The German Liszt Society about Lars David Kellner's recording: Franz Liszt - Complete Works for Harmonium (Vol. 1)

"Kellner has studied Liszt's works for the harmonium so intensively - one might almost say 'afflicted' - that his interpretations have attained great depth and maturity." (M. Straeter, German Liszt Society, 2020)

(To the review of the album on the website of the German Liszt Society)

That the harmonium was not just an instrumental fringe phenomenon or an exotic stylistic device for Franz Liszt is proven by his numerous works expressly (exclusively or alternatively) scored with harmonium. As is well known, he owned several such instruments himself and certainly contributed to their tonal and technical development, as is also and especially true for the piano and the orchestra.

The pianist and harmonium specialist Lars David Kellner has presented the first part of his interpretations of Liszt's harmonium works. In addition to the Christmas Tree cycle S186, the volume includes two Ave Maria S667 and S545, A Magyarok Istene S667, Gebet S265, Resignazione S187a, At Richard Wagner's Grave S267, The Pope's Hymn S261 and O sacrum convivium S674a.

On his large Mannborg suction wind harmonium in the Evangelische Kapelle in Haar near Munich, Kellner is not only able to convey the special charm and capabilities of the instrument; his Liszt interpretations - including some premiere recordings for harmonium - also make it musically clear why Liszt intended them for this instrument. There is not only a strong inwardness as an expression of religious contemplation and devotion, not only a strong merging ability of the registers with simultaneous dynamic flexibility, the ability of a targeted and audible breathing on the instrument by the player, but also - with skilful registration, as Kellner demonstrates it exemplarily - an almost orchestral range of the voices and the plenum, without the often intimidating-overwhelming sound mass of an organ.

Kellner has studied Liszt's works for the harmonium so intensively - one might almost say 'afflicted' - that his interpretations have attained great depth and maturity. In addition, he has all the technical (and, with the Mannborg, instrumental) means at his disposal to allow details to shine through, providing new insights even for those familiar with the compositions. His performance often comes close to the solo or choral singing da camera in its breath and voice leading; in other, more gripping passages (A Magyarok Istene, The Pope's Hymn) it approaches the orchestra in its gesture - just without its powerful apparatus.

Thus Kellner's interpretations are able to open up insights into Liszt's musical imagination when he decided to write for the harmonium. And many a time one is amazed and pondered, for example At Richard Wagner's Grave ... Lars David Kellner has done more than justice to these compositions, he has brought them to light (without prejudice to other recordings) and reminded us of their special place in Liszt's oeuvre.

It is therefore gratifying that Kellner has already announced two more recordings as a continuation and conclusion of the series: Volume II is to include Rosario, Zwei Kirchenhymnen, Ora pro nobis, Angelus!, and the Ten Chorales for Cardinal Hohenlohe; finally, Volume III is to be devoted to Via Crucis in Liszt's harmonium/organ version.