BY DAVID WRIGHT
NEW YORK CLASSICAL REVIEW
JANUARY 6, 2017
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To hear Emanuel Ax’s performance of HK Gruber’s Piano Concerto Thursday night with the New York Philharmonic, one might imagine he’d been playing the piece his whole life, it sounded so seasoned and “lived in.”

It was enough to make one open the program again and stare in wonder at the words, “World Premiere.”

Although the pianist was playing with a score open on the piano, neither his performance, nor that of the orchestra under music director Alan Gilbert, ever suggested a rocky first reading. Instead, Gruber’s lively, attractive piece—an international co-commission by the Philharmonic and three other orchestras–spoke directly to the audience in accents jazzy one moment and Romantic the next. The concerto was welcomed into the world with a warm ovation at the end.

Now in his 70s, the Austrian composer first came on the scene as something of a bad boy of the age of serialism, introducing retro elements in his scores, especially the style of cabaret, long before it became fashionable. In addition to composing, he has made a career of vocal performance in the speech-singing style of a cabaret M.C.

James M. Keller’s Philharmonic program notes made much of all this, and to reinforce the point Gilbert prefaced the new 20-minute concerto with the snide yet silky sounds of Kurt Weill’s music for The Threepenny Opera, arranged for woodwinds by the composer.

At the concerto’s opening, a jaunty, sarcastic little tune for muted trumpet seemed to promise more of the same. But the concerto ethos quickly engulfed the cabaret one, and Weill receded, to be replaced by glittering, Gershwin-like piano syncopations and lush orchestral sonorities à la Rachmaninoff.

Gruber’s harmonic adventurousness may have been very contemporary, but it was wearing comfortable clothes from a century ago. As somebody wrote back then, “But now, God knows, anything goes,” and it went just fine for Ax, Gilbert and the Philharmonic on Thursday night.

The performers’ ability to inhabit and project every twist and turn of this one-movement, variations-style concerto was what really made the sale with the audience, whose response went far beyond the respectful applause usually accorded new pieces.

To lead off the concert, a woodwind ensemble with rhythm section (piano, timpani, and other percussion) evoked a whole era with the ineffably dark lyricism and dance rhythms of Weill’s Kleine Dreigroschenmusik (Little Threepenny Music).

At the outset, Gilbert and his players captured the alienated, world-weary character of the familiar tunes from the Brecht-Weill classic. Except for the thumping, pompous Overture, the conductor signaled for a light touch throughout, and sometimes got it. But for some reason the clear-eyed, rhythmically precise performance went a little mushy and pulled its punches in the last few numbers.

No such problem with the first movement of Schubert’s Symphony No. 2 in B-flat major, which, despite sharing the week’s bill with a challenging premiere, showed no signs of under-rehearsal. Perhaps the work’s comparative unfamiliarity—this was its first Philharmonic performance in 22 years—made it too a premiere of sorts, and put the musicians on their mettle. Whatever the reason, the 18-year-old composer’s mastery of, and impatience with, classical symphonic form came through in vivid, transparent colors.

Gilbert elected, however, to inflect the simple, Magic Flute-style tune of the Andante rather heavily, leaving himself little room to develop more expression in the ensuing variations. A touch of Haydn-like fastidiousness, at least at the outset, would have been more effective.

The brusque Menuetto—really a Beethovenian scherzo—managed to be emphatic without heaviness. The trio’s charming oboe solo was crowded by the horns, which, here as in the Andante, proved hard to restrain when their part wasn’t featured.

All was in balance, however, for the closing Presto vivace, a confection of skittering scales and Schubert’s favorite rat-a-tat rhythm. Gilbert and the orchestra didn’t miss a turn on their way to a fizzy finish for a program that may have looked a little arcane on paper, but proved full of delights in performance.

By Lawrence A. Johnson
Chicago Classical Review
21 October 2016

The 2016-17 season will see five young conductors make their Chicago Symphony Orchestra debuts.

One can also–kind of sort of–add David Afkham to that list for an even six. Though he has led the orchestra twice previously in family and appreciation events, Thursday night’s program of Beethoven and Shostakovich marked Afkham’s CSO subscription bow.

