On Friday, November 19, in the ceremonial hall of the City Hall in Novi Sad, a solo concert was
held by the distinguished Hungarian pianist Tamas Erdi. This piano recital was organized as part
of the concert season of the NEO Festival, whose artistic director is Marko Miletić, cellist and
professor at the Novi Sad Academy of Arts. The audience had the opportunity to attend an event
that, due to its specificity, further enriched musical life in this calendar year of 2022 and the period
when the city of Novi Sad is the European Capital of Culture.
Tamas Erdi completed his piano studies at the Royal Conservatory of Music in Toronto, in the
class of renowned professor Leon Fleischer. Highly regarded by music critics, he performed piano
concertos with symphony orchestras and performed in major concert halls such as Carnegie Hall
and Lincoln Center. And the prominent pianist Zoltan Kočis said that Erdi plays piano with more
sensitivity than any musician with ability to see the keyboard. In addition to a successful career as
a pianist, Erdi is the artistic director of a festival held in the open air on Lake Balaton in the
summer, and he is also the recipient of many prestigious awards, one of which is the Order of
Merit of the Republic of Hungary.
The audience in Novi Sad was delighted with the performance and concert organized by the
Hungarian pianist Tamas Erdi. This kind of musical event rarely happens in our area. Considering
that the pianist learned to play the piano according to a specific method because he lost his sight
in the maternity ward due to a malfunction of the incubator, the visitors supported this kind of
musical encounter with an exceptional artist in large numbers. The ceremonial hall of the City Hall
in Novi Sad was filled to capacity.
The concert program began with the works of Franz Liszt, in which the pianist showed musicality
and emotional depth at the very beginning through "Consolation" no. 3 in D major. Then he
demonstrated his virtuosity and piano technique at a very enviable level through the Hungarian
Rhapsody no. 6. Then we had the opportunity to hear two very demanding compositions from the
cycle "Years of Pilgrimage" dedicated to Italy. First, Spozalizio, a composition inspired by the
work of the famous painter Raphael, entitled "Wedding of the Virgin", in which the pianist
completely succeeded, with his skill, in evoking the sound of church bells and a kind of wedding
march. After that, there was a beautiful dynamic nuance through the composition " Les jeux d'eaux
à la Villa d'Este" in which, according to contemporary musicologists, Franz Liszt anticipated
impressionism, evoking the sounds of fountains and waterfalls.
In the continuation of the concert, in the performance of the Bergamo Suite by Claude Debussy,
the audience was fascinated by the wide palette of colors and values expressed through tonal
shaping and with the intelligent use of pedals. Certainly, the most famous miniature, called
"Moonlight", stood out for its interpretation and the impression that the pianist goes on stage with
a clearly thought-out concept of each piece he performs.
At the very end of the program, we had the opportunity to hear a composition called " Dances of
Marosszék " by Zoltan Kodalj, from 1927, with which Erdi authentically interpreted melodies
based on folklore, but stylized through very complex harmonies typical of 20th century composers.
As an encore, Erdi also performed Bartók's "Allegro Barbaro" with a characteristic rhythm and
recognizable contrasts in dynamics, and then Chopin's popular Nocturne in C sharp minor as a
lyrical and introspective piece, with which he wanted to say goodbye to the Novi Sad audience, to
which he left a positive impression with how passion, persistence and love for music can overcome
obstacles in life.
“Tamás Érdi gave concerts in Poland on several occasions (at
prestigious venues such as at the foot of the Chopin Statue) ...
Each of Tamás's performances were spectacular…. In our opinion,
not only is Tamás a virtuoso equipped with exceptional talent, but
he is also an unprecedentedly sensitive artist, who is capable of
deeply and impeccably grasping the intentions of composers
representing any musical era or style. His style of performance
earned utmost respect, especially in light of the fact that many
renowned piano artists follow a mechanical style that has got little to
do with real art. sincerely believe that Tamás Érdi has earned a
long-term position in the front line of piano artists in the
CARINA BURA: ACTUALITATEA MUZICALĂ /Liszt: A major piano concerto with Enescu Filharmonic Orchestra Bucharest / 2012 February conductor: Josef I. Prunner
.. Érdi released the duality of the theme of the piece with a fantastic performance. He illustrated the diverse and intricate variations of Romanticism by sensitive, intimate and lyrical meditation. Not did at the same time, his presentation neglect momentum or ecstasy.‘The life and adventures of a melody’, the subtitle critics gave Liszt’s piano concerto, was interpreted by the artist with incredible feeling.
