Till Fellner (born March 9, 1972) is an Austrian pianist.
He was born in… Read Full Bio ↴Till Fellner (born March 9, 1972) is an Austrian pianist.
He was born in Vienna and studied at the Konservatorium der Stadt Wien with Helene Sedo-Stadler, and later privately with Alfred Brendel, Meira Farkas, Oleg Maisenberg and Claus-Christian Schuster. He won first prize in the Clara Haskil International Competition in Vevey in 1993. He was awarded the Mozartinterpretationspreis of the Mozartgemeinde Wien in 1998.
His regular chamber music partners include cellist Heinrich Schiff, tenor Mark Padmore, and violinist Lisa Batiashvili and cellist Adrian Brendel in a piano trio.
He has been critically praised for his performances of the standard baroque, classical, and romantic repertoire of music by Schumann, Bach, Beethoven, Mozart, Liszt, and Schubert, as well as rarities such as the piano sonata of Julius Reubke.[1][2] He also performs music of the 2nd Viennese School of Arnold Schoenberg, Alban Berg and Anton Webern and the contemporary classical music of Heinz Holliger, Gyorgy Kurtag, Thomas Larcher, and Harrison Birtwistle, including some premieres.
He is to perform Beethoven's complete piano concertos with Kent Nagano and the Montréal Symphony in 2008, and from 2008-2010 he is to perform a series of Beethoven's complete piano sonatas over seven concerts in New York, Tokyo, London, Paris, and Vienna.
He was born in… Read Full Bio ↴Till Fellner (born March 9, 1972) is an Austrian pianist.
He was born in Vienna and studied at the Konservatorium der Stadt Wien with Helene Sedo-Stadler, and later privately with Alfred Brendel, Meira Farkas, Oleg Maisenberg and Claus-Christian Schuster. He won first prize in the Clara Haskil International Competition in Vevey in 1993. He was awarded the Mozartinterpretationspreis of the Mozartgemeinde Wien in 1998.
His regular chamber music partners include cellist Heinrich Schiff, tenor Mark Padmore, and violinist Lisa Batiashvili and cellist Adrian Brendel in a piano trio.
He has been critically praised for his performances of the standard baroque, classical, and romantic repertoire of music by Schumann, Bach, Beethoven, Mozart, Liszt, and Schubert, as well as rarities such as the piano sonata of Julius Reubke.[1][2] He also performs music of the 2nd Viennese School of Arnold Schoenberg, Alban Berg and Anton Webern and the contemporary classical music of Heinz Holliger, Gyorgy Kurtag, Thomas Larcher, and Harrison Birtwistle, including some premieres.
He is to perform Beethoven's complete piano concertos with Kent Nagano and the Montréal Symphony in 2008, and from 2008-2010 he is to perform a series of Beethoven's complete piano sonatas over seven concerts in New York, Tokyo, London, Paris, and Vienna.
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Fuge g-Moll
Till Fellner Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Erik Vertriest
One of the best Bach interpretations I ever heard!! Such a harmony & balance...
Alguandre
@Neardelight Yes! Fellner's rendition is a masterwork: always credible tempos, judicious & exact sense of rythm, perfectly distinguished voices -great couterpoint!-, rich piano sound. It's a dream. I wish people left those stupid fundamentalisms behind and used their ears... as you do! Thank you for appreciating.
Neardelight
could not agree more, Till Fellner's WTC is so rich and expressive, yet not too romantic... one of my favorite recordings of this devine book thank you for uploading
dong dong
great!!! One of best recording which i ever heard of bach. Great balance, voicing, understanding. I like a lot the way he uses pedal which brings this charatcer to this piece and beatiful singing line
Alguandre
Because the -slight- use of the pedal enhances the "cantabile" mode which Bach himself always pursued. IMHO, of course. I hope Fellner records the WTC Book II soon. Thank you very much for your comment.
alger3041
Further comment regarding the description "best pair in WTC Book I." I agree that these two movements are among the finest in the entire WTC collection, both books, but I feel that this is too sweeping a statement. I feel that (for example) the G Minor set in Book I (BWV 861) and the E Major set in Book II (BWV 878) are at the very least equal to this wonderful F Sharp Major set. How do others feel about it?
alger3041
Whatever positive impressions I have of this rendition are confined exclusively to the Fugue. It is nicely shaped, with the tempo altogether acceptable even though I would perhaps take it slower a notch or two. The trill in the top voice at 1:59 is missed here
as in so many other renditions, but I feel that some effort should be made by a pianist
playing this movement to execute it properly, and not omit it, as it is a part of the subject.
I do not like the Prelude in this rendition. The tempo is far too fast, totally obliterating the essential tranquil quality of this movement (as with the Fugue). Also, I do not like the manner in which the trills are executed - I feel that they should be extended out to the full value of the principal note, and in addition, totally despite performance practice as handed down to us (which should never be followed blindly anyway), I strongly feel that they should all begin on the principal note, in order to preserve motivic integrity which I feel is very important - in this case the aspect of the repeated note with which this motive ends.
nestatim1
i do agree very much with you. beautiful touch but the pedal ruins it quite a bit. and as it may serves the purpose of cantabile it does not serve the use of the counterpoint
Alguandre
@Erik83474 I'm waiting for his rendition of Book II... Thanks for the comment.
ghostwriter11
Exquisite understanding of and feeling for the music. But why so much pedal? (Why *any* pedal?)