CONCERT REVIEW: Cape Town Concert Series presents Alexander Ullman (Piano) – Grieg and Liszt. At the Baxter Concert Hall in Cape Town on 17 January, 2026. ALBERT COMBRINK reviews.
Following his impressive Cape Town debut in 2025 in a recital in the “Fazioli Concert Series”, the British pianist returned to the city for his concerto debut with the CPO (a fascinating account of Beethoven’s “Emperor” Piano Concerto, following that up with a recital for the Cape Town Concert Series.
The programme featured two composers which feature prominently in the pianist’s career: Hungarian composer-pianist Franz Liszt, and the quintessential voice of Norway, Evard Grieg. Ullman staked his claim in the virtuoso Liszt repertoire by winning the 2017 International Franz Liszt Piano Competition in Utrecht. Since then, he has performed all over the world, from the Vienna Musikverein and the Hamburg Elbphilharmonie to Korea and South America.
His first album on Rubicon Records (2019) included Russian music from Prokofiev to Tchaikovsky. His second recording features the two Liszt Piano Concertos with the BBC Symphony conducted by Andrew Litton. 2025 saw the release of an album dedicated to the works of Grieg.
Profound interpretations
Reviews have been excellent: In the Liszt Concertos, critics praised his sophisticated, detailed, and musically profound interpretations, highlighting his exquisite technique, dynamic control, and ability to reveal the inner imagination of the music beyond mere virtuosity, making the works feel fresh, atmospheric, and deeply expressive, even while delivering exciting bravura. Critics note his subtle yet powerful command, contrasting with flashier approaches. The disc has been praised for detailed, musical performances, structured in such a way that a whole programme of short pieces did not weary the ear.
Carefully selected, balanced
So it was with Ullman’s recital programme. Carefully selected and balanced, it opened with the final set of Grieg’s Lyric Pieces Book 10 Op.71. I took a double-take to realise, that by the time these pieces were completed, we are already in the twentieth century: completed in 1907, these beautiful, largely tonal, folk-infused pianist tone-paintings, we were only half a decade away from the explosion that was Stravinsky’s darkly dramatic “The Right of Spring”. The programme started well, with an exquisite piano sound and a complete control of the quiet range of the piano, being the first thing one noticed. Fleet fingers in the dancing moments were there in abundance, but I wondered if the dances could be a little more rumbunctious and rustic.
The first List piece on the programme, the devilishly tricky etude, “La Campanella” . “La Campanella” (The Little Bell) is the famous third movement (finale) of Niccolò Paganini’s Violin Concerto No. 2 in B minor, Op. 7. It’s known for its bell-like effects and virtuosity. Liszt used the theme and crafted a set of demanding variations. The piece failed to land. It seemed as if Ullman was attempting a very soft, Mendelssohnian scamper, but many of the bell-melodies failed and it seemed as if a memory lapse interfered.
Confidence was restored with an exquisite performance of Ullman’s own transcription of a suite from Peer Gynt. He is clearly an excellent transcriber, and his closeness with the material shone through. Two Liszt works finished the first half: a dreamy late work, “Nuages gris” (Grey Clouds) S.199 and the virtuosic Grand Paganini Etude No.6 S.141, this time based on Niccolò Paganini’s Caprice No. 24 in A minor for solo violin. Carefully played and well-crafted, there was much to enjoy.
Dynamic control
After interval we had a set of Song Transcriptions Op.41, one of the first products of Grieg having received a government stipend so that he could focus on composing. The pianist was visibly more relaxed in the second half, and we were treated to exquisite phrasing and dynamic control. Liszt’s beautiful Nocturne, “En rêve” S207 was presented in floating silks and whispers. A perfect palate cleanser, which then led to one of Liszt’s most gargantuan concert paraphrases on Wagner’s “Overture to Tannhäuser” S.422. Ulmann came to life, playing with enormous confidence, power and virtuosity. The piece is an absolute obstacle course for pianists, only tackled by very confident virtuosos. The audience were swept away, and the ovation was warm and generous, resulting in an encore: a whispered, tender and deliberately paced “Morning” from Peer Gynt.
A fascinating programme, with many high points and one or two caveats, this is absolutely an artist to hear again.
Upcoming piano festival events for CTCS Concerts
Erik Dippenaar: Baroque Keys
14 February at 11:00
R230 – R280
Ludmil Angelov: Mozart, Weber, Chopin
14 March at 11:00
R230 – R280
Roelof Temmingh: Young Artist Recital
11 April at 11:00
|R230 – R280
What: Cape Town Concert Series presents pianist Alexander Ullman
Reviewer: Albert Combrink
WS