And a very impressive debut it was indeed. Currently music director of the Spanish National Orchestra, the German conductor led Thursday’s concert with a confidence and seasoned maturity beyond his 33 years. Tall and energetic, he elicited full-bodied, vibrant playing from the orchestra and consistently illuminated details in the music without ever sounding pedantic or sacrificing momentum.

The evening led off with Emanuel Ax as soloist in Beethoven’s Piano Concerto No. 1, the first installment of this season’s series of the composer’s complete keyboard concertos. Ax has been performing Beethoven widely in recent seasons, and just this past March played the Fourth Concerto under Michael Tilson Thomas with the CSO. (He has recorded his second complete Beethoven cycle with the same conductor and the San Francisco Symphony.)

The veteran pianist and the young conductor seemed to strike sparks, for Ax’s performance of Beethoven’s First Concerto gave us his finest CSO stand of recent seasons.

From the rich, firmly contoured introduction Afkham queued up for his soloist, Ax was fully in the Beethoven zone. The pianist threw the music off with a light, playful touch apt for this early work, his nimble dynamic marking and joie de vivre fully in synch with the score’s youthful high spirits. For once, Beethoven’s extended cadenza for the first movement didn’t feel overlong and indulgent, as Ax’s sparking rendition made it seem fresh and wholly delightful.

The soloist’s singing, expressive line in the Largo had a poised, unsentimental expression, nicely backed by John Bruce Yeh’s clarinet playing. There was a wonderful give-and-take spontaneity in the rollicking finale that was infectious, the soloist and conductor echoing each other’s steep dynamic drops, batting the main theme back and forth, and closing in an exhilarating coda.

Ax was clearly taken with his young podium colleague, immediately embracing Afkham at the thunderous ovation. Four curtain calls brought the pianist back out for a limpid and poetic solo encore of Schumann’s “Des Abends” from his Op. 42 Fantasiestücke.

The evening moved from youthful optimism to surmounted tragedy with Shostakovich’s Symphony No. 10.

Written in a burst of inspiration following the death of Stalin in 1953, it’s not too hard to sense the composer’s mixed feelings in his Tenth Symphony. Cast on a vast 55-minute canvas, the score proceeds from the epic violent upheaval of the long opening movement to a portrait of the murderous Soviet dictator, and closes in confidence and optimism.

From the taut opening statement of cellos and basses, it was clear that Afkham was in full command of this epic, challenging work. Throughout the conductor drew playing of astounding power as well as uncommon subtlety, while keeping strong narrative flow.

The long opening movement was charted with supreme concentration by Afkham with superb solo contributions from clarinetist Stephen Williamson and bassoonist Keith Buncke painting the lonely, desolate atmosphere. The movement’s grinding climax was shattering in its massive sonic impact with Cynthia Yeh’s ballistic snare drum likely heard out on Michigan Avenue.

The second movement, said to be a musical portrait of Stalin, was genuinely terrifying in its relentless implacable fury. The ensuing Allegretto is always tricky to pull off, but Afkham and the musicians made its progress seem inevitable, moving from bleak rumination to rays of solace and questioning horn passages, quite beautifully played by Daniel Gingrich.

The finale sealed the performance as the cockerel-like clarinet motif announced a new day and the music stirred from introspective darkness to renewed energy, Shostakovich’s musical motif having its final brassy say in a burst of exuberance at the coda.

The playing of the orchestra was at its considerable finest across all sections with especially notable wind and percussion contributions. David Afkham showed himself to be an exciting and uncommonly thoughtful young conductor, and has earned an invitation back to Orchestra Hall.

By Ken Ross

MassLive.com

13 August 2016

LENOX – Where was pianist Emanuel Ax on Friday night at Tanglewood when the audience was giving him and the Boston Symphony Orchestra a standing ovation?

You could see Ax, just off stage.

But as the crowd was urging him to come back out for another bow, Ax was doing some coaxing of his own. He was waving his arms and waiting to come back on stage until he was joined by conductor Charles Dutoit.

