Also, Piano Sonata No. 2. Alexander Ullman, piano; Andrew Litton, BBC Symphony Orchestra. Rubicon Classics RCD1057.
By John J. Puccio
For those of you unfamiliar with Alexander Ullman, “he first came to international attention in 2011 after winning the Franz Liszt International Piano Competition in Budapest. Born in London in 1991, he studied at the Purcell School, the Curtis Institute and the Royal College of Music, completing his Artist Diploma as the ‘Benjamin Britten Piano Fellow’ in 2017.” Since then he has appeared on concert stages all over the world and recorded about half a dozen albums. His Web site says “praised for his subtle interpretations and refined technical mastery, British pianist Alexander Ullman has impressed audiences and critics worldwide with his deep understanding of the scores he interprets, his elegant touch and crystalline phrasing.”
On the present CD he is accompanied by Andrew Litton, who needs no introduction, and the BBC Symphony Orchestra. Together they tackle two of the mainstays of the classical piano repertoire, Liszt’s piano concertos, along with his celebrated piano sonata. Mr. Ullman does, indeed, impress the listener with an “elegant touch,” as one might expect from a fellow who has won several Liszt piano competitions.
So, first on the agenda is the Piano Concerto No. 1 in E-flat, S.124, which the Hungarian virtuoso pianist and composer Franz Liszt (1811-1886) wrote in 1855. However, Liszt had been working on it for over a quarter of a century, completing a first draft around 1830 and completing it 1849. When Liszt finally premiered it, he played the solo part himself, with Hector Berlioz conducting. It’s probably the more famous of Liszt’s piano concertos because it’s the more virtuosic of the two, its dramatic opening notes likely known even to non-classical lovers.
Ullman is certainly a bravura pianist, so he gets the big, expressive sections of the score, like the opening, across with appropriate energy. Still, he doesn’t always communicate as much color or character with these sections, as, say, Sviatoslav Richter did in his old Philips recording (now remastered by HDTT). Ullman dazzles us, to be sure, with the dexterity of his fingers, but he doesn’t always deliver much more than sonic fireworks. On the other hand, Ullman does a terrific job with the softer, more introspective parts of the music, which can be heart-meltingly beautiful. For instance, the second-movement Quasi Adagio never sounded lovelier. What’s more, the little Allegretto Vivace dances with a sweet, lighthearted playfulness. In all, Ullman projects Liszt’s fancy flourishes with plenty of gusto but without a lot of colorful flair, while delivering the quieter moments in a most touching manner. Maestro Litton and his BBC players do a fine job accompanying Ullman, and even keeping up with him.
The second item on the program is the Piano Sonata in B minor, S.178, which Liszt wrote in 1853. Of all Liszt’s work, the Sonata has probably drawn the most criticism, comment, and praise. Here, Ullman takes his time, though never sluggish, and interprets the piece with a calm and reassuring poise. He makes maximum use of contrasts and pauses to draw out the best in the music. The music elicits the best from Ullman, too, who draws together the sonata’s six brief movements into a coherent whole rather than a series of sometimes diverse and discordant pieces.
The closing selection is Liszt’s Piano Concerto No. 2 in A, S.125. As with the Concerto No. 1, Liszt wrote a first draft some years before revising and completing a final version, premiering it in 1857. This Second Concerto is more subtle and in many ways more imaginative than his First Concerto, which might explain why it isn’t quite as recognizable as the First. Whatever, Ullman handles the music with delicacy and charm. While the piece may not have the flamboyant elements of the First Concerto, it more than makes up for it in its poetic grace, which Ullman seems to relish. It’s also noteworthy that Litton and the orchestra seemed more prominent here than I’ve noticed before in this score, doing as much to convey the music as the piano does. It’s as lovely an interpretation of the Second Concerto as any I’ve heard.
Producers Matthew Cosgrove and Andrew Keener and engineer Dave Rowell recorded the music at Henry Wood Hall, London in September 2020 and 2021. The sound is very clear but at the expensive of being a little forward. There is good imaging in the concertos, with the pianist nicely focused up front and the orchestra spread out behind him. I just wish the lower treble weren’t quite so sharp and bright. The sound of the sonata was more to my like liking, the piano miked at just the right distance to appear lifelike without being glossy or glaring.
JJP
By John J. Puccio
On the present CD he is accompanied by Andrew Litton, who needs no introduction, and the BBC Symphony Orchestra. Together they tackle two of the mainstays of the classical piano repertoire, Liszt’s piano concertos, along with his celebrated piano sonata. Mr. Ullman does, indeed, impress the listener with an “elegant touch,” as one might expect from a fellow who has won several Liszt piano competitions.
So, first on the agenda is the Piano Concerto No. 1 in E-flat, S.124, which the Hungarian virtuoso pianist and composer Franz Liszt (1811-1886) wrote in 1855. However, Liszt had been working on it for over a quarter of a century, completing a first draft around 1830 and completing it 1849. When Liszt finally premiered it, he played the solo part himself, with Hector Berlioz conducting. It’s probably the more famous of Liszt’s piano concertos because it’s the more virtuosic of the two, its dramatic opening notes likely known even to non-classical lovers.
The second item on the program is the Piano Sonata in B minor, S.178, which Liszt wrote in 1853. Of all Liszt’s work, the Sonata has probably drawn the most criticism, comment, and praise. Here, Ullman takes his time, though never sluggish, and interprets the piece with a calm and reassuring poise. He makes maximum use of contrasts and pauses to draw out the best in the music. The music elicits the best from Ullman, too, who draws together the sonata’s six brief movements into a coherent whole rather than a series of sometimes diverse and discordant pieces.
The closing selection is Liszt’s Piano Concerto No. 2 in A, S.125. As with the Concerto No. 1, Liszt wrote a first draft some years before revising and completing a final version, premiering it in 1857. This Second Concerto is more subtle and in many ways more imaginative than his First Concerto, which might explain why it isn’t quite as recognizable as the First. Whatever, Ullman handles the music with delicacy and charm. While the piece may not have the flamboyant elements of the First Concerto, it more than makes up for it in its poetic grace, which Ullman seems to relish. It’s also noteworthy that Litton and the orchestra seemed more prominent here than I’ve noticed before in this score, doing as much to convey the music as the piano does. It’s as lovely an interpretation of the Second Concerto as any I’ve heard.
Producers Matthew Cosgrove and Andrew Keener and engineer Dave Rowell recorded the music at Henry Wood Hall, London in September 2020 and 2021. The sound is very clear but at the expensive of being a little forward. There is good imaging in the concertos, with the pianist nicely focused up front and the orchestra spread out behind him. I just wish the lower treble weren’t quite so sharp and bright. The sound of the sonata was more to my like liking, the piano miked at just the right distance to appear lifelike without being glossy or glaring.
JJP
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