tofu, stir fried chicken with succulent bok choy, and I'm now into a delicious glass of white Bordeaux. Hey, if I'm not going to be in the hall, why should I shortchange myself? I am thoroughly enjoying Michael's approach in the first movement. He's got a great, natural "feel" for this piece. "Schumanesque" is the word — and it seems so few pianists who play Schumann really are. He's a gracious conductor when he needs to be, a marvelously sensitive accompanist, and a terrific soloist. In contrast with Tsujii's performance, this one is shapely and supple, more lyrical. When the phrases repeat (and they are very repetitive in this piece), he shapes them in appealing ways, drawing out different nuances and all the little hints in the score. I'm also feeling that Michael is genuinely enjoying himself. Poised without being "posed." The slow movement: lovely. I confess, I had chills. Exactly right kind of intensity. Funereal intensity. We're off into the Scherzo now. I can't resist sharing an anecdote about this piece that I heard when I was in college — can someone tell me if it's true? Clara Schumann was supposed to play the premiere of the piece, but she fell ill. Fortunately, Felix Mendelssohn was there, and he sat in and sight-read the piano part. And he loved it, but suggested that Schumann lighten up the scherzo a bit. And he did. I'd have to agree, it's a bit more Mendelssohnian, but still obviously tinged with the obstinance and dark humor we find in Schumann. Again, I am thoroughly enjoying Michael's tastes for this movement, and his sweet rapport with the Takács. Finale! Now I'm getting jealous. I played this piece in college — actually, I've played all the Cliburn quintets, and have such fond memories of all of this gorgeous music. Interestingly, I think the Schumann was perhaps my least favorite (of Dvorak, Brahms, Franck, Elgar). But I feel like I'm hearing the performance I gave, or rather, wish I'd given. I love all the sensitive rubatos, the marvelous rapport, the fugue (noble, and not rushed), the evident joy — gosh! What a handsome, splendid performance. You'll seldom hear this piece played more warmly, more enjoyably. Whistling, and cheers from the crowd, and such genuine smiles from Michael. I think the Takács enjoyed it a lot, but we can't really know their feelings, can we? There's such a special warmth — a satisfying glow — that lingers after an especially sweet performance. I'm really enjoying that here. Michael's chatting with Steve, and saying what I'm feeling: it was "Time to forget it's a competition... We're here because we love it, and we want to share it with this audience — they're so fantastic, and so lovely... I don't know if I will ever have a chance to perform with Takács quartet in Bass Performance Hall..." That's exactly the right attitude. Put the competition aside. You only go around once. And what a memorable, beautiful, warm and thoroughly heartfelt performance. Bravo. — Mike
OK: We're off and running. Nina has cooked a wonderful dinner — spicy tofu, stir fried chicken with succulent bok choy, and I'm now into a delicious glass of white Bordeaux. Hey, if I'm not going to be in the hall, why should I shortchange myself? I am thoroughly enjoying Michael's approach in the first movement. He's got a great, natural "feel" for this piece. "Schumanesque" is the word — and it seems so few pianists who play Schumann really are. He's a gracious conductor when he needs to be, a marvelously sensitive accompanist, and a terrific soloist. In contrast with Tsujii's performance, this one is shapely and supple, more lyrical. When the phrases repeat (and they are very repetitive in this piece), he shapes them in appealing ways, drawing out different nuances and all the little hints in the score. I'm also feeling that Michael is genuinely enjoying himself. Poised without being "posed." The slow movement: lovely. I confess, I had chills. Exactly right kind of intensity. Funereal intensity. We're off into the Scherzo now. I can't resist sharing an anecdote about this piece that I heard when I was in college — can someone tell me if it's true? Clara Schumann was supposed to play the premiere of the piece, but she fell ill. Fortunately, Felix Mendelssohn was there, and he sat in and sight-read the piano part. And he loved it, but suggested that Schumann lighten up the scherzo a bit. And he did. I'd have to agree, it's a bit more Mendelssohnian, but still obviously tinged with the obstinance and dark humor we find in Schumann. Again, I am thoroughly enjoying Michael's tastes for this movement, and his sweet rapport with the Takács. Finale! Now I'm getting jealous. I played this piece in college — actually, I've played all the Cliburn quintets, and have such fond memories of all of this gorgeous music. Interestingly, I think the Schumann was perhaps my least favorite (of Dvorak, Brahms, Franck, Elgar). But I feel like I'm hearing the performance I gave, or rather, wish I'd given. I love all the sensitive rubatos, the marvelous rapport, the fugue (noble, and not rushed), the evident joy — gosh! What a handsome, splendid performance. You'll seldom hear this piece played more warmly, more enjoyably. Whistling, and cheers from the crowd, and such genuine smiles from Michael. I think the Takács enjoyed it a lot, but we can't really know their feelings, can we? There's such a special warmth — a satisfying glow — that lingers after an especially sweet performance. I'm really enjoying that here. Michael's chatting with Steve, and saying what I'm feeling: it was "Time to forget it's a competition... We're here because we love it, and we want to share it with this audience — they're so fantastic, and so lovely... I don't know if I will ever have a chance to perform with Takács quartet in Bass Performance Hall..." That's exactly the right attitude. Put the competition aside. You only go around once. And what a memorable, beautiful, warm and thoroughly heartfelt performance. Bravo. — Mike
May 29th, 2009 at 6:21 pm
Apparently, Jade doesn’t think that we can hear her..