That little moment says a lot about Ax. It also would probably come as no surprise to Ax’s legions of devoted fans, some of whom wore T-shirts Friday that said, “Manny Ax ‘Maniax’.”

In a profession filled with prima donnas, Ax just might be one of the most laid back, down-to-earth, genuinely-nice musicians. Talk to people who know Ax and all of them talk glowingly about him. Ax could have easily returned to the stage on his own Friday to bask in the glow of thunderous applause. But he seemed more concerned with sharing the spotlight with Dutoit and the entire BSO.

So while Ax might be too modest to say so himself, let me clearly state that Ax definitely deserves to be considered one of the world’s greatest pianists. I have heard Ax perform several times – with the BSO, with star-studded chamber groups as well as with Ax’s longtime-friend Yo Yo Ma several times, including last summer, when they delivered a dazzling performance of Beethoven’s cello and piano sonatas. And every single time, I am always amazed by Ax’s ability to play each piece so beautifully, so lovingly.

Friday night was no exception. Right from the very first note, Ax performed Mozart’s Piano Concerto 22 in E Flat with a lighter-than-air touch. He vividly brought Mozart’s lively, precise music to life. He also amazingly played the music so softly at times and yet none of the notes were overpowered by the orchestra. How he’s able to play softly and loudly at the same time remains a mystery. However, I suspect it has something to do with the way Ax’s fingers caress the keyboard and gently produce one sparkling sound after another.

Ax’s performance Friday night was made even better by Dutoit, this year’s Koussevitzky Artist at Tanglewood. I barely noticed Dutoit conducting during Ax’s brilliant performance, which is what a great conductor should do – let the musicians shine. Far too often, far too many conductors flail their arms around like they’re trying to wave down a passing car while being chased by a chainsaw-wielding lunatic.

Dutoit takes a different approach. The stylish, suave conductor always brings an understated elegance to the podium. He rarely wears a tie or a full tuxedo. The times I’ve seen him conduct, he’s often wearing a white tuxedo jacket, a black shirt and black pants. On Friday, Dutoit didn’t have a jacket on. The man in black simply wore a button-down shirt and dress pants.

Throughout Friday’s concert, Dutoit moved gracefully like a dancer as he conducted the orchestra, his body often swaying slightly in time to the music. Dutoit’s most animated movements were reserved for his left hand, the one not wielding the baton. Often, his left hand moved gracefully, like an artist painting the notes in the air.

Other times, Dutoit’s hands became a little more animated during certain sections Friday night. But he never did so during the most moving, tender passages in Mozart’s piano concerto. There, Dutoit simply stepped back and let the BSO and Ax bask in the spotlight.

Mozart’s concerto was the second piece on the program, which began with Otto Nicolai’s overture to “The Merry Wives of Windsor.” Strangely, the lights were kept on during this short piece, taking away a little from the romantic ambiance of night concerts at Tanglewood. “The Merry Wives of Windsor” has a charming, swashbuckling flair. Listening to the piece, I half expected to see Errol Flynn swinging onto the stage, brandishing a foil.

After the Mozart concerto and a brief intermission, the BSO and Dutoit brought out the best in two beloved, classical music works – Claude Debussy’s “La Mer” and Mauice Ravel’s “Bolero.”

The orchestra sounded superb Friday performing “La Mer.” They perfectly captured the spirit of this luxurious music inspired by the ocean, especially the grand, sweeping sections that bring to mind waves crashing against the rocks or perhaps a three-masted schooner bursting through a large swell at sea.

Ravel’s instantly-recognizable “Bolero” never fails to delight audiences. On Friday, I even observed a few people dancing on the lawn just in back of The Shed as the orchestra played Ravel’s driving, seductive music. Maybe that’s because the music was originally written for a ballet.

On stage, Dutoit wiggled his hips a few times as well during “Bolero,” especially when several different instruments took turns playing the distinct, sinuous solo that drifts throughout the piece. But Dutoit didn’t go overboard. Like everything else he, Ax and the orchestra did Friday night, they did it with understated elegance and flair.

