There’s just no other word to describe Adam György’s performance last night in the Liszt Sonata in B Minor. It’s one of the pianistic summits that is often recorded, but not nearly so often performed. The last time I can recall hearing it at the Festival was back in 1994 or ’95 with Robert Silverman. So it was a welcome return for that reason. György too was returning to the Parry Sound stage, and stated that he was very glad to be back – a feeling shared by many of the Festival musicians.
Now: that performance. It would be far too easy to attack the Liszt Sonata with a sledgehammer, indulging to the full in what Sir Donald Tovey called “smashed-china fortissimos”. Equally it must be tempting to go too fast, if only to try to get to the end of the 30-minute marathon a little sooner. György resisted both temptations as well as the third one – the urge to cover up any of the tricky spots by over-pedalling. I never heard this piece played by Wilhelm Kempff, but György’s playing reminded me in this respect of Kempff’s Beethoven.
György gave a performance of great nuance and subtlety. These are not words associated with many people’s ideas of Franz Liszt, but the Sonata is a true masterpiece. Unlike some of Liszt’s works, this one has an ample number of themes to work with. Liszt has created a unique and flexible structure based on his idea of thematic transformation. The single large movement divides into a number of subsections but all the themes flow and transform from one section to another in a seamless way. György had a clear grasp of the complex structure, and gave us many subtle insights into the music’s construction.
At the ending the themes are recalled in tranquillity, like memories of life fondly revisited in old age, now free from passion. György did a masterly job of placing those final high chords and the last quiet bass note, holding the audience so securely in his hands that there followed a breathless silence of close to 20 seconds. Then the hall erupted in an instant standing ovation.
- Ken Stephen
This performance was world class. It was obvious that György had an emotional investment in this challenging composition.
You could definitely feel that something very special was taking place, and although there was a change in the program, which came as a surprise, the outcome was riveting. I spoke with a number of audience members who were lost for words, in a good way. György achieved the most important element in music. To move the listener on a deep emotional level. I am grateful I was there for this stellar happening in Parry Sound!