A little more than three years after his first concert in Montreal, at Bourgie Hall, the Welshman Llŷr Williams caused a sensation once again by interpreting Schubert and Chopin on Tuesday evening.
In February 2019, we titled our review “Llŷr Williams, a too well-kept secret”. The statement is always true, especially in difficult times for live performance. Satisfactions however; several spectators came to tell us that they had had the curiosity to read the text on Llŷr Williams and to come, especially since we had concluded: “Here is an artist we hope to see again. This time, everyone will have been warned! No one was disappointed with this impressive comeback. All the more impressive now that over two concerts Williams will have played Ravel, Fauré, Wagner, Liszt, Schubert and Chopin.
A great Schubert
Everything was not necessarily perfect. When it comes to the piano, too, there are impossible missions. Start a concert with Sonata D.959 of Schubert for example. The approach to the 1st movement seems hasty, almost indifferent, Williams even sliding over the modulations without highlighting the changes of atmosphere or perspective. On the contrary, there emerges from this approach a form of urgency.
Everything changes from the start of the 2nd movement, Andantino, an incredible interpretation, totally liquid, equal. This movement has the purity of a lake of clear water on which a storm is suddenly unleashed. The parallel with the climax of the 9th Symphony is obvious when, on the rubble, Schubert starts to sing again. Curiously, here, Schubert has in common with Mozart this ability to stare at the sky while he is in the depths of the black hole.
In the 3rd and 4th movements, we find the Llŷr Williams of 2019, who begins to play with resonances. The spirit is perfect. Here too, guiding threads connect the movements, since the 3rd ends with a somersault towards the bass of which, immediately rises the solar song of the Final. What had started rather banally has therefore turned into a very grand interpretation of the Sonata D.959.
The second part of the program, devoted to Chopin, confirms the eminence of this artist. The pianistic and intellectual behavior recalls the interpretations of the Czech pianist Ivan Moravec and it is not surprising that the Ballads No. 1 and 3 and the 2nd Scherzothat is to say the most developed scores, are the most impressive.
With Llŷr Williams, there is no procrastination. The pianist emphasizes nothing but the structures and oppositions of themes and atmospheres with unfailing determination and efficiency, but also beautifully crafted transitions (3rd Ballad). the 2nd Scherzo puts on diabolical trappings. Waltzes and Night have a lot of class, without exaggerations in terms of shades or textures.
If he comes back again, don’t forget to move for Llŷr Williams this time.