By VIVIEN SCHWEITZER

The New York Times

28 April 2016

Describing a pianist’s performance as unhinged might seem like an unlikely compliment. But the adjective could be applied in the most flattering terms to Emanuel Ax’s engrossing interpretation of Beethoven’s “Pathétique”Sonata on Wednesday evening at Carnegie Hall.

The sonata was included on an all-Beethoven lineup, with two popular sonatas bookending three lesser-known pieces. Mr. Ax brought demonic power to the “Pathétique,” which opened the program. In the opening section, he revealed with particularly vivid colors the contrast between crashing low chords and the yearning melody in the upper register. His clarity of line was admirable in the tumultuous thickets of the first movement; the ethereal Adagio unfolded with a gorgeous simplicity; and he imbued the third-movement Rondo with seething tension.

After the tumult of the “Pathétique,” Mr. Ax offered a lighthearted contrast, a delightful and delicately shaded interpretation of the Six Variations on an Original Theme in F (Op. 34). Beethoven wrote the “Pathétique” during what historians have recognized as his early period, when he was already challenging the precedent of Viennese Classicism established by composers like Mozart and Haydn. He continued to break new ground in his middle period, when he composed the “Appassionata” Sonata. Mr. Ax brought passion and power in admirable measure to his performance, which concluded the program on a stormy note.

Beethoven’s Sonata No. 16 in G is perhaps the least often programmed work of his Opus 31 set, which includes the famous “Tempest” Sonata. It received an insightful and elegant performance here. Mr. Ax played the runs in the first movement with sparkling energy; the trills of the Adagio unfolded with leisurely grace, and the concluding Rondo with both strength and charm.

The second half of the program included an unfamiliar short bonbon: thePolonaise in C (Op. 89), which Beethoven wrote in 1814 for festivities at theCongress of Vienna and dedicated to a visiting czarina. After all the dramatic Beethovenian moods, Mr. Ax offered a gentle encore: an introverted rendition of Schubert’s “Der Müller und der Bach,” in Liszt’s transcription.

By Zachary Lewis

Cleveland.com

3 October 2016

By Elaine Schmidt

Milwaukee Journal Sentinel

23 September 2016

Friday’s Milwaukee Symphony Orchestra concert was a feast of soulful music making.

The orchestra, playing under the baton of Music Director Edo de Waart, opened the morning’s program with a feisty, character-filled performance of Richard Strauss’ “Till Eulenspiegel’s Merry Pranks.”

De Waart and the orchestra gave Strauss’ programmatic piece a vivid, completely engaging, performance. From principal horn player Matthew Annin’s ringing horn lines to some beautifully executed, turn-on-a-dime shifts in character over the course of the piece, their performance was a highly evocative experience — a bit like hearing a film score and getting to imagine the scenes it should accompany.

Soprano Rachel Willis-Sørensen, who appeared the MSO’s “The Marriage of Figaro” performances last weekend, took the stage with a deeply stirring, beautifully crafted performance of Strauss’ “Four Last Songs.”

Willis-Sørensen mixed a warm, flexible sound with nimble, easy technical work, and fluid, expressive musical deliveries, supported beautifully by de Waart and the orchestra.

Pianist Emanuel Ax, who filled the program’s second half with Brahms’ Piano Concerto No. 2, apparently is built to play Brahms. From a gentle singing sound to declamatory, sometimes almost defiant musical statements, his was a performance filled with expressive intent and nuance, and tremendous musical character.

Part of the joy of hearing Ax’s performance was watching him listen to and interact with de Waart and the orchestra. He nodded and moved to their music when he wasn’t playing, trading ideas and statements with them when he was.

MSO principal cellist Susan Babini gave an exquisite performance of the long, lyrical cello lines that are featured in the piece’s third movement.

When Ax returned to the stage to answer a standing ovation, he brought along a piece of music. He motioned for Babini to come forward, and the two offered an achingly beautiful rendition of the third movement of Chopin’s Cello Sonata.

Both players moved gracefully from melody to accompaniment and back again throughout the sonata, picking up each other’s musical ideas like old friends finishing each other’s sentences, and giving a moving performance one hated to see come to an end.

By David Fleshler

South Florida Classical Review

16 October 2016

Sixty-five years after his death, Arnold Schoenberg can still be a tough sell for concert audiences.

