Last Thursday night I saw Pierre-Laurent Aimard at Carnegie. I find his interpretations to be very intelligent. His recording of the Schumann Symphonic Etudes is what really got me interested in learning them.

The program was as follows:

Bach Contrapunctus I-XI from Art of the Fugue

Schoenberg Five Pieces Op. 23

Beethoven Sonata Op 110


As you can see, the theme of the evening was counterpoint.

The Bach was impressive. I'm more familiar with non-keyboard arrangements of this piece. I had never heard it performed on a keyboard before.

The Schoenberg was to me the highlight of the evening. This is a fantastic set. The fifth in the set was the first 12-tone piece ever published.

(Kluurs - any recording recommendations???)


The Beethoven was well done. It was an interesting contrast to the Schoenberg.

His first encore was another contrapunctal piece by Elliot Carter called 'Catenaires'. THis was written in 2006, allowing Aimard to say he presented 4 centuries of counterpoint. The final encore was the 12 Contrapunctus from Art of the Fugue

I went with a friend and fellow amateur pianist that I used to work with. We had really good seats - first balcony, left hand side. Very last box, which we had all to ourselves (it seats 7).

Before the concert started a snapped I picture of the stage with my blackberry. Its blurry (I used no flash) but you get an idea of what our seats were like:






Seeing the photo reminded me - he had a page turner for both the Bach and the Schoenberg (not the Beethoven). I was somewhat surprised, since he had just recorded the Bach, the CD was released this month. I would have thought that he would have memorized the piece for the recording. He seemed focused on the score, too, rather than just referring to it for backup (from what I could tell, anyway).


Anyway, a great evening. I recommend you see him if you ever get a chance.

Sounds like you heard Aimard in his element.

As for recordings of the Schoenberg...Pollini and Paul Jacobs are two I enjoy. Gould also did a version - but while I've not heard Aimard in these works - I don't think they'd comapare.

I've heard these works performed live - and agree, they're very engaging...Great music to listen to in the evening with the lights off.

Hmm, I've heard he's very good, and generally plays repertoire much more contemporary than this program.

I might have gone if I'd known he was here. It's funny -- I get email notices about all the little new-music concerts in town, but not the major ones!

Glad to hear he used sheet music...I guess I'm in good company!

Joe - Do you know Eliot Carter, or his works?


http://en.wikipedia.org/wiki/Elliot_Carter

jon - I thought the Carter encore was one of the best pieces!!

[QUOTE]Originally posted by jon-nyc:
Joe - Do you know Eliot Carter, or his works?

Hi, Jon. No, I don't know him myself, nor do I know his music very well. I did play his early Piano Sonata in college, but that's light-years different from most of his mature output.

I tend to think of his music as highly organized, largely non-tonal, rather spiky aurally. I heard a big piano piece of his 10 or so years ago ("Night Fantasies"?) and it didn't do much for me. But it's all personal taste, and I respect those who like it. I need to hear more of his work to develop a more informed opinion of it.

His interpretations were intelligent. But were you moved?

I haven't heard Aimard playing anything but Ligeti. His Ligeti is incredible. Would have liked to have been there.

Joe, I love the Carter Sonata, never played it. Haven't heard his more recent stuff though.

Some of the music moved me, some less so. THe Schoenberg in particular was just excellent. As for recordings, his Schumann mesmerized me and still does.

Jeffrey - I too liked the Carter piece.

I love The Art of Fugue but also fear it. I don't know of any other Bach that is so cerebral (except for much of The Musical Offering). The maturity, wisdom and humility to play such a work must be very high. I don't know if I would dare play it in public, but that's me...

I brought up The Art of Fugue with a wonderful classical pianist-friend on the West Coast...she is in her, I guess, late '60s. She laughed and said she's not old enough yet to take it on...

So maybe its not so necessary to memorize which is good for me because I really dont have the desire to do it. I thought about memorizing some Rachmaninoff just to satisfy my ego. I still cant figure why I memorize my arrangements automatically but not classical.