Stefan performs for Kemal and they start working on the piece, trying to understand what it is about.
The piece has its own life and dynamic. A performer needs to be well aware of those
Kemal is looking for a specific dirty sound and explains the difference between accents and non accents
Kemal talks about meter and how elastic it can be in Liszt's compositions.
We are talking about dynamics and some interesting effects one should do when playing this waltz
You can play all the notes but the "atmosphere" has to be there
We are covering dolce appassionato and presto sections and talking about the character, harmonies..
We are moving through the piece and talking about the sound differentation, layers
We are talking about the structure and Kemal points out that everything played must really sound well
The sound we are looking for here is more raw
No matter what you think about the music or the score, it really needs to sound/resonate/vibrate..