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The Evening concert is the final concert in the Times Of The Day: Morning, Daylight, Evening series. Which, like the previous two, begins with music by Johann Sebastian Bach.

The second volume of the Wolhtemperiertes Klavier was composed in 1744, more than twenty years after the first. The second piece in this series, the Prelude and Fugue in C Minor, numbered BWV 871, reveals the highest level of genius.

In addition to the richness of the harmonies, Bach composed the four-part fugue in the most ear-catching way, with its extremely complex and intricate textures. This will be followed by Ludwig van Beethoven’s Sonata in A Flat Major, written in 1821, the composer’s penultimate, or thirty-first, piece in the genre. Op. 110 is marked Moderato cantabile molto espressivo, con amabilità (sanft) which encourages the performer to sing the movement in the most expressive, loving and tender manner possible.

The second movement of the work is a fast pulsating Allegro molto, with German folk song quotations, which are humorous or even mocking in tone. The third movement of the work, Adagio ma non troppo – Allegro ma non troppo, also contains a Bach quotation from the St. John Passion, which Beethoven further reflects on and soars.

In the final movement there are two fugues, which the composer crowns with the most wonderful, triumphant sonority. The music of the evening and night is the nocturne, whose greatest composer is Frédéric Chopin. The F Minor Op. 55 No. 1, written between 1842 and 1844, presents the faces of the night with its deep and sometimes rumbling tone.

The final piece of the evening and of the three-concert series is Chopin’s F Minor Fantasy Op. 49. The work, which lasts nearly a quarter of an hour, reveals the infinite scope of human imagination with virtuosity and profound thought. Written in 1841, it takes the performer on a wonderful journey alongside with the audience.

First encore of Wolfgang Amadeus Mozart’s Sonata in G major K. 283. Characteristic, seriously playful, lively and philosophical music. Its lightness is captivating and charming. The work, which was also performed in the evening concert, was already performed in the afternoon. Its musicality and vitality, through its power and effectiveness, made it “wished” for the end of the three concerts. The second encore, Johann Sebastian Bach’s “Sheep may safely graze” BWV 208 No. 9 (arr. E. Petri), is the most soothing and contemplative music, conveying as its conclusion the infinite reassuring and safe depth of music.

Misi Boros, Yamaha CFX Concert Grand Piano