Dance Of The Sugar Plum Fairy - on the Obi

Published on Jul 5, 2018 Kris Lennox

"So, last night I was messing around in imitation of the celeste. I thought to myself, 'why not just do a celeste piece?'. Of course, the most famous celeste piece is Dance of the Sugar Plum Fairy, from Tchaikovsky's 'Nutcracker' Suite. What you are hearing is actually a 'challenge' recording I set myself, with the challenge being:

Sight-read through the work twice then play it from memory.

For those interested, the score is here - http://hz.imslp.info/files/imglnks/us...

This recording is my first attempt at playing from memory after two sight-reads. Of course, if actually giving a serious performance to an audience, I'd play the work a few times more/work on timing etc. And hold the 2-bar rests for their full value :)) I didn't bother in this take as it sounds quite empty at those points when played as a solo work.


Reason for challenges such as this are many, but one in particular: after all these years, I'm still miffed at Liszt, as he makes me - and every other pianist - feel inadequate. The story: Grieg took his Piano Concerto to Liszt - essentially for his approval. Liszt sat down with the score - played through it twice - then played it from memory.

Before reading that story, I thought I was reasonably talented as a human. After reading it, I almost cut my hands off.

Playing a 5-minute work after reading it twice - yes, fine. But a concerto?!! Give me a break.

RE Tchaikovsky: I may be wrong, but if I remember correctly, his Nutcracker suite was the first introduction the public had to the celeste.

Tchaikovsky's interest was in exploring new sound palettes. He was very interested in the instrument - and did everything he could to keep others from hearing it before his work premiered. Kind of like electronic artists premiering new synths/modular units on their albums.

If Tchaikovsky were alive today, he'd likely have a closer resemblance to Aphex Twin than one of the corduroy trouser brigade.

The above point needs re-emphasised for the sake of those who pursue classical music as some sort of status label.

The composers themselves were interested in exploring new sound worlds.

Synth heads will understand what I'm saying. And I'm sure many classical musicians also. But there is a faction who listen to it as, in their mind, it matches their pocket watch design.

RE playing this on a synth: many orchestras actually use synths for celeste parts, as celestes can be very expensive - especially given their use in orchestras is relatively limited i.e. only a handful of standard concert pieces feature the celeste. Not only that, there are only two companies in the world at present who make them.

So - playing this on a synth is perfectly valid.

The Obi also has the same key count (49) - it is the ideal instrument for celeste music. Orchestras take note.

One slight issue: the B major chord before the cadenza-type run on the score has 7 notes, but the Obi is only a 6-voice synth. I intentionally omitted one of the notes (LH D#).

PS I think the sound is closer to a celeste than last night's recording. Still a way to go, but it's heading in the right direction.

Best
Kris"