Beethoven's late works for the piano are among the greatest written for the instrument. They are fantastically difficult to comprehend and to play. Hearing them well performed can be a completely overpowering experience. Webster Aitken is giving a series of three programs of these works in Sanders Theatre. He is a remarkable pianist, and his performances have been superb. Aitken has obviously studied these pieces carefully, and has very definite ideas on their interpretation. Naturally, these ideas are open to criticism, but with very few reservations, I found his playing convincing. Furthermore, he has a technique equal to his ideas. It is refreshing to hear a pianist who uses his technical proficiency for musical purposes only, and not to dazzle the audience. There were occasional fluffs, but in view of the tremendous task Aitken has set for himself, they can easily be forgiven.

Friday night's recital opened with eleven Bagatelles, op. 119. These are wonderful little pieces, expressing a great variety of moods; because of Aitken's lack of tone coloration, these moods were not completely realized. Next came the "Hammerklavier" Sonata, op. 106, which Aitken projected so magnificently that it almost sounded "at home" on the piano. This was Beethoven in black and white, a Beethoven of great contrasts and climaxes, altogether a gigantic conception of a gigantic work. Some details of the performances appeared faulty. The volume level never wont below mezzo forte, so there could hardly be any distinction between forte and fortissimo. Some of the phrasing was so taut that it resulted in rhythmic distortion, and the first movement particularly seemed too choppy. Aitken held consistently to his "black and white" interpretation in the very long slow movement, where it seems to me considerably more color is required to maintain interest. But essentially these criticisms are minor. Aitken gave an inspiring performance. The concert concluded with a relaxed, well proportioned, and completely beautiful playing of the Sonata in E, op. 109.

Aitken continued his series yesterday afternoon with the Sonata in A op. 101, the Sonata in A flat op. 110, and the Sonata in C op. 111. While the quality of the playing was not quite up to the standard of the first recital, it was nevertheless a very rewarding afternoon.

The high point of the recital was Aitken's performance of the c minor Sonata Beethoven's last. This is an incomparable composition, full of wonders like the dramatic introduction and the surprisingly modern sounding syncopation near the end. It seems impossible that a human brain could have created a place like this; it is as though Beethoven smashed through all conceivable limits of human creativity, leaving us to admire, if not to understand.

Tomorrow night's program--the last--will include six Bagatelles, op. 126, and the Diabelli Variations, op. 120.