Counterpoint is an important element in classical music, referring to multiple, interdependent voices that are performed simultaneously. Without a doubt, J.S. Bach was the greatest composer utilizing the contrapuntal technique, as evident in his Inventions and Well-Tempered Klavier. While he utilized canonic counterpoints in many of the inventions, the complexity of contrapuntal music reached its pinnacle with his fugues. With these compositions, he laid out an important framework for all composers who came after him. The recital by Austrian pianist, Till Fellner Monday evening at Herbst Theatre was a study in importance of counterpoints.
Fellner began the evening with the Prelude and Fugue No.1 in C Major, BWV 870 from the Book II of The Well-Tempered Klavier, with an authoritatively declarative octave pedal point. The tempo was brisk, but it did not feel rushed. He distinguished the voices with contrasting textures: Certain voices were performed legato while others were performed portato and staccato. The unambiguous relationship between the articulation and voices gave the framework in which voices came alive. Fellner was generous in use of the sustain pedal; quite a contrast from many contemporary interpretations which are drier. The effect did not however blur the colors as the music weaves from a key to another, but Fellner made the transition smooth so that modulations would seem gradual and smooth. Music flowed like silk fabric floating in the air, illuminated by stage lights of different colors.
In the Prelude and Fugue No.3 in C-sharp Major, BWV 872, Fellner conjured a dreamy atmosphere, almost impressionistic, exploring the timber unimaginable in Bach’s time. It possessed a somewhat spontaneous character, as if Fellner was daringly exploring modulations and harmony. Then, the last part of the Prelude, in a different time signature, jumped out vivaciously, with a sprightly contrast, eliciting a response from the audience who were indulging in the dream. In quieter parts, the sound emanating from the piano was almost organ-like, with resonance and depth of the rich Cathedral-like acoustics. The gigue-like Fugue in the Prelude and Fugue No.4 in C-sharp Minor was performed with drive, with the motifs laid out clearly with life.
Music flowed like silk fabric floating in the air, illuminated by stage lights of different colors.
The seldom heard Mozart Sonata No.15 in F Major, KV.533 / K.494. followed. The choice was quite intriguing since it is one of the more contrapuntal sonatas by Mozart. In this sonata, right and left hands follow each other and exchanging parts, instead of leaving the left hand relegated to a role of an accompaniment. Fellner distinguished the voices with his fine control of articulations. The use of the sustain pedal could have been described as being generous again, but it was effective, well compensating for the relatively dry acoustics of the hall.
The choice of Haydn Sonata in B Minor after the intermission too had a purpose. The fast third movement, Presto, is particularly contrapuntal, with its distinctive motif with repeated notes appearing from all directions. Especially in the second half of the movement, Fellner marked the entry of the motif with clarity that the architecture of the work was unambiguous. With the furiously whirling 16th notes in the right hand, it was a ride to be remembered. Fellner’s clear articulations were evident throughout the piece as well, giving further depth to the otherwise sparsely written score.
Over all, an intriguing performance given the careful attention Fellner lavished on the inner voices and the structure of the pieces he presented.
The Schumann Symphonic Etudes, Op.13, on the surface seemed like an odd choice after a trio of 18th-century composers, but Fellner had a clear goal presenting this work. Many of the Etudes, which are variations of the theme, are written in the canonic form, where one hand follows the other forming a counterpoint to each other. Fellner’s attention to counterpoints was particularly effective in Variations I and IV, yet in more romantic and less contrapuntal variations, such as the Etude III and Variation IX, I yearned for richer and more dramatic and self-indulgent melodic lines rather than the busy accompaniment. Also, in the variations where the melody is played as a part of chords, and especially the exuberant Finale, I craved for stronger voicing of the melodic components, and some gregarious boisterousness near the finale where the music surprisingly modulates to B-flat Major from D-flat Major, marked fff for two measures. Yet, it was still over all an intriguing performance given the careful attention Fellner lavished on the inner voices and the structure of the pieces he presented.
Sarabande from English Suite No.1 in A Minor BWV 807 was offered quietly as an encore.