“Where would SummerFest — indeed, all chamber music — be without Brahms? His Variations ended the first half, as if to show those Russian composers, “This is how you write a theme and variations!” Warm and stately, yet chockfull of craft, the Variations were masterfully played by Ohlsson and Barnatan. Well matched in tone with perfect coordination, theirs was a joyful…

“The certified masterpiece of the evening, Beethoven’s “Emperor” Concerto, came after intermission… Garrick Ohlsson, an American veteran, flew in, along with his customary polish and near-spotless virtuosity. This was an elegant interpretation of the substantially heroic score, with burnished rather than vehement double octaves in the first movement. The Adagio was taken…

If today there are hundreds of piano competitions worldwide, the number was far more limited in 1970, and the very important ones could be counted on the fingers of one hand. Today’s internationalisation, the increasing number of competitors and the big competitions’ tremendous outreach out has completely changed the cultural scene. “Back in 1970 you could easily distinguish between…

“The concert’s sole sonata—the Sonata in B minor—gained a near-symphonic scale. The first movement embraced turbulence and punch as well as Ohlsson’s richest, silkiest lyrical playing of the night. Other hands have given the dashing scherzo more quicksilver precision, but Ohlsson made it red-blooded and exuberant. In the Largo, Ohlsson spun out the main tune in clear, serene…