Concert Review: The Virtuoso in Winter

Marc-Andre Hamelin plays the 92nd St. Y.
by Paul J. Pelkonen

Marc-André Hamelin. Photo by Sim Canetty Clark for Colbert Artists Management.

The annual appearance of Marc-Andre Hamelin in a solo piano recital is an occasion that few lovers of keyboard mosic would dare miss. Yet Saturday night's thick, wet snowstorm made travel to the 92nd St. Y a difficult endeavor for some. Those in attendance heard the acclaimed virtuoso play a varied program, featuring the music of Debussy, John Field and Liszt alongside one of his own compositions.

Concert Review: The Beast-master

A Faustian afternoon with the American Symphony Orchestra 

"I once conducted a concerto THIS big." Leon Botstein leading the American Symphony Orchestra.
Photo © 2009 The American Symphony Orchestra.

Sunday's matinee concert at Carnegie Hall featured Leon Botstein and the American Symphony Orchestra doing what they do best: fearlessly leading works that you don't get to hear too often. This program paired Ferruccio Busoni's unweildy five-movement Piano Concerto with Liszt's Faust Symphony, an impressionistic setting of Goethe's poem. In an introductory program note, Dr. Botstein explained the connection, in that he saw Busoni as the logical spiritual heir to Liszt.

Busoni's lone piano concerto has never caught on with pianists or audiences. Pianists don't like playing it. Its five movements last well over an hour. The parts are both difficult and not flashy, as the composer smoothly integrated the instrument into the orchestra rather than setting it against the other instruments. It is also (to my knowledge) the only piano concerto that features a choral part at the end, which may upstage the soloist. The work seems to confound pianists, conductors, and worst of all, music critics.

Soloist Piers Lane was bold in his interpretation of this fearsome beast of a concerto. After restating the bold opening theme against a quieted orchestra, he dove into the violin-like arpeggios, racing up and down the keys and weaving sonic threads into the rich orchestral fabric. The next two movements were Italianate in character, with a steady, tolling figure in the left hand that recalls the bells from Wagner's Parsifal and warm, lyric tones from the massive orchestra.

The fourth movement is the heart of the beast, a challenge from this virtuoso composer to any would-be soloist. In this difficult Tarantella (another Italian idea from this German composer) Mr. Lane rattled off the staccato passages in impressive fashion, making both hands dance above the keys. The final chorus, sung by the men of the Collegiate Chorale, incorporated smoothly into the work's overall sound, ending with a last series of keyboard flourishes that recalled the opening movement.

Although it is only three movements, Liszt's Faust Symphony is as long as the Busoni concerto. Rather than retelling the familiar story of a medieval scholar who trades his soul for eternal youth, the work's three tone-poem like movements explore the rich inner life of Faust in the first movement and his romantic obsession with the fair Gretchen in the second. Mephistopheles is the subject of the third, which is basically a series of twisted minor-key variations on the opening. The idea is that Old Scratch is not some daemonic entity, but a dark reflection of Faust's own immortal, immoral soul.

Dr. Botstein whipped up a devilish fury in the opening Faust movement. He was helped by the ASO, which sounded like a different orchestra when playing music that actually inspires powerful, lucid music-making. The balance of forces was a little off, with the heavyweights in the brass section drowning out the strings when the main theme came roaring out of the trumpets. The second movement was better, as the violins stretched out in the long exploration of Gretchen's character.

The final Mephistopheles movement had some of the same themes as the opener, and some of the same balance problems. Still, this was a compelling argument that needs to be made: that Franz Liszt was a skilled all-around composer and not just a stunt bunny at the piano. At the close of the last movement, the chorus returned for the revised ending of the work, a setting (with the Collegiate Chorale and tenor soloist Ryan McPherson) of the Chorus Mysticus from the second part of Goethe's epic poem. Nothing exceeds like Romantic excess.

Concert Review: She Wore Blue Velvet

Yuja Wang makes her Carnegie Hall debut.

Fingers that can hammer or sing: the astounding Yuja Wang.
Photo by Felix Broede © 2011 Deutsche Grammophon/Universal Music.

