XI. ANNUAL GALA CONCERT
TO SUPPORT THE TALENT DEVELOPMENT OF CHILDREN IN STATE CARE
Hungary – BUDAPEST, Italian Cultural Institute (Bródy Sándor utca 8.)
March 13, 2013 (Wednesday, 7.00 pm)
March 5th, 2013
- “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, as the Polish composer is undoubtedly the most sensitive master of the dynamic domain between pianissimo-piano-mezzoforte. 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 sensitivity.”
– Maestro Zoltán Kocsis, Parlando, January 2010 issue
- “There is a basically non-plausible colour effect in Tamás' play: Beethoven's overwhelming red heat of passion or deep green melancholy, the dazzling, barren white of Schubert's winter, Debussy's thousands of pastel hues blurred in infinity shine though his performance. Only those must be able to make us see with such sensitivity, who do not see with the eyes but rather with the soul. Tamás Érdi has recently captivated the jury of the Leeds International Pianoforte Competition and in the near future will have the chance to celebrate his 30th birthday with Zoltán Kocsis and Tamás Vásáry. And that will be at the Museum of Fine Arts.”
– András Szego, Nok Lapja, September 2009 issue
- “Tamás Érdi gave concerts in Poland on several occasions (at prestigious venues such as at the foot of the Chopin Statue in Lazienki Park in Warsaw, or the Botanical Garden of the Polish Academy of Sciences in Powsin at the international festival called Musical Flora - Music Amongst Flowers). Each of Tamás' performances was 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.
I sincerely believe that Tamás Érdi has earned a long-term position in the front line of piano artists in the world.”
– Antoni Grudziński, Musicologist, President of Fryderyk Chopin Association; Warsaw, May 28, 2009
- “Tamas won with his performance of Chopin and Mozart. [...] After two eye operations he can see only bright light and the sun.' When I'm playing, the light comes over me from above' - he said. Two years ago, when Tamas was performing in the first Moscow competition for the visually impaired, his 25-year-old brother died in a motorcycle accident in Budapest . 'Since then, every time I'm playing Mozart, there is a special connection between us through the music, a telephone line to heaven'”
– IRINA DIMITRIEVA: Seeing beyond the written music. THE MOSCOW TIMES, December 2., 1995.
- “The performance of the youngest soloist, the blind pianist, Tamás Érdi had the greatest effect on me musically. He played Mozart's D-minor Piano Concerto. 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. The most beautiful, I think, was the Romance in B major, solemn, elegant and yet full of youthful spirit. 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..”
– György KROÓ, NEW MUSIC NEWS, Hungarian Bartok Radio, Oct. 26. 1996.
- “Tamás Érdi transmitted authentically both the serenade tone of the gentle and intimate Andante and the agitation of the Finale. The chief instrumental merit of his performance was the plasticity of touch and, deriving from it, the sensitively ringing sound which, being a token of lucid piano texture, is particularly important in playing Mozart. His performance of the concerto was already characterised by personal tone while Chopin's nocturne in C sharp minor given as encore sounded even more relaxed and effective in Tamás Érdi's rendering.”
– Kristóf CSENGERY, NEW MUSIC NEWS, Hungarian Bartok Radio, January 30., 1999.
- “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. Being blind from birth, he must have done a fantastic job until he reached this level, yet when we listen to him, there is no sign of effort. The technique is perfectly safe, the fast passages are pearling, the melodies of the slow movement sound expressive and poetic. Only those with a sense of vocation whose mother tongue is music, Mozart's music, can play in such a manner.”
– SÁndor KOVÁCS, NEW MUSIC NEWS, Hungarian Bartok Radio, August, 2000.
- “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. He achieves a depth of feeling and a power of expression for which the word ''remarkable'' seems inadequate. He opens with power and depth, foretelling what is to come. The slow movement sings with grace, 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. No small share of the credit goes to Vasary, whose conducting is perfectly matched to his soloist's playing. 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 recording was done in Budapest in1997, and is very good. Sound is clear, and lively, never calling undue attention to itself. 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.”
– Thomas McCLAIN, AMERICAN RECORD GUIDE, 2000. May. / Jun.
- “Tamas ERDI made his recording debut two years ago on the same label,.... It elicited a rave rewiev from Thomas McClain / May/Jun 2000) who, in describing the (then 20-year-old) pianist's playing, went so far as to say that "the word ' 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 recording sceptically, and I did too. But my doubts were quickly dispelled. This is absolutely splendid Mozart playing. There is not the slightest concession to physical disability: no safe tempos, no overpedalling, no hesitations, before awkward keyboard leaps or to manage difficult hand positions. Every technical challenge is faced head-on and executed with a combination of pianistic finesse, interpretive sophistication, and physical effortlessness that is nothing short of astounding. [...] I cannot end this review on a technical note. 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 slowly 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.”
– John BEVERSLUIS, AMERICAN RECORD GUIDE, 2001. Sept. / Oct.