Fryderyk Chopin Association

Warsaw, May 28, 2009

Reference

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

The original letter can be downloaded in PDF format

I like Chopin

Attila Retkes:Tamás Érdi’s Chopin concert at the Kogart House Magyar Hírlap, October 18, 2004

Extract:

After the war in Hungary , György Ferenczi was the top performer of Chopin. An encyclopaedia had every reason to write of the artist: „His style of playing was the last to represent the characteristic 19th century concert halls and individual performance mode in the homes of music lovers.” After Ferenczi retired, for a long time noone wanted to step into the spotlight and play the mazurkas, nocturnes, waltzes and the polonaises, ballads and scherzos. Except perhaps for Tamás Vásáry, but he pursued his career outside Hungary for thirty-five years.

This is exactly why it was an enormously significant and much needed enterpise when, three years ago, Gergely Bogányi played all Chopin’s piano works in a series. And this is why it is important that a new young person in the shape of Tamás Érdi, has agreed to take on the far from easy task: A Chopin album was published by Hungaroton a few days ago and on Friday evening he gave a CD presentation concert at Kogart House.

On the programme were the ballad in G minor, three études, three waltzes and three nocturnes, the Fantaisie Impromptu and to conclude, the Grande Polonaise. The performance was technically faultless and stylish in moderation, but above all, we witnessed sensitive, poetic and beautiful interpretations. The twenty five-year old musician has proved his original talent several times in the last ten years, but it was as if with this programme, he had become a mature, adult artist.

Marcin G³uch – 28 of September in Nasz G³os number 39 – KROSNO

Bravo Tamas!

The concert of Tamas Erdi – Hungarian pianist from Budapest – has become the great event of The Carpathian Atmospheres in Krosno. He graduated Gleen Gould Professional Piano School at the Royal Conservatory of Music in Toronto . In 1995 he placed II, and two years later I prize in Luis Braille International Music Competition in Moscow . He gave lots of concerts for example in New York , Chicago , Beirut , Kuwait , Bangkok .

This 25 years old pianist is blind because of defected incubator in which he was located because of early born. His musical talent was developed from the childhood. He started to play when he was 5, he regularly gives concerts from 8. Blind people learn music pieces by reading Braille, which is very complicated and takes lots of time. Tamas is learning to play by using his perfect ear for music. First, he is listening to the music piece then he repeats all he had remembered. When he is not sure haw to play, he is trying to recompose the play by using the rules of music harmony. This process which he calls “recompose” needs lots of daily hard work, but gives amusing effects. In this way he has learn to play the piano.

From 12 of his concerts he records 3 CD, the first was released when he was 18. Most of the pianists use not only all of their senses, but also their imagination. Gleen Gloud imaged a soloist standing in front of him. He raised one of his hand and moved it rhythmically, imagining the conduction while the other hand was playing the current tune.

Nocturnes and ballads performed by Thomas sounds subtle and touching. I asked him what does he image when he is playing. He answered: My brother dyed in a car accident when he was 25 years old. While I am playing the piano I am trying to image him standing in front of me, I play for him.

What is the way to become great artist was my next question.

- I do my exercises 6 hours a day, but without talent you can not do much. You have to born to be artist, there must be given a mystical power first.

Tamas often make a smile giving the concert. He said he is a happy man, and music is the most important thing in his life. Thanks to his devotion we can admire music and the great talent. He was followed to piano by hand, but when he started to play, he began to follow audience by pathways of romantic Chopin music. He played purity whit amusing lightness, looked like without any effort. He encored by playing B. Bartok and F. Liszt whit heat Hungarian temperament. It is impossible not to agree whit the introduction for this appearance, that Tamas Erdi has become one of the Hungarian world famous artists.

PORTLAND PRESS HAROLD, 2002. okt. 20.

Christopher HYDE: Schubert, Mozart bring out the best in Erdi

I liked his interpretation of Schubert for its purity and singing quality. Even more important the attention the structure made the shifting harmonies seem liked the coloured planes in a Kandinsky painting , intersecting whit each other in a three dimensional space. The structural approach was perfect Mozart making the Sonata the highlight of the program. Erdi seems he have made a speciality of this composer.

AMERICAN RECORD GUIDE 2001 Sept/Oct. BEVERSLUIS, MOZART: Piano Concertos 21+23; Rondo K 382 Tamas ERDI Budapest Weiner Szasz Chamber Orchestra/Tamas VASARY – ECHIQUIER 6 -66 minutes

Tamas ERDI made his recording debut two years ago on the same label, playing Mozart’s D-minor Concerto and the Two-Piano Concerto with Tamas Vasary and the Hungarian Radio Youth Orchestra. (Vasary conducting from the keyboard in the latter.) 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. Tamas Vasary and the Weiner Szasz Chamber Orchestra are with him every step of the way, their occasional thin string tone more than compensated for by their crisp and stylish support. According to the liner notes, Erdi and Vasary collaborate regularly – a claim that will come as no surprise to anyone who listens attentively to this release. In both concertos soloist and conductor not only listen to each other but anticipate and (I dare say) bring out the best in each other. This kind of intimate rapport could never be achieved in a few rehearsals sandwiched between pressing schedule demands. May we hope for the complete Mozart Piano Concertos from this team? 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.

Tamas’ Mozart recordings are produced and distributed in Canada , in 2000 and 2001. The following are the most recent rewievs:

AMERICAN RECORD GUIDE 2000 May/Jun. Thomas McClain: MOZART: Piano Concerto 20; 2-Piano Concerto Tamas ERDI, Tamas VASARY; Hungarian Radio Youth Orchestra/ Tamas Vasary ECHIQUIER 004-58 minutes.

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 other work, the famous concerto for two pianos, also gets a splendid performance. Vasary takes the second piano part. The performance is very fine, without the showy effects that often burden it`but with no lack of skill or finesse. The two solists are a fine team, and Vasary keeps firm control over the orchestra without neglecting his piano part. Tempos are well chosen, dynamic contrasts very good. Other excellent performances are available by the Labeque sisters, De Larrocha and Previn, and the Serkins, but this one is very fine and stands the comparison well. 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.

„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.”

„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.”

“The performance of the youngest soloist, the blind pianist, Tamás Erdi 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..NEW MUSIC NEWS Hungarian Bartok Radio Oct.26.1996.

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’