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Harris Concert Hall
[map]
960 North 3rd Street
Aspen, CO 81611
Aspen, CO 81611
There is a maximum of 6 tickets per patron for this event.
Pass discounts/benefits do not apply to this event.
Acclaimed for his tonal warmth, nuanced interpretations, and the freshness he brings to familiar works, Emanuel Ax makes a rare Aspen appearance in two of Mozart’s most brilliant piano concerti.
Mozart definitely had opera on his mind when he composed his Piano Concerto No. 17, and you can easily imagine the piano and orchestral instruments as characters carrying on a series of dialogues. The slow movement was a particular favorite of Leonard Berstein’s, who described it as showcasing Mozart “at the peak of his lyrical powers, combining serenity, melancholy, and tragic intensity in one great lyric improvisation.”
For Mozart, 1786 was nothing short of remarkable. He saw the successful premiere of The Marriage of Figaro, the “Prague” Symphony, several vocal and chamber works, and last but certainly not least, three piano concerti, including No. 25. After this concerto, he wrote only two more in the genre. A critic of the time called it, “the most magnificent and difficult of all hitherto known concertos,” which was probably true. As a result, it wasn’t until pianists could master the piece that it gained the popularity and admiration it deserved.
Rounding out this delightful program are Mozart’s majestic overture to the opera La Clemenza di Tito, and Caroline Shaw’s take on the classical minuet inspired by a late Haydn quartet.
Don’t miss this rare opportunity to hear Mozart’s most inspired creations played by one of his finest interpreters!
MOZART: Overture to La Clemenza di Tito, K. 621
MOZART: Piano Concerto No. 17 in G major, K. 453
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CAROLINE SHAW: Entr’acte
MOZART: Piano Concerto No. 25 in C major, K. 503
Pass discounts/benefits do not apply to this event.
Acclaimed for his tonal warmth, nuanced interpretations, and the freshness he brings to familiar works, Emanuel Ax makes a rare Aspen appearance in two of Mozart’s most brilliant piano concerti.
Mozart definitely had opera on his mind when he composed his Piano Concerto No. 17, and you can easily imagine the piano and orchestral instruments as characters carrying on a series of dialogues. The slow movement was a particular favorite of Leonard Berstein’s, who described it as showcasing Mozart “at the peak of his lyrical powers, combining serenity, melancholy, and tragic intensity in one great lyric improvisation.”
For Mozart, 1786 was nothing short of remarkable. He saw the successful premiere of The Marriage of Figaro, the “Prague” Symphony, several vocal and chamber works, and last but certainly not least, three piano concerti, including No. 25. After this concerto, he wrote only two more in the genre. A critic of the time called it, “the most magnificent and difficult of all hitherto known concertos,” which was probably true. As a result, it wasn’t until pianists could master the piece that it gained the popularity and admiration it deserved.
Rounding out this delightful program are Mozart’s majestic overture to the opera La Clemenza di Tito, and Caroline Shaw’s take on the classical minuet inspired by a late Haydn quartet.
Don’t miss this rare opportunity to hear Mozart’s most inspired creations played by one of his finest interpreters!
MOZART: Overture to La Clemenza di Tito, K. 621
MOZART: Piano Concerto No. 17 in G major, K. 453
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CAROLINE SHAW: Entr’acte
MOZART: Piano Concerto No. 25 in C major, K. 503
