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A Serious Note

Piano concert showcases talent but lacks enthusiasm.

Published: Wednesday, March 16, 2011

Updated: Wednesday, March 16, 2011 17:03

IVORY TOUCH

Egar Robles | Valley Star

IVORY TOUCH - Solon Pierce plays a classical piece by Claude Debussy during Wednesday’s free concert.

Solon Pierce is serious about playing piano and does so in a very serious manner. His program was a switch from the first two concerts of the free series, which were more of an interactive learning experience.  The performers seemed more passionate about playing and appeared to be enjoying themselves.  

Pierce's program was a stark contrast, a taste of proper classical etiquette.  He hardly acknowledged the audience, except to calmly bow, and point out two changes in the program. He did not break a smile once.  His solo piano concert consisted of seven pieces according to the program, but it was hard to follow where he was in the performance because he only spoke to the audience twice.

He started his concert with a slow, sad, and expressive piece.  Although it was played skillfully, he could have started with something more upbeat.  The first song should grab the audience's attention, not lull them to sleep.  It was a song that would be hard for someone who is not a musician to appreciate; it lacked steady rhythm, and a repeated melodic phrase.

Although his program was introduced as an eclectic mix of songs, they almost all were played in the same style; lots of racing arpeggios, drastic dynamics that seemed to follow the free flowing tempo, and lack of a steady beat.  He played the songs expressively, yet Pierce himself was completely expressionless.  It was hard to tell if he was getting any enjoyment out of performing, or had any passion for the music.

Of course, the lack of passion could have been due to the atmosphere of the room.  The program he played was more suited for a concert hall filled with men and women in their fanciest attire, with all the spot lights gleaming down upon him, the sole performer.  Due to a lack of proper stage lighting, he was playing to a room full of college students in jeans and sweatshirts, themselves lit up under bright florescent lights.

The "Graceful Ghost Rag" was the highlight of his performance.  It was energetic, with a steady beat you could dance to.  It was the only piece that showed diversity in his style of playing.

He closed with his own rendition of the song "Somewhere," from the musical "The West Side Story."  He managed to take a beautiful and classic melody, add frills and arpeggios, and strip it of any rhythmic beat it once had.  Although it was played with an impressive skill level, it was not an impressive take on the song.

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1 comments Log in to Comment

spierce
Thu Mar 17 2011 21:34
Ms. Jorgensen,

Many thanks for attending my performance and for your comments about my playing. One of the wonderful things we enjoy in this country is the freedom to express our opinions and through freedom of the press allowing others to see those views freely.

Perhaps if you had known some of the circumstances behind this performance you might have a slightly different take on my playing. I am sorry if the Debussy Elegie was too sad and not "upbeat" enough for you--I played this piece in memory of my mother who I lost several weeks ago to metastatic cancer, hence the overall "serious" tone you may have noted during the performance. It was actually the very last piece Debussy wrote for the piano, and is a very improvisational, rhythmically free and special piece--one of the most extraordinary things Debussy ever wrote. Since it only lasts about 2 and a half minutes, I didn't think it would "lull anyone to sleep," but hopefully the rest of the program would have woken anyone up who might have been in that state.

If by saying you observe that I was "expressionless" during my performance you mean that I do not subscribe to the Lang Lang (famous and popular Chinese pianist of today) school of overemotive facial gesticulation you might indeed be correct. I believe in letting the music speak for itself. Pop music (among other things) over the years has perhaps made us increasingly numb to that whole notion. That there is an element of theatre in music performance cannot be denied, but many people might agree that there is also a distinct difference between art music and musical theatre, except when the genres are mixed in performance art etc. There are many musicians and pianists for whom these gestures apparently come naturally in their own personal process of music making, but I am not one of them--and I do not believe in faking such things because it would be dishonest to myself, and to the audience. I believe we should respect everyone for who they are, and not for who they are not.

I am somewhat mystified by the "frills and arpeggios" you heard in my transcription of Berstein's 'Somewhere'--apparently you did not stay after the performance when on the stage for the audience I talked with Dr. Christian Nova (the chair of the LAVC music department)...you might have actually seen me crack a smile or two! I actually made a point of saying that I believed in keeping this piece simple and did not add much of anything to Bernstein's original accompaniment to the song--only a few chords and imitative voices. Perhaps you are thinking of the transcription of Gershwin's 'The Man I Love,' which definitely does have what could be called 'frills and arpeggios'--as I pointed out by contrast in conversation with Dr. Nova, this was done by the Australian pianist and composer Percy Grainger. The mark at the beginning of the score of 'Somewhere' is "slowly," and I try to take this to heart. As you noted how important and beautiful the melody in this song is--it's something which needs to be brought to the fore, and too much of a sense of rhythmic "beat" would surely blunt the overall effect (in the words of Stephen Sondheim)..."peace, and quiet, and open air wait for us...somewhere."

Thanks again for your comments.
Solon Pierce

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