Salonen’s Complex ‘Dichotomie’ From Resourceful Cheng

Like tonic poured over clear ice, the sounds of Stravinsky’s Sonata (1924) refresh and restore in any context. They did so, again, to begin the second half of Gloria Cheng’s season-opening Piano Spheres recital, Tuesday night in the Neighborhood Church, Pasadena. And their pristine beauties set up the climax to this engaging recital of 20th century works, Esa-Pekka Salonen’s 2-year-old “Dichotomie.”

“Dichotomie,” which Cheng premiered 10 months ago on a Green Umbrella program, is a two-movement fantasy beginning with an Apollonian movement, “Mecanisme,” and concluding with a Dionysian revel titled “Organisme.”

The first is wide-ranging but standoffish, the second many hued and emotionally resonant. Both parts are complex, dense with activity, thick with chordal movement yet unchaotic, very often Lisztian in textures.

Cheng played this 18-minute marathon with a virtuoso’s imperturbability and resourcefulness. Then she shared her bows with the composer.

The first half also held interest, particularly the world premiere of a five-movement piece by the Berkeley-based composer, Jorge Liderman. “That Is, Already ... “ was commissioned by Betty Freeman--also present in the alert Piano Spheres audience.

The composer calls the work “a continuing discourse of contrasting ideas,” but the contrasts are not clear, though the modes of expression are articulate and often engrossing. Still, the piece lacks all the charms it needs to hold the listener rapt through its 20-minute length.

A novelty, Olivier Messiaen’s early Preludes (1929), written in the French composer’s 20th year, opened the program. At the other end of the evening, Cheng played a Stravinsky Tango for an encore, delivering its sensuousness and panache intact.