Emanuel Ax salutes bicentennial of Chopin, Schumann in Shriver Hall recital
One of the most anticipated events on the local music calendar was Sunday's recital by Emanuel Ax for the Shriver Hall Concert Series, his first appearance there in more than 30 years. I'd like to be able to report on the whole program, but I was stuck on Grammy watch at the Sun that day, waiting for word about Baltimore's representation among the assorted nominees -- the BSO (for its Bernstein "Mass" release) and the children's band Milkshake. Alas, neither won, which was bad news for them, and good news for me -- it meant that there was no story to write and I had a decent chance to hear at least some of Ax's playing.
By the time I got to Shriver, intermission was starting. Rats. But there still were some great items left in this program devoted to 2010's bicentennial boys, Schumann and Chopin, and the pianist had plenty of great music-making left, too.
The two composers had a good deal in common -- relatively short lives, assorted ailments (physical and/or mental). And, musically speaking, an ability to take the piano into a whole new realm of color and expressive range, much of it packed into short forms. Most of the individual movements of, say, the "Fantasiestucke," Op. 12, by Schumann are only about three minutes long; Chopin's four Mazurkas, Op. 41, are that brief or briefer. But what worlds of poetry and feeling each creative burst opens up.
It's possible to find even more nuances in the
Those Mazurkas emerged a little less interestingly, though with unerring, patrician taste. Ax's affinity for the music of his fellow Pole shone through more vividly in his account of the "Andante Spianato and Grande Polonaise." In less imaginative hands, both parts of this score can sound ever so slightly repetitive (dare I say tedious?), but Ax used delectable rhythmic freedom and a wide array of tone coloring to create an arresting performance. The surge of power at the end proved particularly effective.
And the A minor Waltz, Op. 34, No. 2, played as an encore, was beautifully delivered with what you might call a noble wistfulness.
BALTIMORE SUN FILE PHOTO
Comments
I realize the Sun is doing its best in tough times for newspapers, but I think it is a real shame that we only get a report on only half of the concert because of Grammy coverage. The first half of the concert was great in my opinion, but alas, I cannot offer an expert opinion on it. I can say that this was the most enjoyable piano recital that I've seen at Shriver Hall in years.
Posted by: David Reynolds | February 2, 2010 5:49 AM
I don't want to make you feel bad, but it is unfortunate that you missed Schumann's Fantasy, Op. 17, which for me was the highlight of the program. (But then I've always found Schumann's piano works more moving than Chopin's.) I appreciated that Ax did not raise his hands from the keyboard at the end of the second movement. This is because the second movement ends with what sounds like a finale, and, in the past, I've heard audiences who are unaware that there is a third movement applaud. The slow third movement of the Fantasy is as beautiful and transcendental as anything written for piano.
Posted by: Henry | February 2, 2010 8:44 AM
I was at the Ax concert Sunday. Yes we had a program and I read it. But I was curious as to why EA didn't even speak a word to the audience? Is that his style or was it because he had no microphone. To me the concert wasn't "a happening" like I thought it would be.
The hard-to-break tradition of classical music concerts is for the music to do all the talking. Some artists have certainly broken that practice (especially conductors), but others -- still the vast majority, I'd say -- are most comfortable saying nothing. When it comes to encores, even some of the silent ones will open up, just to announce the selection, but even that, as you saw, is not a sure thing. TIM
Posted by: Bill Jensen | February 2, 2010 7:57 PM
Tim, don't feel so bad. You actually caught the best half.
I was distracted and disappointed that the piano was out of tune!! I was relieved to see the technician come out immediately at intermission-- just in time for the jewel-like tones of the Andante Spianato.
Thanks. I'm feeling better. (I'm quite used to people telling me that any concert I missed was the greatest performance in the history of Western civilization, and any half of a concert I missed the greatest performance in at least a century. Somehow, I manage to go on with life, regardless.) TIM
Posted by: Adell | February 4, 2010 11:49 AM