Review: “In Concert” – Till Fellner Plays Liszt, Beethoven (ECM)

The first question that comes to mind hearing this fascinating album is how come rare, recorded occasions sat in some archives for so many years without the public exposed to these jewels?

The first book of Liszt’s Années de pèlerinage comes from a concert from the Musikverein in Vienna in 2002. The Beethoven Sonata Op. 111 comes from a concert at the Mahaney Center for the Arts in Middlebury, Vermont in 2010.

The ear has to adjust; The recording is a pretty realistic representation of a piano recital heard by a great pianist, with a Steinway D on a good, resonant hall (how spoiled are we when it comes to up-and-close piano recordings nowadays). If one imagines sitting in that hall, you could understand why there is not a hint the hall is full – so captivated the audience must have been from the performance. They do abrupt in claps and cheers at the end.

With Années de pèlerinage, it’s all about the tone coloring, and Fellner makes wonders with his instrument – all chords are well considered, bass omnipresent but never clouding, and accompaniment figurations are masterfully supportive of the main phrase. Hear for instance, right at the first movement (“Chapelle de Guillaume Tell”), the differentiation between the opening chords section and the appearance of a right-hand melody, like coming from another world. Or the Fourth, charming “Au bord d’une source” and its lovely fingers dexterity. The sixth “Vallée d’Obermann” is touching by being melancholic but not too sentimental and the isolated call of No. 8 (“Le mal du pays”) is chilling. Fellner can call for a romantic charm too if needed, as is evident on the closing nocturne. “Les cloches de Genève”.

It’s a marvelous performance, which takes a few listenings to discover all of its layers. From recent surveys, the most direct comparison must be Francesco Piemontesi’s fine account of the first book (Orfeo records). Both pianists share the clear-headed, confident take on the score, and Piemontesi is also very well recorded in the studio (as it happens, both took lessons from Alfred Brendel). Bertrand Chamayou’s complete set is, to me, the best all around cycle in terms of sheer pianism and recording quality. Legendary accounts from Brendel and Berman are a must in any Liszt library of course, but this newcomer has the added atmospheric charm of the live recording and is mesmerizing from start to finish.

Beethoven From Vermont

ECM already has 2 other memorable Op. 111 under their belt – Sir András Schiff’s two versions of this glorious piano sonata. This live version, as ECM points out, was recorded on the year that Fellner’s Piano Concertos No. 4 & 5 album came out on the same label to critical acclaim. Compared to Schiff’s versions, Fellner is weightier in the first movement, and more contradictory in dynamics (his Fortissimos are almost overwhelming). The beginning of the development (5:25) sounds like a morbid dance, and the crescendo that follows is as exciting as, well, a fine Liszt piece.

In the transition to the final Arietta is where Fellner reveals himself as a truly great pianist; So much have been discussed about the correct tempo for “Adagio Molto simplice e cantabile”, and here I find it just about right. Flowing, affectionately handled and beautifully simple. The variations that ensue are naturally coming out of the theme that bellies them, with the “jazzy”, fast ones never overdone. The final trills, showing Beethoven looking for his way to safe land, is expertly done and the return of the final theme, while not as triumphant as in Schiff’s first version, is more of a satisfying resolution to a long journey.

The recording quality of the Beethoven is perhaps a bit less impressive (as is the instrument), but in this level of playing one soon forgets, and again, the effect is very realistic of a live concert-going. A truly outstanding album, then. Showing an artist of rare talent and sensitivity.

(Images: ©️ Gabriela Brandenstein)

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“In Concert”
Liszt – Années de pèlerinage, book 1 (“Swiss”)
Beethoven – piano sonata No. 32, Op. 111
Till Fellner – Piano
ECM Records, CD 2511

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