Lucas Amory, piano
Prelude and Fugue in C-sharp Major, BWV 872 – J.S. Bach (1685–1750)
Selected Etudes – Claude Debussy (1862–1918)
Prelude and Fugue in C-sharp Minor, BWV 873 – Bach
Traced Overhead (1996) – Thomas Ades – (b. 1971)
I. Sursum
II. Aetheria
III. Chori
Piano Sonata in A Major, Op. 101 – Ludvig van Beethoven (1770–1827)
The Bach opening was gentle and pleasant and had an increase in volume leading into the fugue, which was interesting and fairly easy to follow. I never realized C-sharp Major was such a bright key. Oh, Mr. Amory played all of his pieces from memory.
The first Debussy etude was flowing and slightly discordant—a wash of pretty sound. I liked and admired Mr. Amory's artistry. The second was light and ethereal, though it picked up just a bit of heft at times, while the third was vibrant and forceful, quasi-angry followed by a gentle section. This was a nice mix of etudes.
The second Bach piece was gentle and similar to the first, with a hint of melancholy. The fugue had a brisk beginning and a feeling of perpetual motion.
Mr. Ades' work was modern but not off-putting. There were little pops of chords from the right hand. It wandered a bit and was a tad esoteric. I was never able to find/hear the beginnings of the second and third movements.
Beethoven's piano sonata had a lovely, gentle opening and continued on in that vein, though there were some increases in volume. The second movement was energetic and brisk. It seemed a little disjointed, but had a nice, tight ending. The third was slower and pensive, calm and enjoyable, leading into the fourth which had a burst of energy including a fugue-like section with lots of drama. It was a little lengthy but totally interesting.
This was a new concert series for me, and I'll be going back on Nov. 17.
ConcertMeister
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