At the season-opening concert of the New World Symphony Saturday in Miami Beach, the conductor Michael Tilson Thomas and pianist Emanuel Ax did their best to prepare the audience for a performance of the composer’s Piano Concerto. Speaking from the New World Center stage, they discussed the work’s themes, demonstrated a few passages and tried to show how the music could be experienced in the same spirit as a concerto by Brahms or Tchaikovsky.

They did not understate the difficulty of grappling with the music of a man whose twelve-tone system of composition attempted to overturn the existing order in music and drove many audience members from the concert hall. “The piece you’re about to hear is definitely one of the most difficult and challenging things there is for all the people in the room,” Tilson Thomas said.

Ax, long an advocate for the concerto, which he recorded with Esa-Pekka Salonen, played in a soft-edged manner—except when the drama of the music required a harder touch. From the lyric opening, his sensual, non-percussive approach to the work fit it into the romantic piano tradition which preceded it, while capturing the concerto’s unique and unearthly mood.

In this performance, Schoenberg’s strange harmonies, often so harsh to the ear, didn’t exactly fade away. But they were accompanied by an emphasis on the textures, the drama, the sweeping sense of theater with which the performers built to the work’s climaxes. There were glints of the late 19th century in the glowing wind harmonies, and in the work’s rhythmic drive. Dissonances came off as eerie and melancholy, rather than grating, except in the brassy climaxes, where they contributed to these passages’ craggy power.

No pre-performance sales job was required for Mozart’s Piano Concerto No. 14. Ax, giving an ironman demonstration of stamina in an evening of two concertos, played in a light, articulated manner, with a sense of the long sweep of Mozart’s melodic passage work. In the second movement, against a glowing accompaniment from the orchestra, he brought an almost Chopinesque sense of wistfulness and dreaminess to the long, yearning melodies. In the last movement, his spiky, angular playing gave contrapuntal passages just enough bite, while remaining within Mozartean proportions, with a fine sense of tension in the dark passage leading up to a restatement of the main theme.

The concert opened with Brahms’ Variations on a Theme by Haydn, which Tilson Thomas described as “one of my most favorite pieces.”

With many of the greatest theme-and-variations works, the composer seems to draw a contrast between the drab or trivial theme on which the work is based and the complex and imaginative variations that follow. The theme here, which musicologists say wasn’t actually composed by Haydn, isn’t drab or trivial, but the orchestra played in a subdued and formal manner that left lots of room for the performance to develop in musical power.

The variations built magnificently, with brilliant individual passages that felt part of a larger whole. Particularly strong were the minor-key variations. Tilson Thomas drew maximum tension from one in which winds and strings engage in a pensive counterpoint, and another, a quiet, rustling passage that created the darkness from which the build-up to the sunlit finale could begin. The finale, however, felt underpowered. It’s a clanging, blaring statement, with the ping of a triangle on top, and it didn’t feel like the weighted, joyous musical payoff that it could be.

The concert ended with Strauss’ Till Eulenspiegel’s Merry Pranks, a virtuoso work that the New World musicians tackled with gusto. Textures were transparent, with horns played in a spirited and immaculate manner. There was a touch of grotesqueness to the swooping melodies, appropriate to this medieval tale of blasphemy, irreverence and death. Playing the E-flat clarinet, which represents the doomed jokester Till Eulenspiegel, Ran Kampel brought out the humor, humanity and final desperation of the character as he faces execution.

http://www.cincinnati.com/story/entertainment/2016/09/09/cso-emanuel-ax-electrify-season-opener-taft/89975540/

Last week of August NPR’s “Wait Wait…Don’t Tell Me!” cast & crew along with their host PETER SAGAL were recording at Tanglewood — the outdoor music venue in the Berkshires of Western Massachusetts — and they thought it would be a good time to talk with classical pianist Emanuel Ax, who has won seven Grammy awards and recorded with the world’s greatest orchestras.

They’ve invited Mr. Ax to play a game called “You make men irresistible to women!” Three questions about Axe body spray.

Listen to the entire segment & see the transcript here