Charles Jones, piano (5/19/18)

Sonata in C Major, Op. 2 No. 3 – Allegro con brio; Adagio; Scherzo;
Allegro assai – Beethoven (1770–1827)
Scherzo in b flat minor, Op. 31 – Chopin (1810–1849)
Toccata in C Major, Op. 7 – Schumann (1810–1856)
Gaspard de la nuit – Ondine; Le Gibet; Scarbo – Ravel (1875–1937)

The opening of the Beethoven had a very familiar (to me) tune and had a varied range of dynamics. With a mix of simplicity and complexity, it was also charming. The second movement also started out with a relatively simple tune that was almost like a chorale or a hymn tune. It had a slightly mysterious quality and an interesting use of dynamics, especially in the left hand, and it definitely related to the opening theme of the first movement. The third movement was bright and charming, with a little bit of heft. It was playful, in a serious way, and had a pleasingly deceptive ending. The final movement also had a charming opening theme and then the same range of dynamics as the first movement, which it also referenced. It’s not usual that I use the word charming as often as I just did—but it is just the right word for this piece.

Chopin’s Scherzo’s opening also sounded very familiar to me and there were fireworks, indeed, in both form and style. The minor key, however, lends a bit of gravity to the mix of drama and serenity. The second section was definitely more serene. It was almost, but not quite, a lullaby. Not quite because it also had flights of fancy that were rather extensive, before a return to the original theme.

The Schumann had a brisk, bright opening with lots of forward motion, almost perpetual. At times it seemed that a song was embedded within the constant fleet finger work and, in fact, the piece ended with a songlike little flourish.

The first movement of the Ravel, Ondine, had a fairylike opening in the upper range of the keyboard before sounding more like a harp as more of the keyboard was used. There was the rapid movement of notes, but in a relatively subdued manner, once again with tunes just below the surface trying to break free. With the building up of dynamics as the full range of the keyboard came into play, a song did break forth, only to be swallowed up in a wash of sound. Le Gibet was a dirge that had an inherent beauty. Throughout, there was the insistent tolling of a single bell tone that was quite hypnotic and haunting—appropriate, since a gibbet is a post with a projecting arm, used for hanging the bodies of executed criminals as a warning. The final movement, Scarbo, was dark in tone and slightly ominous. A somewhat mad, stylized dance emerged, almost like a sorcerer casting a spell, before disappearing into the night.

Mr. Jones is a deliberate and expressive pianist. At times, his focus on being deliberate comes close to overwhelming the expressiveness. Having heard him play before, I always make it a point to attend when he returns to the Bruno Walter Auditorium at the Library for the Performing Arts. I look forward to hearing him again. I just don’t know when, yet.

ConcertMeister