January 29, 2026 — Davies Symphony Hall, San Francisco, The audience heard the San Francisco Symphony demonstrate its abilities to play outstanding creations that are wildly different from each other. First was Mozart’s Piano Concerto No. 25 in C major, K. 503, 1786. Next was Symphony No.7 in E major, by Anton Bruckner, 1881-83.

Emanuel Ax, pianist

Wolfgang Amadeus Mozart was a brilliant pianist as well as a composer. Emanuel Ax was the pianist. He is superb, smart, plays with understanding as though he was playing for and with Mozart. Scott Foglesong wrote that Mozart was the first of the great composer-pianists. Mozart created an unbelievable amount of world shaking compositions in the years 1786-87. That means he wrote the operas The Marriage of Figaro and Don Giovanni; Symphony No. 38, Prague; Eine Kleine Nachtmuzik, and many quintets, sonatas, quartets and still more. Three piano concertos hover over the highest accomplishments of piano concertos. They include the Concerto No. 23 in A major, Concerto No. 24 in C minor, and this one, No. 25 in C major, perhaps the most amazing of all. The music of No. 25 is beyond the words available to describe this work. It is exquisite. The music is delicate, often shows Mozart’s humor, and seems to recognize the characterizations of the notes. Although there are unusual, disparate styles of piano, the music is never too much. He creates exactly what his concerto wants. It reminded me of my piano teacher when I was very young. He told me that the music by Bach was a conversation between the different notes. Throughout this wonderful Concerto, I heard the music make observations of itself, sometimes they were laughing. The magnificent pianist, Emanuel Ax, was absolutely right in his playing for us and for Mozart.

Emanuel Ax and Jaap van Zweden, conductor

Anton Bruckner’s Symphony No. 7 in E major is a symphony that reaches to the broadest art for the world. The music is inclusive of all. Bruckner grew up in a rural, small, Austrian place not at all close to Vienna in urban culture. His father led him to music and was educated at monastery, Sankt Florian. There he learned the organ, then played it in Linz, and learned music from Simon Sechter, a famous music theorist, through correspondence. It would be the kind of online classes one might have now. Bruckner stepped into teaching Sechter’s classes when Sechter passed away. Teaching at the Vienna Conservatory was challenging to someone from the hinter lands of Austria. And yet, he had great talent and worked on his list of enormous symphonies that won positive attention in Austria and even in the US. The 7th Symphony was produced in Chicago, in 1886. The music involves the listeners immediately. It grabs the whole of the world with passion. The music has dignity and importance. As styles changed, especially because of Beethoven’s symphonies, scherzo took over from the previous style of minuets. The scherzo in the Bruckner #7 was faster and harsher, though it becomes more lyrical. Bruckner was impressed by Wagner, but to my ears, it is Bruckner who hit the homers.

Jaap van Zweden, conductor

Jaap Van Zweden took charge of both programs despite their vast differences. He linked with the SF Symphony musicians and brought about a surprising evening of great and interesting music.

Photos by Brandon Patoc are from courtesy of the San Francisco Symphony.