Till Fellner: In Concert – Beethoven/Liszt (ECM New Series 2511)

2511 X

Till Fellner
In Concert: Beethoven/Liszt

Till Fellner piano
Années de pèlerinage
Concert recording, June 2002
Wien, Musikverein, Großer Saal
Tonmeister: Gottfried Zawichowski
Engineer: Andreas Karlberger
An ORF Recording (Austrian Broadcasting Corporation/Radio Österreich 1)
Sonata No. 32
Concert recording, October 2010
Middlebury College Performing Arts Series
Mahaney Center for the Arts, Robison Hall
Tonmeister: Mark Christensen
Mastering: Markus Heiland
An ECM Production
Release date: November 2, 2018

But where of ye, O tempests! is the goal?
Are ye like those within the human breast?
Or do ye find, at length, like eagles, some high nest?
–Lord Byron, Childe Harold’s Pilgrimage

After a mosaic of recordings spanning the gamut from J. S. Bach to Thomas Larcher, Till Fellner returns to ECM with a pastiche of live recordings from 2002 and 2010. The first presents the Austrian pianist in his home capital for year one of Franz Liszt’s Années de pèlerinage. Inspired by the composer’s trip to Switzerland from 1835 to 1836 but unpublished until 1855, this aural scrapbook is alive with alpine imagery and motifs, encompassing firsthand memories, friendships, and even political views. It’s on the latter note that the collection begins with La Chapelle de Guillaume Tell. This stately introduction to an otherwise flowing work sets a precedent of architectural soundness that infuses all to follow. Contrast this with the watery beauties of Au lac de Wallenstadt and Au bord d’une source, and you already have a sense of the variety to which Liszt had eloquent access, rendered by Fellner with dynamic temperament.

While many sections, such as the sunlit Pastorale and Eglogue (the latter riffing on a shepherd’s song), are built around fleeting impressions, each nevertheless feels complete. This may be due to the fact nearly all of the music is revised from earlier material, an exception being the tempestuous Orage. No matter the duration, emotional integrity is the primary ingredient, so that the descriptions of Vallée d’Obermann’s thirteen precious minutes feel just as thick as Le mal du pays. Both seem to find the composer yearning for home when away from it, if not also for distant travels when in it, lending themselves to a score that only serves to nourish Fellner’s radiance. All the above shades of meaning cohere in Les cloches de Genève, by which the pianist elicits rich yet subtle sonorities.

If Liszt is a photographer, then Ludwig van Beethoven is a filmmaker whose magnum opus is surely the Sonata No. 32 in c minor. His Opus 111 shares its key signature with the Fifth Symphony and other monumental works, and provides a fitting end to his sonata cycle. As suggested in William Kinderman’s deeply considered liner essay, “The pair of movements of this sonata interact as a contrasting duality suggesting strife and fulfillment, evoking qualities which have stimulated much discussion, reminding commentators of the ‘here’ and the ‘beyond,’ or ‘samsara’ and ‘nirvana.’” Such spiritual language is no mere hyperbole, but an activation point of Beethoven’s grander concerns over the effects of art on the soul. As The Art of Fugue was to Bach, so is the Sonata No. 32 to Beethoven with regard to variation.

To be sure, Fellner touches upon those grander narratives, but more importantly keeps his ears attuned to the details. In the opening movement, for example, his arpeggios feel like quills on paper. Balancing stream-of-consciousness impulses with deeply articulated control, he links an unbreakable chain of progression. The second and final movement begins almost timidly, as if sifting through old notes for fear of what one might find, only to be surprised by a joy one never knew was waiting for rediscovery. Urgency compels the left hand while trills in the right signal a transformation of flesh into glory. “The transformational power of this closing music,” says Kinderman, “acts like a utopian symbol, which seeks to neutralize if not dispel the tragic reality embodied in the weighty opening movement of the work.” And perhaps weight is the most appropriate physical property by which to analyze what’s happening here, for regardless of size and scope, the relationship of every note to gravity is meticulously examined, its potential for flight believed in like a prayer.