Thursday night at Carnegie Hall saw the New York debut of Yuja Wang, the 24 Beijing-born sensation and darling of the Deutsche Grammophon label. Judging from this flawlessly played recital and its long string of encores, the hype surrounding this 24-year-old pianist is (so far) entirely justified.

For her debut, Ms. Wang chose a challenging program: five short pieces by Scriabin, Prokoviev's Sixth Piano Sonata, and the Liszt Sonata in B Minor. Taking the stage in four-inch platform heels and a long, body-hugging gown with a slit down one leg, Ms. Wang sat down at the Steinway, adjusted her shoes to the pedals, and went to work.

The five Scriabin pieces are not well known to listeners. One, the Prelude in B Minor (Op. 13, No. 6) made its Carnegie debut along with Ms. Wang. These are early examples of this composer's work, without the tonal weirdness and "mystic chords." That came later.

She played these works as a suite, alternating slow, diaphanous movements with dark, hard-charging movements that snarled like hell-hounds straining at the leash. Alternating between playing from the wrist and driving from the shoulders, she seemed to pour her personal energy into the three Preludes, the Etude and the Poeme, making them function as a unit.

Prokofiev's Sixth Sonata was next, a piece written in 1940 as World War II raged. Although it was composed and premiered before the Nazis invaded the Soviet Union, the first movement opens with a staccato alarm call that jolts the listener and prepares them for the sonic battle to come. 

Prokofiev's industrial-strength writing, with its grim, creaking waltz and apocalyptic finish (with a return of that alarm call) places considerable demands on the pianist. Ms. Wang took a gutsy approach to this rock-ribbed music, meeting the work's challenges head-on and playing with steely resolve.

Ms. Wang returned, (this time in a blue velvet gown) to play Franz Liszt's mammoth one-movement Sonata in B Minor, a composition that turned the very form on its head and showed the way forward to the chromaticism of Wagner. In fact, you can hear themes later borrowed for the Ring in the pages of this thirty-minute work, including the 12-step descending scale that indicated the power of Wotan's spear.

Liszt's Sonata draws its inspiration from Goethe. Ms. Wang dived into the opening theme (a representation of Mephistopheles) and brought the wild energy of Faust's ill-fated adventures out in the early pages. The plunge into the abyss was chilling, ending in grim, matter-of-fact low notes. But that set the stage for redemption and a heavenly ascent, played as a shifting, soothing balm by this brilliant artist. 

With the audience roaring its approval, it was time for encores. Ms. Wang obliged with four. She started with more Liszt: the Hungarian's transcription of Schubert's Gretchen am spinnerade. The centerpiece was her own transcription of Paul Dukas' famous tone poem The Sorcerer's Apprentice. She made the brooms march with astonishing speed, bringing out Dukas' rich tone paintings in this unconventional, but brilliant transcription. She followed with the Melodie from Gluck's Orfeo ed Euridice. Friedrich Cziffra's jaw-dropping take on Johann Strauss' Trisch-Trasch Polka, ended the evening with both substance and flash.

Comparative Listening: Liszt Piano Concerto No. 1 in E♭Major

It's been a little while since we've done Comparative Listening, the feature where five (or so) recordings of the same work battle for shelf space. Today, we're celebrating the 200th birthday of piano virtuoso and composer Franz Liszt, examining recordings of his Piano Concerto No. 1.


The contenders:

• London Symphony Orchestra cond. Josef Krips; Wilhelm Kempff, Piano (DG, 1953)
• Leipzig Gewandhaus Orchestra cond. Kurt Masur; Michel Beroff, Piano (Philips, 1981)
• New York Philharmonic cond. Leonard Bernstein; Andre Watts, Piano (Sony, 1963)
• London Symphony Orchestra cond. Claudio Abbado; Martha Argerich, Piano (DG, 1968)
• Budapest Festival Orchestra cond. Karl Anton Rickenbacker, Leslie Howard, Piano (Hyperion, 1998)
• Munich Philharmonic cond. Thomas Hengelbrock; Alice Sara Ott, Piano (DG, 2010)
• Vienna Philharmonic cond. Valery Gergiev; Lang Lang, Piano (Sony, 2011)

Franz Liszt's first piano concerto consists of four movements, played without a break. The composer, already the rage of Europe as a touring virtuoso, broke fresh ground with this work. As we celebrate his 200th birthday, let's look at different performances available on CD.

