It saddened me to read about the death two days ago of Menahem Pressler, founding pianist of the Beaux Arts Trio. With such illustrious partners as Isidore Cohen, violin; and Bernard Greenhouse, cello; Pressler performed all over the world, making many recordings of the best trio literature that remain unsurpassed for the ages. He appeared frequently as a solo pianist as well, including a short residency at my own Tufts University, and I remember that he made the first recording ever of Debussy’s ballet, La boîte à joujoux, at least 30 years before the Boston Symphony finally performed it in its orchestral version. The NYTimes obituary contains Pressler’s harrowing recollection of Kristallnacht from his 14^th year. We remember him with wistful admiration; this noble artist lived so long and so well, until six months short of his 100^th birthday. He appeared many times in Boston, including for the Celebrity Series and the BSO. Of his 2016 visit to the BSO, Georgia Luikens wrote for BMInt:

Mozart’s final piano concerto, No. 27 in B-flat Major, was premiered with the composer at the keyboard at what was to be his final concert outing in 1791. This concerto is the perfect example of the composer-as-virtuoso, energetic in its outer movements and delicately self-assured in the center. The great Menahem Pressler, physically frail at 93 and assisted on and off the stage, proved redoubtable in the concerto; he functioned both as virtuoso soloist and the compleat chamber partner. An enthralling performance, this was less a concerto featuring soloist-versus-ensemble than it was a respectful conversation among all parties, with sharing of attention and emphasis in a fluid exchange.

Pressler achieves a rare grace and a delicacy which brought out the filigree within each gesture, within careful arcs of sound mimicked by graceful hand movements as they left the keyboard at the conclusion of a phrase—almost as if he were handing the reins back to the conductor. There is a decidedly Classical touch here. The interplay between piano and orchestra sounded nuanced and refined, especially in the second movement. The third movement came at a restrained tempo; Pressler took the theme of this rondo with the coyness of a cat baiting a mouse. This slower tempo allowed the usually overheard inner motifs to come out. It was engaging and wondrous, marred only by the incessant coughing, squirming and whispering of a poorly trained and disrespectful audience.

Following two standing ovations, Pressler carefully returned to the stage with Chopin’s Nocturne No. 20 in C-sharp Minor. This was a musical gift to an audience that was appreciative if not deserving. Pressler interpreted with generous rubato, bringing out the pathos of the work’s subtitle ‘Reminiscence’. A final, lengthy standing ovation for the great master followed and it was a privilege to stand and clap.