This just might be the most popular chord progression in Western popular music. For ticket information, click here.ĭid you enjoy this post and our coverage of Chicago’s arts scene and sometimes beyond? Please consider supporting Third Coast Review’s arts and culture coverage by making a donation by PayPal.The Chord Progressions 1. Their 2022-23 season continues this Sunday with Portuguese pianist Maria João Pires playing more great music by Schumann and two of Beethoven’s three piano sonatas in c-minor on Sunday, May 28, at 3pm. This concert was part of the Symphony Center Presents series. Three ovations later Cho returned to the piano to play “Alborada del gracioso,” which is from Maurice Ravel’s five-piece work, Miriors. But the audience was not finished with the applause. 4, HWV 434, which was arranged by Kempff. After four curtain calls, Cho broke into more Handel for an encore, Minuet in G Minor, No. I’m not one to stand after every performance, but this one deserved a standing ovation. When the final chords of the Schumann sounded, the audience reaction was immediate. He was completely absorbed into the magic coming from his fingers. In pulling this off, Cho exhibited intense focus as the sounds washed over the listeners. The version Cho played included material added posthumously after Schumann’s death.
13, extends the form beyond the traditional approach because it pauses the variations to include etudes, or studies. The final work on the program was another extended set of variations, this time by Brahms’ mentor, Robert Schumann. Playing four of the eight pieces in the opus, Cho showed off the care and comfort that came to be expected of his playing. These pieces show off Brahms’ understanding of the romantic impulse, tending to highlight moods instead of fireworks. In my humble opinion, Opus 76 is the best of them. Some of his most memorable piano music can be found in the several sets of miniatures he wrote throughout his career.
He was especially good at bringing out the different voices in the fugue.Ī different side of Brahms appeared after intermission. Rapid runs sounded clear and precise, and intense chords were powerful.
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This work calls on every tool at a pianist’s disposal and Cho certainly knows how to use them. Handel figures prominently in the final piece in the first half, Brahms’ mammoth set of variations and fugue on a theme by that composer. Cho’s deft playing captured all of these differences. Gubaidulina occasionally drifts into tonal territory, and several variations feature counterpoint. The theme goes in many directions, and it was sometimes hard to tell when it started and ended. This sort of composition is always centered by the theme, which, in this case presents an interesting wrinkle because of its atonality. Next came crashing discordant chords that began the Gubaidulina Chaconne. Being a longer, more involved movement, the Air allowed him to demonstrate the wide dexterity in his touch. In a very typical Handel fashion, there are constant turns and trills within the melodic lines, and Cho nailed them all. The opening of Handel’s Suite is light and airy, and Cho’s fingers sounded like they were floating on clouds. It was a brilliant programming stroke to call on Gubaidulina’s modern version of this very early musical form. A chaconne is a set of variations based on a short melodic line and corresponding chord pattern. The printed program drew a comparisons between these variations and the Chaconne that ends Johann Sebastian Bach’s Partita for Violin Solo no. The Handel Suite ends with what Handel called an Air, which is a famous set of variations.
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