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BBC Music Magazine, Orchestral Choice
Preis der deutschen Schallplattenkritik, Bestenliste 2/2010
Audio, Klassik-CD des Monats

Fellner’s subtlety places this disc among the finest recordings of these works
Till Fellner … together with Kent Nagano and the Montreal SO gives us two of the most supremely satisfying performances of both these concertos on record. This is a dream partnership with soloist and conductor working hand-in-glove, and even when you conjure with so many glorious names in such core repertoire you will rarely hear playing of such an enviable, unimpeded musical grace and fluency.
Bryce Morrison, Gramophone

Like the footsteps of a life partner, Beethoven’s music is heard so frequently that it’s easy to take it for granted. But listen to Austrian pianist Till Fellner’s ECM New Series CD of Beethoven’s Piano Concertos No. 4 and 5, performed with the Orchestre Symphonique de Montréal under Kent Nagano, and the love affair is renewed.
Victor Serinus, San Francisco Classical Voice

Words are inadequate to describe the sheer joy I experienced at listening to this disc. I’d long ago abandoned hope of ever hearing Beethoven’s Fourth Piano Concerto played as I’ve heard it in my head, and as it is played here. … Every detail and nuance is traced with a touching tenderness and delicacy that is neither fussy nor prissy, but rather flows, as if unbidden, like an outpouring of radiant, seraphic song. This is no mere dialogue or conversation between soloist, conductor, and orchestra, but the entwining of souls in rapt concord. …
In Fellner and Nagano’s hands, the “Emperor” takes on the character of a true ensemble piece, as opposed to being presented, as it often is, as a virtuoso display vehicle. It’s a winning performance that reveals many felicities of scoring and inner detail that sometime tend to be glossed over.
It’s still early in the season, but this release will definitely be in the running for my 2010 Want List… A stunning achievement by all involved.
Jerry Dubins, Fanfare

These are superlative performances of these extremely familiar works, though it isn’t easy to say exactly why they are so fine. … The give and take between Fellner and the Montreal Symphony Orchestra is uncanny, in that they seem to be questioning or replying to one another as if only two individuals were concerned. That is not so surprising in the Fourth Concerto, which is intimate… It is much more surprising in the Fifth Concerto… Yet in this performance once more there is a feeling of the orchestra as a unity debating with the pianist, or provoking him, or being teased by him.
Michael Tanner, BBC Music Magazine

Fellner hat immer schon wenig gehalten von Pomp und Pathos, dafür umso mehr von Klarheit, Leichtigkeit, struktureller Durchdringung. Seine Artikulation ist klar, ohne je ins Überpointierte zu kippen, und kein übermäßiger Pedalgebrauch vernebelt die stets ebenmäßigen Läufe. Ausgewogen ist auch das Zusammenspiel mit dem Orchestre symphonique de Montréal unter Kent Nagano… So ist die Aufnahme eine entspannte, souveräne und uneitle Auseinandersetzung mit Beethoven.
Susanne Kübler, Tages-Anzeiger

Mit Fellner und Nagano werden das G-Dur und das Es-Dur-Konzert zu Ohrenöffnern. … Beide halten den Blick auf das Detail. Fellner spielt lieber mit Farben als mit Wucht, er modelliert Läufe, schattiert Modulationen, gestaltet logische Abschnitte. Wo es sein darf, zeigt er auch Pranke. So lebendig, von einem kontrollierten Feuer erfüllt, hat man diese Konzerte seit Friedrich Gulda nicht mehr gehört. … Wer bei Beethoven wieder etwas entdecken will, der muss hier zugreifen.
Laszlo Molnar, Audio

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