Rarely did Fejervari play phrases the same way, even when they repeated note for note several times in a row. In Schubert’s Drei Klavierstücke, D. 946, he relied on his expansive pianism and artistry to highlight nuances and details. Filigree trills hovered like hummingbirds and quicksilver scales, and delicate grace notes melted into an expressive chorale. The aria-like allegretto offered an opportunity for Fejervari to show off his technique in layers with bass staccato notes popping against creamy treble thirds and lyrical lines.
Similarly in Chopin’s Piano Sonata No. 2 in B-flat Minor, Op. 35, Fejervari charted a sonic course of twists and turns. From the emphatic opener to the scherzo’s heroic chords, the pianist’s versatility and inventiveness were evident. His “Marche Funèbre” followed a linear progression not unlike the stages of grief, with an aching introduction, a plaintive interlude and a cathartic crescendo in the final march that receded into glowing acceptance. Fejervari took the finale at breakneck speed, but the notes sparkled like diamonds.