Karim Said excels at Queen Elizabeth Hall

by Gwen Herat in Southbank

I always struggle to take on a composer whose scores I am not familiar with or for that matter, never heard of; which is exactly what happened when Karim Said played them on keyboard a couple of weeks ago.

Eisier and Weber? Never heard them before until tonight
Schoenburg? A little bit but never liked his scores.
So, what do I do?

Just sit back and listen to them as Said caresses the keyboard. Pleasantly, I was surprised as they were not as bad as I thought. In fact, they were all way out from the rest of the composers.

Born in Jordan, Karim said is the protege of the renowned Daniel Barenborim who nurtured him to a spectacular level though still very young. He will undoubtedly become one of Jordan's illustrious sons in the future as he keeps rising slowly and steadily.

Playing Schoenberg at the keyboard is Jordan's virtuosity pianist Karim Said at the London Festival Hall.

What is so unique about him is that he can read what is written between the scores over the compositions. A passionate advocate of several masters, he finds it so easy to relate to their melody and hidden depth between the notes he caresses. Tonight, he captured the inner feel of the audience with such meticulous attention to detail that they were literally left spellbound.

He had the capacity to bring the piano centre stage and push the strings that are normally given preference over the keyboard, right back against the wall. I too was caught up in this situation.

Choice

‘Piano over strings?’ I could not make a choice and let it hang in the air. Fascinating and brimming with youthful exuberance, he mesmerised the crowd and invited one and all to his domain. The keyboard knew no limits to its potential at the touch of Said. Even when he paused for a moment, I heard the music resonating strongly.

May be I got carried away too easily.

Even the magical simplicity in slow movements evoked progress in particular scores some of which he chose to play tonight, his ingenuity knew no bounds. The epic piano concertos and its influence echoed through the symphonies are of lyrical splendour.

Some of the exuberant piano concertos were played as spiritual mentor in some places where he opted. One of the most original canons ended in a joyful finale. One of the most outstanding pianists of his generation, playing a score such as Five Piano Pieces Op. 23 was in its epic scale and towering completely, were a great triumph for a single musician to hold on to centre stage.

Formidable

Said has established himself as a formidable pianist. His playing reflected a yearning sensation in contrast to the relative sobriety between scores. He has indentfied the differences as a maestro would. His sonorous work pastoral lyricism are his signatures.

It is such a fascinating experience watching a new genius on any instrument and the keyboard knew no limit to its potential at the touch of Karim Said.

The program – Schoenberg 5 Pieces. Op. 23 Webern Kindersstucl (im tempo of a minute)

Eisier 4 Pieces. Op. 3
Schoeberg Suite, Op.25

Why Schoenberg failed to rise in virtuosity as well as in popularity is still a mystery.

May be by the middle of the 20th century, he drew resentment and reaction by his radical legacy that riddled the next generation of composers, beginning with the concentrated and edgy variations by Webern. Probably, the inter-relations of these two composers had influenced Said.

Romanticism

May be that from Romanticism to Expressionism, Schoenberg had drifted to being a radical in music. This would have been a reason that Said picked on Five Piano Pieces, Op. 23 (1923). This was first published as a formal example of serial music and of great interest. Composer, Glen Gould mused that he cannot think of any other composition for solo piano from the first quarter of this century.

He must have been crazy when he made that statement.

Someone said that a Schoenberg concert can still empty a concert hall faster than a bomb scare (source – Classical Music). But he developed twelve notes or tones in a chromatic scale such as C. Casharp, D. E-flat, E, F, F-sharp, G, G-sharp, A, B-flat, and B. In writing a score, Schoenberg made a piece in twelve-note technique and came up with a tone-row series, perhaps the reason that his works were best played solo and on keyboard, the reason that Said opted to perform.

This was the outcome that influenced Schoenberg in the 1920s in Vienna as a period of vibrant experimentations, diversity of style and potent musical adventure.

During this period he devised his system of 12-notes composition as a means bringing clarity and order to his radical musical language. Schoenberg's early exploration into idiosyncratic sound-world in the 5 Pieces Op. 23, later devoted to totally revolutionary methods most of which were beyond the grasp of many musical scholars.

Ask any teacher whether she could introduce this 12-notes technique into a syllabus of a senior student, I doubt she could do so. I cannot grasp it myself though Karim Said did it. Probably the pianist was able to trace the progress of Schoenberg's unusual technique which had influenced him.

Young and new violinists have always dominated the Royal Festival Hall but when a new keyboard specialist from far away Jordan takes centre stage, the story can be different.

May be that is not the way everyone look over but to some it becomes an extraordinary feel.

But, I remain ever faithful to the violin.