The “always thoughtful, lyrical, and lustrous” (Washington Post) pianist Emanuel Ax celebrates the 50th anniversary of his CSO debut by joining Marin Alsop and the orchestra on John Williams’s new concerto, an astounding miracle of new music inspired by three iconic voices of jazz: Art Tatum, Bill Evans, and Oscar Peterson.

The first movement evokes the dazzling virtuosity of Art Tatum, and the second unfolds as a velvety, impressionistic meditation—almost haunted by the ghost of Bill Evans. In the final movement, hints of Oscar Peterson’s athletic drive create the feeling of a "circus" for Williams, who elaborates that this “may be the definition of a concerto finale” (New York Times).

Though widely celebrated for his iconic film scores, Williams has long written for the concert hall as well. His classical catalog includes a symphony, chamber works, and concertos for more than a dozen instruments. For decades, however, he resisted writing for piano, remarking simply, “I just thought it was impossible.” Now in his nineties, Williams has decided to do the impossible, aided by trusted friend and colleague Emmanuel Ax. With Emanuel Ax’s extraordinary playing in mind, the composer said it “broadens the way and lights it—just knowing you’re going to have that glow on a few notes" (New York Times).

The all-American program also features Rachmaninoff’s jazzy Symphonic Dances and John Adams’s driving Short Ride in a Fast Machine.

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