by Daniel Hathaway
Gerard Aimontche launched the Sunday afternoon session with Beethoven’s A-flat sonata, op. 110, then went on to play Chopin’s “Octaves” Etude (op. 25/10) and three of Kapustin’s 24 Preludes in Jazz Style from 1988. Though he seemed to be skimming the surface more than penetrating in the Beethoven (it sounded unsettled), he obviously connected with the audience, who broke into applause for the first time in the middle of a set. Aimontche held the pedal down for the Chopin and flew through its contrasting middle section, making an admirably long, slow crescendo back to the precipitous opening theme. He played three Kapustin preludes nos. 23, 4 and 17) back to back with a fine sense of jazz style.
Ben Kim began his set with a graceful reading of J.S. Bach’s F-sharp prelude and fugue (WTC I), subtly pointing up its details with interesting, mixed articulations. Long, well-shaped crescendos and diminuendos showed a good sense of the fugue’s points of tension and release. [Read more…]