He sang the theme of the Largo movement on the keys and let himself be carried away by the bubbling liveliness of the Kammerphilharmonie in the finale.”

Based on his commanding skills, his interpretation of Beethoven was clear, excellent and transparent. His playing style was natural, not overly romantic or overly sentimental, and thephrases were relaxed and at ease under the elastic rhythm. In the slow movement his touch
is light and elastic, he exudes a shimmer, and his harmony with clarinettist Matthew Hunt, who has a wonderful voice, is very touching.

Müller’s approach was ideal for the early C major concerto. His appropriately light touch made the work’s classical roots clear. On the other hand, he delivered the accentuated sforzati and marcato passages in a gripping manner. He thus succeeded in playing a Beethoven that was both sensitive and pointed. In the first movement, he played the longest of the three original cadenzas and structured them in an exemplary manner.

40 minutes of heavy fare, in which Müller shapes a myriad of delicacies in such a way that they make the whole thing shine.

When Fabian Müller plays, he spans the musical emotional arc from quiet, fragile tones to melancholy interludes and passionate enthusiasm.

It begins with an autumnal murmur, soon shaken and torn apart by volcanic detonations, only to culminate after massive atonal layering in an ending whose iron-hard rhythms urge collection, concentration and activity: certainly lush, yet forcefully contoured, so that one
could imagine and wish for further performances.

Even as a passionate concertgoer, you have to rummage very thoroughly in your memory to remember a comparably intense Appassionata.

[…] the way he carves the Allegro of Beethoven’s Opus 57 here into the keyboard and supports the attack of the right hand with the left and the pedal in color, the way he lets the Andante con moto breathe freely, only to then bring the finale almost to bursting point with inner tension and biting contrasts and finally, in the final frenzy of the Presto, actually goes one better until you get dizzy from listening — to experience that live is yet another story.

Fabian Müller stages this stormy work with controlled furor: with all the abruptness of the fortissimo sound surfaces after a pale unison beginning, but always with an overview of the unleashed forces.

Indeed, he finds the color in them, with a lightness of touch and a positive disregard for certain tempos

Fabian Müller […] tended towards the big line at the concert in the cube in front of Johannisberg Castle, maintaining moderation and center. His concentration, technical ability, overview and attention to detail were admirable.

What Fabian Müller achieves here can be applied to the whole CD: he draws a portrait of Schubert, who can sometimes be plaintive, sometimes sad, but who wants to celebrate, drink and laugh just as passionately. He shows us a person who wants to perceive and enjoy the beauty of life in both quiet and wild moments.

The playing […] is pianistically at a high level: the different voices are beautifully differentiated from each other in terms of colour, everything is excellently pedalized, which
ensures tonal transparency and clarity.

A great and at the same time unpretentious musician whose spirited, dedicated and sensitive playing takes the breath away and makes the Steinway shine.

The way Müller summarizes the thoughts, holds them together, despite the jerky changes of themes, is captivatingly honest and coherent. […] Müller is a true pianist, not a dazzler. […] Brilliant in his playing, expression and sonority.

“Müller acted as a welcome and necessary artistic cement between the drifting repertoire alternatives. […] All the more astonishing in view of the lack of rehearsal time was the not only technically, but also musically convincing interaction between the partners. Müller performed Runge’s rubati, for example, with somnambulistic certainty”.

“Anyone who only comes to Husum for three days instead of the full eight must always be told by the intercontinental, knowledgeable audience that they have missed something great: this year you hear it about Fabian Müller”.