Alexander Ullman’s newest offering is a substantive all-Liszt program, a composer already associated with the pianist, who won the 2017 Franz Liszt competition: sandwiched between the two piano concertos (with Andrew Litton helming the BBC Symphony) is the B minor Sonata.
The essence of the E-flat major concerto (No. 1) lies in its unabashed bravado, and Liszt makes clear the need for it from both the ensemble and soloist. The BBC orchestra has a well-integrated sound across the board and Litton’s tempo lets the definitive phrases sink in, but something is missing. The interpretation pales against one like Zimerman/Ozawa/BSO, where dotted rhythms are tighter and the character much fiercer. Ullman’s octaves are blazingly fast; impressive as that is, the speed and virtuosity lack what Zimerman delivers, which is a nearly earth-shattering thunder. Ullman’s handling of more intricate passages, however, is lovely. Their filigree-like transparency in turn provides a nice shift and balance to the heavier fare. The attention to detail is again apparent in moments like the Allegretto Vivace (track 3); but while precise and rhythmical, the performance calls for more imagination and whimsy. In a similar vein, the climatic moments of the concerto’s final movement feel somewhat rushed.
The A major Concerto (No. 2) reflects Liszt’s style in a very different manner. Distinct movements are now replaced by one large movement with six sections (a form not unlike the B minor sonata). The swagger, if you will, of the E-flat is replaced in the A Major’s Adagio Sostenuto (track 11) by dreamy phrases and meandering harmonic colors. Ullman’s tone quality is well-suited to the music here. He imbues his opening accompaniment with a subtle, even dark tone that creates anticipation despite the slow-moving phrases. Though much of the introduction is atmospheric, a variety of textures abound. The horn’s line at 2:34 could come out a little more but is nonetheless graceful and is nicely complemented by Ullman’s sparkling runs.
The tumultuous Allegro animato (track 12) is not vibrant enough and in fact a bit bland when we consider Nelson Freire’s biting take with Michel Plasson and the Dresdner Philharmonie. Litton takes a slower tempo which isn’t necessarily the issue, but both ensemble and soloist are too elegant. What’s needed are sharper accents and, ultimately, the element of capricious risk. Fortunately, the peak of the concerto fulfills expectations: we can hear a well-managed buildup of momentum from the Allegro deciso (track 14). Listen at the end of this section for solid coordination between the pianist and orchestra as well as Ullman’s excellent fingerwork. The iconic Marziale (track 15) has plenty of pomp and circumstance, thanks to the low horns’ belches and the pianist’s crystalline octaves.
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The B Minor Sonata needs little introduction as a staple of the Romantic piano repertoire; recordings by the likes of Arrau, Argerich, Richter, and Zimerman speak to its precedence. Ullman’s performance starts promisingly enough with the opening resembling suspenseful water drops before a flood. Sadly, flood of fury doesn’t come to fruition: the phrasing at 0’43” (track 5) is oddly clipped and constricted, a far cry from the hefty presence of 1965 Richter or the commanding tone of the 1990s Zimerman. Ullman has undeniably flawless technique, especially in the sixteenth note passages that are acutely clear and agile. But for the character of the work, this fleety approach comes off as light-handed when we need just the opposite.
The D major theme at 3:12 doesn’t disappoint, though: it’s appropriately expansive and the good voice leading gives to the melody its due sostenuto lyricism. The more subtle moments like the Andante Sostenuto (track 7) are pleasantly mellow but again need much more character. Ullman might be going for a more personal stance but I much prefer the profundity that Arrau (in his 1970s performance) gives to the hymn-like textures.
Paul Roberts, who recently wrote a book exploring the literature behind Liszt’s works, authors the liner notes–while not incredibly detailed, they furnish requisite information with regard to historical background and key features common to all the selections. His references to the literary aspect are something I found insightful and would have appreciated a little more of this interesting perspective.
Ullman certainly deserves credit in tackling these well-recognized, challenging works amidst an abundance of stellar landmark performances. But that makes the competition particularly fierce, and the mainstays remain as preferred reference points.
Liszt – Piano Concertos Nos. 1 & 2, Sonata
Alexander Ullman – Piano
BBC Symphony Orchestra
Andrew Litton – Conductor
Rubicon, CD RCD1057
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