nocturne

He revealed the composer’s vision through many sonic shapes and forms, be they the lyricism of a Schubert adagio, the rapture of a Chopin nocturne, the otherworldly drama of Beethoven’s Opus 111 sonata, the shard-like intricacies of Boulez’s Second Sonata.

He was playing the Nocturne from Hindemith’s “Suite 1922,” a collection of five genre pieces like marches and rags, and there are a few moments in which the pianist only needs to use one hand.

His playing — especially in Serksnyte’s “This Too Shall Pass” and Weinberg’s simple, sad “Nocturne” — has the breath and rhythm of halting speech.

On “Innocence,” next to familiar titles like “Rock-a-Bye Baby” and “Edelweiss” is a lesser-known cut from Polish composer Frédéric Chopin, “Nocturne Op. 9 No. 1.”

A majestic use of a sprawling orchestra, complete with organ, this piece — inspired by the hunter of Greek mythology and the constellation that shares his name — begins as a moody nocturne before boiling over into pummeling fury.