May 29th, 2009 at 6:48 pm
omg….. this is so awesome… 2nd movement chills!!! I cannot believe this, I’m a new fan of Liftis.
May 29th, 2009 at 6:50 pm
Anyone else not hearing Lifits keys very clearly? Which piano did he choose - does anyone know?
(Just tuned in as the dirge started…)
May 29th, 2009 at 6:56 pm
too bad about the teeny technical glitches in the 3rd mve, esp. the last note.
May 29th, 2009 at 7:03 pm
Lifits can really be heavy in the quintet. I really liked him in the first round. But here I hear this often heavy sound which to me is really not that appealing. Also, his soft touch is far from as charming as Kunz’s.
May 29th, 2009 at 7:05 pm
@Nick: I see what you mean once the second was over…
Also - the commentary seems to be finally working now…though it’s rather distracting in something like Schumann. I imagine having it on for some of the contemporary pieces will be useful - has anyone seen it up for those?
May 29th, 2009 at 7:09 pm
Easy, natural, joyful music-making from start to finish without any histrionics. For me, this was the most enjoyable Schumann quintet I’ve heard in quite awhile.
May 29th, 2009 at 7:14 pm
@ Angela D.: It’s the VCF Hamburg Steinway. This piano is really getting a workout in this competition.
I liked Lifits’ Schumann a lot. As hard as it for me to say, I think it was better than Nobu’s.
May 29th, 2009 at 7:15 pm
For those who did not have the running commentary feature set to on, or are only listening they did put the story of Mendelssohn filling in for a sick Clara and sight-reading it that Mike referred to.
That 2nd mvt truly was gorgeous. The thematic structure of this piece is probably one of the all-time greatest achievements in all of music imo. What a piece of genuis and having the suggestions of another genuis like Mendelssohn included an extra added gift to music I think.
May 29th, 2009 at 7:15 pm
@Mike: Your Clara story is in the commentary, so I guess we should assume it’s true? That is if the commentary is correct,
May 29th, 2009 at 7:18 pm
The 3rd movements octaves decend are very dificult, and when he managed to do it pianissimo in one of them he got my atencion and recpect (even so i was already pretty amased with his Schuman sound). It was the first time i ear Lifits and he`s deserving the jury`s decision!
Very musical and always with taste. Mr. Lifits, if your read this, here is my compliments from Portugal!
I hope the blog doesn`t only bring presure has you did in the flash interview, it can also make you realise that you have now people around the worl who admire your playing!
May 29th, 2009 at 10:15 pm
@Angela: I hadn’t seen the commentary! But I’ll take it as vindication.
MH
May 29th, 2009 at 10:23 pm
It’s difficult to compare Michael’s Schumann to Nobu’s: they were such different experiences. With Nobu, one feels drawn into a different world. There were rough edges, but a different quality of conversation. I felt as though the experience for the audience was palpably different. The sense that Nobu was embarking on a new adventure (only his second chamber music performance) was, I think, a part of the thrill.
But Michael gave us , I thought, a terrific, extroverted and joyful rendition: full of nuance, shapely phrasing, and real delight in just being there.
With the contrast of these two, I think all who heard them became aware of how two very different approaches can each be satisfying in their own way. And in a really nice way, the two performances remind one of how vital and engaging the performer is in bringing these parts to life.
Sort of like hearing two very different, and very wonderful, performances of a Shakespeare play.
MH