Music and Dance Reviews : Pianist Emanuel Ax in Philharmonic Chamber Series

At the time it was planned, months ago, the third concert in the 1990 spring series by the Los Angeles Philharmonic Chamber Music Society had no extra-musical agenda. The event would feature guest pianist Emanuel Ax; the program, music by Schumann, Beethoven and Brahms.

When the concert took place Monday night in Gindi Auditorium at the University of Judaism, it turned out to be different from the one planned. Ax and the program remained in place, but following the death last month of Ann Collier, who had served as artists liaison with the Philharmonic organization, the performers chose to dedicate the performance to Collier’s memory.

Even before this dedication, the music--Schumann’s Fantasy-Pieces for clarinet and piano, Beethoven’s String Trio, Opus 9, No. 3, and Brahms’ Trio, Opus 114--was melancholy. Now it took on an added sadness. Fortunately, the actual playing lifted the occasion out of lugubriousness.

The conclusion and high point, naturally, became Opus 114, as given a definitive and touching performance by clarinetist Michele Zukovsky, cellist Ronald Leonard and pianist Ax.

Straightforward but highly detailed, this reading moved steadily forward but left out no facets of Brahms’ quiet emotionalism. Zukovsky and Leonard meshed intense feeling and expressive sound unself-consciously; Ax supported his colleagues with utmost sensitivity. The depth of the work, one which does not give up its secrets easily, emerged fully realized.

With less heat, Zukovsky and Ax did a similar service for Schumann’s still-wondrous Opus 73. In this, unfortunately, Ax’s resourceful pianism was hampered by a dry-sounding instrument.

At mid-program, violinist Michele Bovyer, violist Meredith Snow and cellist Gloria Lum offered a solid and well-articulated account of Beethoven’s C-minor Trio.

And before the program proper, in tribute to Collier, Ax played Brahms’ Intermezzo in A, Opus 118, No. 2, with quiet authority and simple poignancy.