Kemal Gekic And A Different Sort Of Piano Technique

Kemal Gekic is known as a Liszt specialist, a pianist of thunder and fireworks - these YouTube videos show a lesser known but crucial side of his pianism. Kemal's Mozart sparkles and sings with wit and charm; it is alive, sprightly and full of color without ever betraying Mozart style. Rather, Kemal's wide dynamic palette fulfills Mozart's orchestral, operatic character. In the years we worked together, this was one of the things I loved most - his innate musicianship and integrity when it comes to really divining the essence of a musical score, no matter what the historical epoch or style. And see how his fingers really activity! 1st movement: 2nd movement: 3rd movement: What do you think? AFF

I really enjoy the playing of Kemal Gekic! His playing is always full of color and sparkle. I noticed that he really lifts his fingers when he is playing and like you said they appear to be really active but in a precise way.

If you knew how much work went into making those fingers able to lift so easily, and so easily to do whatever his magical musical mind wants to do... Working closely with him for 10 years here in Novi Sad before he moved to Miami made me realize there is a very powerful and sophisticated physical organization behind that ease of execution that took a long time to develop. And it is something that goes through his whole body, not just his hands. I remember telling him that his experience training for the Yugoslav swim team surely had something to do with his superb exactitude in his technique - of course he laughed this off, but I still maintain it! AFF

this is superb playing--he's hearing the music then letting his fingers, wrists,arms, body, cause the piano to make the music. The fingers lift, just the right amount. The playing is not ostentatious, but just right--however, I bet Mozart took every opportunity he could to show off! this is good music. I want to talk more about the musicianship than the playing of the fingers/body, which seems to me about perfect. In looking closely though, to me, it looks like his palms are closer to the keyboard, which lets the fingers fully extend, even while keeping the arch. I see many pianists who seem to "over curve" the fingers and the playing is done with almost all fingers. Here, his arch is flatter, just above where some of the fingers might collapse, and not so high that the fingers are playing and leaving the rest of the body, behind. In other words, his hands are in the perfect spot to let his fingers go high or low as needed, very active, and put the whole body into it, all while keep that low arch, perfectly there: which makes this Mozart sound so easy, when it is really, very difficult.

Bob, you hit the nail on the head! A very accurate and perceptive description of what Kemal is doing - thanks! AFF