Ax Shines With Philharmonic

Back from a New York tour, apparently jet-lag free, Esa-Pekka Salonen and the Los Angeles Philharmonic sparkled in a program of Beethoven and Mahler Friday night at the Dorothy Chandler Pavilion.

In this they were considerably abetted by non-tourist Emanuel Ax, soloist in Beethoven’s Piano Concerto No. 3. His performance brimmed with technical skill and musical savvy. To hear Ax play on this stage was to realize that many pianists who perform here know next to nothing about projecting their thoughts clearly and pointedly in these environs. Every note, every line, every staccato and legato was perfectly heard.

If Ax’s reading lacked a little something in personal charisma, it mattered little in this often formal work. He gave each poetic utterance and fiery outburst its due and nothing more, thereby focusing attention solely on Beethoven’s temper, not his own. It was a virtuoso performance in its arsenal of color, touch and accent, in its absolute sheen, but not in the use of the arsenal, which was put to the peaceful use of farming Beethoven’s score for maximum profit. Though Ax proved controlled and controlling, ultimately his fluid technique and glowing tone cleared any stifling airs away.

Salonen and the orchestra accompanied distinctively and, except for a dicey patch at the end of the Largo, immaculately. The strings showed a soft transparency that the woodwinds could cut through easily, and timpanist Richard Holmes punctuated the music boldly with wooden-headed mallets.

No great change has occurred in Salonen’s Mahler Fourth since it was heard (and reviewed) here two weeks ago and taken on tour. Perhaps an extra layer of gloss has been added to an already shining product. Joan Rodgers again found herself in resplendent voice.