Pianistic Fantasies Explored by Emanuel Ax at Capital Region Classical

Sunday, January 4, 2026

Capital Region Classical, Union College Memorial Chapel, Schenectady, New York

Ludwig van Beethoven, Sonata quasi una fantasia in E-flat Major,

Op. 27, No. 1 (1800-1801)

Andante—

Allegro molto e vivace—

Adagio con espressione—

Allegro vivace

John Corigliano, Fantasia on an Ostinato (1985)

Ludwig van Beethoven, Sonata quasi una fantasia in C-sharp Minor,

Op. 27, No. 2, Moonlight (1801)

Adagio sostenuto—

Allgeretto

Presto agitato

Robert Schumann, Arabesque in C Major, Op. 18 (1839)

Robert Schumann, Fantasie in C Major, Op. 17 (1836, rev. 1839)

Durchaus phantastisch und leidenschaftlich vorzutragen

Mäßig; Durchaus energisch

Langsam getragen; Durchweg leise zu halten

Encore

Frédéric Chopin, Nocturne in D-flat Major, Op. 27, No.2

Emanuel Ax, piano

Emanuel Ax (Photo Nigel Parry)

Emanuel Ax at Capital Region Classical

Emanuel Ax has achieved that ineffable status of a “pianist’s pianist” — one without fanfare, frills, eccentricities, or overblown pyrotechnics. His sense of the musical line is supreme among the fold of hyper-virtuosi today. A theme’s unfolding from, perhaps, a quietly burnished lower register to a delicately spun high register is always amazing to hear.

For many years I’ve regarded his Mozart piano concerti interpretations as among my favorites. His Haydn is among the best. When needed, he can make the instrument sound as sonorous as an organ, admitting splashes of delight and humor.

The recital today offered two works best known for meltingly beautiful cantabile movements: Beethoven’s “Moonlight Sonata” and the third-movement love song in Schumann’s Fantasie. The first has become a universally beloved expression of solemn calm and quiet grandeur. Schumann’s simple classic form, reminding one of a Schubert Impromptu or a Liszt Consolation, concludes with a scintillating chromatic outpouring of ardor.

The common theme of the recital was the varied and ambiguous spinning of what a “fantasy” might be. Certainly, the only binding quality is a dreamlike poetry seemingly freed from conventional development. In fact, though, fantasies usually obey formal conventions, but the conventions are noticeably loosened for expressivity. In previous centuries, fantasias were written to demonstrate improvisation and virtuosity, but these passages were always linked to some organizing structure.

Beethoven’s Sonata in E-flat Major, Op. 27, No. 1, is far less known than its companion sonata. However, it is a fascinating essay in structure, with many surprising disruptions. The first two movements are essentially sectional forms (a rondo-variation in the first movement, and a scherzo in the second). The stasis of the first is punctuated with wayward weavings; the scherzo, in C minor, has a portentous, roiling quality. Mr. Ax struck the right accord in the placid and defiant passages. The third movement begins with a simple, noble song of one stanza in A-flat major, followed by a thrilling centerpiece that returns to the song, now in E-flat major, with a rousing final coda. Ax’s tonal control and playful dynamic balances were perfect.

The last time I heard the “Moonlight Sonata” was with Pierre-Laurent Aimard at this same venue. Mr. Aimard delivered an elegant performance placed in a musical context of nocturnal avian portraitures by Olivier Messiaen. Mr. Ax’s reading of the atmospheric opening movement accentuated the bassline and moved at a perfect tempo and undulation. I enjoyed Ax’s rendition perhaps more than Aimard’s, though I wonder whether the contextual clashes with Messiaen may have blurred my recollection of Beethoven.

Beethoven’s Symphony No. 7 in A Major has a profound slow movement that has inspired the comment that, in Beethoven’s most beautiful music, his melodies are static or even boring. Beethoven is thinking contrapuntally and harmonically, as in bassline variations: The first “theme” has the monotonous repeated notes; after periodic repeats, Beethoven applies beautiful contrapuntal material, which transforms the monotony. Composer John Corigliano has taken Beethoven’s theme literally and offers a “Fantasy” based on the first subject. This “theme” is contrasted with harmonic and melodic episodes, recalling memorable musical nuggets from the original. Mr. Ax gave preliminary comments about the work, and while it certainly exemplifies the improvisatory nature of “fantasies,” the theme of the recital, the piece seemed somewhat prosaic to this listener.

Robert Schumann’s greatest piano work, his Fantasie in C Major, Op. 17, occupied the remainder of the concert. It famously challenges on all levels: tone color, lyric expression, dynamic control, and the balancing of structural articulation with quasi-improvisatory passion. The three movements are strongly contrasting, but each is cast in classic form. The passionate and discursive first movement, at its end, directly quotes Beethoven’s song cycle An die ferne Geliebte (“To the Distant Beloved”), a key to Schumann’s intended recipient of the music, Clara. Mr. Ax clarified the impassioned texture’s inner voices and kept the dramatic moments coherently stated, never pompously worn on the sleeve.

The second movement, a scherzo, has a jagged dotted rhythm that explodes into a final coda—the notorious bane of this work. This tortuous passage makes the hands spring in and out while delineating a target-shot melodic line at the periphery. Mr. Ax began this section at a judicious, moderate tempo and, albeit with a slip or two, gradually produced a majestic conclusion. The score directs the pianist to sustain the final E-flat chord, which Mr. Ax did, providing a cooling pause before the beatific arpeggiated opening of the final C-major movement.

Recalling both Beethoven’s “Moonlight” and, harmonically, Schubert’s Impromptu in G-flat Major, Schumann gives us an understated, solemnly spacious, and harmonically ravishing finale. The coda imbues the arpeggios with breathtaking modulations, conveying an apotheosis of adoration. As a love letter, no composer penned a more nuanced and elegant message.  Chopin has become a newer specialty for this pianist. He played the E-flat Major Nocturne with its dizzying passagework as an encore. Mr. Ax received a well-deserved standing ovation.