You can tell a lot about how the Liszt First Concerto is going to play out by how the piano soloist attacks the hellishly difficult opening cadenza. Wilhelm Kempff plays with astonishing speed and produces growling low notes. In the 1981 Philips recording, Michel Beroff offers a quiet, restrained take with expert conducting from Kurt Masur.

This early 1968 recording with Martha Argerich is impressive from start to finish.. She breathes fire right out of the box before settling down into the Beethoven-inspired main theme. Lang Lang's brand-new recording on Sony with the Vienna Philharmonic (coming out tomorrow) benefits from terrific orchestral playing under Valery Gergiev and pianism that alternates between fiery cadenzas and feline grace.

Some recordings present the two central movements as one big track, as they flow into each other without a break. Together, the Andantino and Prestissimo form a ten-minute structure. Ultimately, it builds to a recap of the opening of the Allegro.


The New York Philharmonic (under Leonard Bernstein) sounds splendid in this movement with the orchestra caught better than the piano part. This is not the fault of soloist Andre Watts. Leslie Howard, whose recording is available as part of his mammoth complete Liszt edition on Hyperion, produces bell-like tone in the cadenzas. He is helped by the idiomatic playing of the Budapest forces.

The final movement, a sprightly march, is played with great authority by the Viennese forces, particularly the descending figures in the heavy brass that introduce the first solo. Mr. Lang's fingers dance easily across the keys, playing these runs with astonishing speed. Alice Sara Ott uses force on the authoritative main theme, but her playing sounds clipped.

The strongest last movement belongs to the venerable German pianist Wilhelm Kempff, whose Beethoven recordings inspired a legion of aspiring pianists. Mr. Kempff takes a heavier approach to the piano part, rolling down the keyboard with great authority. Finally, Michel Beroff's performance with Kurt Masur is well conducted, and this underrated pianist plays with great speed and precision.

The Comprehensive Liszt

Bicentennial Brings Five Big Box Sets.

An old-school "Liszt box." This one plays a Hungarian Rhapsody.
Photo from Harp Gallery

2011 marks Franz Liszt's 200th birthday. Had the old gentleman been around for the birth, death, and (occasional, sputtering) revival of the classical music recording industry, he might have been amused to learn of the slew of boxed sets bearing his name and likeness that have issued forth this year.

Here's a quick overview, organized by weight:

Liszt: The Piano Collection 
(EMI Classics, 10 Discs)Various Artists
This is a solid reissue focusing only on Liszt works for solo piano. It features György Cziffra's energetic versions of the Hungarian Rhapsodies, paired with the ruminative Années de pèlerinage from Italian pianist Aldo Ciccolini. The late, eccentric British virtuoso John Ogdon also contributes to this fine set. Sadly, no opera transcriptions are included.

Liszt: Master and Magician: The Masterworks Collection
(Sony Classical, 25 CDs, 1 DVD). Various Artists
This box features all-star lineup of pianists (Vladimir Horowitz, Evgeny Kissin, Jorge Bolet, Van Cliburn) and conductors contribute to this stellar overview set, which digs deeply into the old Columbia Records catalogue. Newer recordings made under the Sony Classical imprint are also included, and the overall effect is a fairly comprehensive look at the long, varied career of Franz Liszt. Some interesting piano transcriptions here, with Glenn Gould's take on Beethoven's Fifth Symphony, and Schubert songs played by Mr. Kissin. Also includes the Grand Mass and a sampling of Liszt's organ music.

A Liszt Portrait (Brilliant Classics, 31 discs)
Various Artists
A respectable entry with both orchestral pieces, piano music and some choral music--but no Christus. The Brilliant set combines modern performances of good quality, some of them from orchestras and pianists that you may have never heard of, with ten discs worth of historical issues. Some interesting gems here: Maria Yudina playing a set of variations, early Evgeny Kissin performances, Alfred Brendel's Tannhäuser transcription. For the Liszt nut who already has everything else.


The Liszt Collection (Deutsche Grammophon, 34 discs)
Various Artists
Another "limited edition" from DG, this set combines some fascinating out-of-print recordings (Giuseppe Sinopoli conducting the Dresden Staatskapelle in the Faust and Dante Symphonies) with more familiar Liszt works.

