Ax also pointed out that this was the first time Ma was using an iPad, while he had a page turner. But Ma knows these works from memory and looked always to the side or up rather than at the computer. The program focused on three of Ludwig van Beethoven's sonatas, which they had recorded and won a Grammy Award for in 2022 for Best Chamber Music Performance.
Each represented a different decade in the composer's life and showed his growth as a composer over the many years. Before they got into the Beethoven, however, they began with the theme from Dvorak's “New World Symphony,” which has been arranged for cello and piano and called “Going Home.” Ma's rich, deep tone, Ax's gentle touch and deeply sensitive phrasing of the beautiful melody from both created an exquisite dynamic.
They are so in tune with each other's playing that balance and flow are second nature. It also provided the introduction to the Beethoven, which Ax said was like “going home.” They began with Cello Sonata Opus 5, No.
2 in G minor (1797) when the composer was 27. In two movements, the first movement is “gigantic” and extremely long with constantly exchanging melodies that ranged from exuberant to delicate. The second was lighter, shorter with a perky mood.
Ma showed off flair, used his vibrato judiciously. Ax was fleet of finger, little pedal. Huge applause, whistles, and a standing ovation.
The next was Cello Sonata Op.102, No. 1 in C Major (1817) when Beethoven was 47.
As Ma noted, it was less wordy, more sublime, more fugue like, more intimate. For sure, Beethoven was trying things. It began with a slow cello singing out the melody as the piano gave support.
The parts were more interactive rather than exchanging ideas. Sometimes the cello was low and the piano high; other times the reverse. The second movement was vigorous and bold.
Silence was used then the cello would dig in or the piano would have strong chords. More huge applause, cheers, whistles and a standing ovation. After intermission, it was Cello Sonata, Op.
69 in A Major (1808) when Beethoven was 38. While Napoleon had been assaulting Vienna and did occupy it the next year, Beethoven's few friends had left the city and he was alone. Despite this despairing time, Ax said, he had still managed to write this piece which was one of the sunniest, optimistic and celebratory works ever.
It is also one of the most played of all the cello sonatas. The four movements are highly interactive like a conversation with beautiful melodies, strong statements and delicate asides. The cello's range was from a deep growl to harmonics with some snappy plucking, strong accents.
The piano had many fast runs and both parts were equal. The duo played with great vigor and elan and brought the crowd to its feet once again with a huge roar of approval. A long applause followed, which brought Ma and Ax back for an encore.
They performed the slow second movement from a Brahms Violin Sonata in D-minor, which had been arranged for cello. Ma spun out the beautiful but lonely lines with much feeling to Ax's gentle support — all to a standing ovation. This concert was a special fundraiser for the year-round events calendar at the Spa Little Theater and for the eventual renovation of the venue.
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