Catalogue Connection: 21376

A close…ambience characterises this recording…befitting Brian Hsu’s direct, uncluttered…journey through this monumental piano cycle. In Book 1, a listener could well take dictation from the steady tread of the opening ‘Chapelle de Guillaume Tell’, while the rolling accompaniment and ringing cantabile of ‘Au lac de Wallenstadt’ transpire on the same external level. ‘Au bord d’une source’ is as luminous as the antipodal ‘Pastorale’…Hsu’s Book 2 fares best in the three beautifully paced Petrarch Sonnets…Book 3 inspires some of Hsu’s finest playing. He brings engaging sweep and continuity to the second ‘Aux cyprès de la Villa d’Este’ piece and finds a multitude of nuance and shading within the rippling arpeggios of ‘Les jeux d’eaux à la Villa d’Este’….Hsu really does project the appropriate timbral flavour, while throwing himself into the concluding ‘Sursum corda’ as if it were a matter of life or death.

Although an output as vast and varied Liszt’s might resist being narrowed down, the three volumes of Années de pelerinage afford a plausible overview of its creative evolution. These pieces take in the uninhibited virtuosity, the philosophical striving then the spiritual communing that were Liszt’s focus at successive stages of his life, their relative overlapping just part of their fascination.

The Swiss-themed ‘Première année draws mainly on the earlier Album d’un voyageur, compensating for the earlier collection’s spontaneity with a newfound formal clarity and expressive poise. Understated in the proclamatory Chapelle de Guillaume Tell’, Hsu duly brings out the poignancy of “Au lac de Wallenstadt’, the vernal freshness of Pastorale’ and the teasing intricacy of Au bord d’une source…Vallée d’Obermann’ emerges as fluent and cohesive…In the Italian-themed Deuxième année, Hsu is unduly matter-of-fact in the opulent ‘Sposalizio, suitably speculative in ‘Il penseroso and brings out the deadpan humour of ‘Canzonetta del Salvator Rosa’. Even more notable are the three ‘Sonetti di Petrarca, pointing up their subtly changing personas to infer appreciation of their texts as initially set by Liszt before being filtered through the piano medium…Hsu controls its wrathful and supplicatory extremes with acuity. Venezia e Napoli provides a worthwhile supplement, the allure of Gondoliera and pathos of ‘Canzone’ followed by a “Tarantella’ of dextrous though never decorous brilliance…Hsu brings out the gentle radiance of ‘Angélus!’ with the deftest of touches…the proto-Impressionist harmonies of ‘Les jeux d’eaux à la Villa d’Este are rendered admirably so that this never descends into a textural wash…Hsu can seem under-characterised, but this would be to overlook the subtleties with which his recording abounds.

The complete Années de pèlerinage Suites for solo piano by Franz Liszt is performed by the exciting Taiwanese-American pianist Brian Hsu. Released as a three CD set, this monumental cycle traces a physical and emotional journey by the composer through the magnificent alpine landscapes of Switzerland, the art and literature of Italy, and the journeys within.

In detailed programme notes, Brian Hsu explains how the inception of the album came during COVID. During the pandemic, the pianist utilized this music as a virtual journey to explore European landscapes and culture through the composer’s imagination, providing a sense of motion and emotional release during a time of isolation. The repertoire offered a way to travel and connect despite restricted movement.

Hsu’s performances trace these connections, bringing forth the vivid imagery, energy, youthful exploration and outward discovery in Books I (Suisse) and II (Italie). His performances then underline how Book III unfolds as a spiritual pilgrimage – an inward journey shaped by reflection and acceptance.

I decided to compare this recording with a long forgotten one by Aldo Ciccolini on EMI recorded in the 1960s as well as the Lazar Berman version recorded in 1977 for Deutsche Grammophon. In the First Book, Hsu is more forceful and direct than Ciccolini although the poetic excerpts are perhaps more drawn out in the previous recording.

Lazar Berman’s version is also widely seen as the benchmark, but I found Hsu more than meeting that great pianist’s match, especially in Book II, Italy.

In the Third Book, which is less programmatic but more spiritual, Leslie Howard is another towering interpreter, but again, I felt that Hsu was also very persuasive.

I particularly enjoyed the ‘Venezia e Napoli’ pieces which are full of vibrant energy.

In the pianist’s biography, we learn that from an early age, Brian Hsu was captivated by the imagination, virtuosity, and expressive power of Franz Liszt’s music. He viewed recording the complete Années de pèlerinage as a significant ‘personal challenge’, an achievement shared by fewer than two dozen pianists globally. In this recording, Hsu presents a nuanced portrait of Liszt, moving beyond the image of a mere showman.

Liszt is deeply associated with dazzling virtuosity and showmanship, but this represents only one facet of a composer whose artistic voice grew increasingly reflective, restrained and forward-looking over time. Hsu’s interpretation of this monumental work presents the comprehensive view that each Book offers a distinct emotional world, and that together, they form a narrative that mirrors the stages of a life well-lived.

Although not a top drawer recording when compared with the very best, this is certainly an excellent modern version of the Années de pèlerinage if you already have the Ciccolini or Berman and wish to invest in a companion piece.