He worked his way elegantly and with an exceptional ease from virtuosity to the lyrical parts and vice versa. He kept the unique, intricate, powerful and emotionally intense composition in hand by the velvety touch of notes.As an encore, Tamás Érdi performed the Consolation in D-flat minor in an overwhelming manner.
“Tamás touches piano keys with much more sensitivity than those
who can see. I believe that in his play, in certain dynamic
domains, there is such sensitivity which is naturally not
possible to reach for us. I dare say that this ability could be
measured by Chopin's standards. It is no coincidence that
Chopin is so close to him… And it is not that there was no
dramatic sentiment in his music, but by all means he opens up
a new world, a new dimension that no one has opened before.
And Tamás can point out these peculiarities with incredible
Tamas ERDI made his recording debut two years ago on the same label. […] It elicited a rave rewiev from Thomas McClain (May/June 2000) who, in describing the (then 20-year-old)
pianist's playing, went so far as to say that "the word's remarkable' seems inadequate".
That's very high praise indeed, but after listening to this release I wholeheartedly
agree. What makes Erdi's achievement all the more remarkable is the fact that he was born blind. Mr McClain candidly confessed that he prompted him to approach the recong sceptically, and I did too. But my doubts were quickly dispelled. This is absolutely splendid Mozart playing. […]
Listening to this was a very moving experience both musically and extra-musically. What impressed me even more than the manifold beauties of the performances was the sheer palpable joy in music-making communicated by this blind artist. We have all known people whose physical disability slowl reduced them to inactivity, self-pity, and bitterness. Like its predecessor, this stands as a permanent reminder that such despair can be combated and transcended. As such, it is a testimony to the courage and resiliency of the human spirit.”
“Despite his youth, Tamás Érdi is already a mature, great, wise musician. Judged by his play I think that Annie Fisher must be one of his models. He plays with marvellous simplicity and ease, his piano sound is full, his sense of melody and form are amazing. …..The technique is perfectly safe, the fast passages are pearling, the melodies of the slow movement soundexpressive and poetic. Only those with a sense of vocation whose mother tongue is music, Mozart's music, can play in such a manner.”
It is a bold young pianist indeed who makes his recording debut with the D-minor Concerto. He is automatically going against the big ones: every pianist of the last century, it seems, has tackled it and a surprising number of them have done it very
well indeed. So was inclined to brush off an effort by a 20-year old pianist who was born blind. I changed my mind in a hurry when I heard him play. I changed my mind in a hurry, he recorded when I heard him play. He achieves a depth of feeling and a power of expression for which the word "remarkable" seems inadequate. He opens with power and depth. BRUNO WALTER, who recorded the work in VIENNA in the 30s, came to mind, and I consider that a high compliment....The finale is incisive and bold...The cadenzas are not identified, but sound like Beethoven’s....
I would not discard Rudolf Serkin, Clara Haskil, Ashkenazy, Uchida, or Kissin for this one, but this is one of the best of recent vintage... The cover shows Erdi, who would fit in easily on most college campuses, at the piano. He has given us a remarkable debut disc, and I hope to hear more from him.”
“The performance of the youngest soloist, the blind pianist, TamásmÉrdi had the greatest effect on me musically. He played Mozart's Piano Concerto in D-minor. It was fascinating to experience his fresh, personal interpretation of this very complex piece his sensitive reactions to the musical impulses and how, far beyond technicalities, he is searching for his identity in the music. ….. It was very touching to see Miklos Szenthelyi, the 'in stigating spirit' of the concert escorting him to the piano, and at the end of the concert turning him gently toward the audience to thank for the never-ending applause. He stood there, uneasy as yet, on the stage, wich will soon become his home..”