The twelve symphonic poems are split between labels, with Solti (Decca) Haitink (Philips) and von Karajan (DG) all contributingto make a "greatest hits" version. Also contains complete reissues of Dietrich Fischer-Dieskau's invaluable two-disc survey of Liszt liederLazar Berman's Annees de un pelerenage and Roberto Szidon's kick-ass Hungarian Rhapsodies. A good overview with the exceptional sound quality one expects from DG. If the set had included Jorge Bolet's nine discs of Decca recordings it would be hard to beat.


Liszt: The Complete Piano Music (Hyperion, 99 Discs)
Leslie Howard, Piano.
Here it is. The heavyweight champion: Leslie Howard's exhaustive, exhausting survery of all the Liszt piano works, recorded for British label Hyperion over the last three decades, all in sparkling, absolutely perfect digital sound.

This bread-box of a set includes all the familiar works, along with the complete opera transciptions, the symphony transcriptions (Beethoven and Berlioz) and a few fascinating works that may or may not be from Liszt's pen. The decision to include multiple and alternate versions of Liszt works, makes this set an invaluable resource to the serious scholar of Liszt or piano music in general. You may not want to load all of these versions into your IPod, but their scholarly value is beyond dispute.

Retailing at over $300 (though it can be found for less with some effort) this is an investment. But is not an overstatement to call this large, handsome box (which includes a comprehensive softcover book) a veritable gold mine of musical inspiration. And a week's worth of listening if you play the whole set without a break.

Concert Review: Two Paths, Two Rivals, Two Conductors

Kurt Masur Conducts the New York Philharmonic

Kurt Masur. Photo by Chris Lee © 2009 New York Philharmonic

When Kurt Masur comes back to the New York Philharmonic, it's always a big deal. The German conductor steered the orchestra through eleven acclaimed seasons from 1991 to 2002, expanding the repertory, breaking new musical ground, and honing the orchestra's sound in a successful term as music director.

This week's program featured two composers that are at the heart of Mr. Masur's repertory: Johannes Brahms and Franz Liszt. In 19th century Europe, Brahms and Liszt occupied seperate musical "camps". Brahms was pigeon-holed as the arch-conservative, steeped in the tradition of Beethoven. Liszt: the wild Romantic who created new musical forms and gave barn-storming, piano-breaking performances that caused extreme behavior in his doting fans.

Mr. Masur chose to bridge this gap with Two Paths, a double concerto for violas and orchestra by Sofia Gubudalaina, which was originally comimssioned by the conductor's wife, Tomoko Masur. Philharmonic principal violists Cynthia Phelps and Rebecca Young (the soloists at the work's 1999 premiere) were scheduled to play. But an eye infection has made Mr. Masur unable to read sheet music this week. Assistant conductor Daniel Boico stepped in.

Two Paths, inspired by the New Testament figures of Mary and Martha, is a set of seven variations. Mr. Boico juxtaposed jarring brass chords and unusual percussion with otherworldly orchestral textures. Ms. Phelps and Ms. Young played their slow dance of entwining violas, one soaring up the scale to represent the faith of Mary, the other spiralling downward as the more pragmatic Martha.

For the Liszt and Brahms works, Mr. Masur relied on a prodigious memory and six decades of podium experience. The concert opened with an elegaic performance of Les Preludes, the third, (and most frequently played) of Liszt's tone poems. Its pretentious subject matter (don't ask) stands in contrast to its compelling orchestral writing and elemental tone-painting. Mr. Masur skipped the program and focused on pure music, panning gold from Liszt's rushing rivers of sound.

Kurt Masur presented Brahms' First Symphony as the work of a secret progressive, demonstrating how Brahms used the conventional four-movement framework of the instrumental symphony to explore new textures and fresh ideas of rhythm and phrasing. From the steady rhythm of the introduction to  the finale (which quotes Beethoven's Ode to Joy), Mr. Masur led the symphony as a cohesive whole, giving cohesion to Brahms' big orchestral gestures.

The last two movements were played without a break, creating a momentum that drove the whole work home in true Romantic style. The connection between conductor and band may have been stormy, but this performance showed that, a decade later, it is still as strong as ever.