An evening of piano variations at Carnegie Hall.
by Paul Pelkonen
On Thursday night, the pianist Emanuel Ax gave an unusual program at Carnegie Hall, focused exclusively on the art of the piano variation. Mr. Ax chose works by Copland, Haydn, Beethoven and Schumann to look at the idea of theme and variations from different historical perspectives.
The concert opened with Copland's 1930 Piano Variations. Built from a series of dissonant intervaled chords, Copland's composition is a long way from his later, audience-friendly styles. Mr. Ax produced open chords that hung, slab-like in the air, alternating with difficult descending intervals as he explored the unique sound-world of this piece.
The Haydn Variations in F minor were cut from a more genteel cloth, a slow, sad Andante that stands in contrast to this composer's penchant for breezy melody. A second, major-key theme provided contrast, with Mr. Ax navigating the alternating keys with a firm hand and a sense of melodic flow.
by Paul Pelkonen
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| The fierce concentration of Emanuel Ax. Photo © 2011 Newton Classics. |
The concert opened with Copland's 1930 Piano Variations. Built from a series of dissonant intervaled chords, Copland's composition is a long way from his later, audience-friendly styles. Mr. Ax produced open chords that hung, slab-like in the air, alternating with difficult descending intervals as he explored the unique sound-world of this piece.
The Haydn Variations in F minor were cut from a more genteel cloth, a slow, sad Andante that stands in contrast to this composer's penchant for breezy melody. A second, major-key theme provided contrast, with Mr. Ax navigating the alternating keys with a firm hand and a sense of melodic flow.
