Despite the familiarity of his name, Liszt remains one of the great unknowns of 19th-century music, with swathes of his enormous output off-limits to performers and audiences. Evgeny Kissin's all-Liszt programme may not have explored neglected territory, but the conviction generated by his combination of technical mastery with impeccable stylistic assurance offered a firm counterblast to those who view the composer as a superficial showman.
Kissin let himself in gently with Ricordanza, one of the Transcendental Studies, with which Liszt expanded the possibilities of piano writing further than any of his predecessors. Yet this example regularly sticks to tried-and-tested patterns, and its heightened lyricism requires huge dexterity. Kissin played it with a fluency that made it appear easy, with filigree flights seemingly aimed somewhere beyond the right-hand end of the keyboard, and negotiated with miraculous skill.
One work Liszt's detractors find impossible to dismiss is the Sonata, whose taut structure Kissin realised in a performance that matched visionary flamboyance with breathtaking intimacy. It remains a huge challenge, in scale as well as intensity. From the fugue onwards, it seemed once or twice as if Kissin might be on the point of letting the music run away from him – but he always held firm, marking out its ground plan securely, even while flights of Lisztian bravura volleyed in all directions.
The grand, quasi-orchestral textures of Funérailles passed by in solemn procession, and the lighter entertainment of Venezia e Napoli was presented with an insouciance that never let this Italianate spree lapse into triviality.