Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
PIERRE-LAURENT AIMARD at Carnegie Hall (March 8, 8 p.m.). It is not often that one looks at a program and thinks that Beethoven’s titanic “Hammerklavier” Sonata might well be the less interesting half of a concert. But Mr. Aimard is always full of surprises. Before that Beethoven, which he will doubtless play with his usual analytical fervor, comes music by Liszt, Messiaen, Scriabin and an oddity: the post-Scriabin avant-gardist Nikolai Obukhov.
INON BARNATAN at the 92nd Street Y (March 3, 8 p.m.). Sensitive and sophisticated, Mr. Barnatan might be the ideal pianist for the program he has chosen for this recital. Its entirety comprises “Moments musicaux,” and it looks at how the idea of a “moment” has changed over time. Schubert, the obvious composer in the genre, is here with his reflective set of six pieces, and Rachmaninoff, too, demanding greater virtuosity. Rightly, there is a contemporary take as well, with two pieces by Avner Dorman.
CLAIRE CHASE at the Kitchen (March 2, 8 p.m.; March 3, 5 and 8:30 p.m.). The latest installment of the vital flutist’s “Density 2036” project, which unveils a new set of pieces each year, is Marcos Balter’s “Pan,” a reflection on the paradoxical mortality of a god, scored for flute, electronics and community participation. Doug Fitch directs the performances.
ANNE-SOPHIE MUTTER AND LAMBERT ORKIS at Carnegie Hall (March 4, 2 p.m.). One immensely satisfying thing about Anne-Sophie Mutter as an artist is her unflinching commitment to new music, in evidence here once more with the premiere of “The Fifth Season,” by her ex-husband André Previn. There are also sonatas by Brahms and Penderecki, as well as the opportunity to hear Ms. Mutter alone, in Bach’s Partita No. 2, with its immense chaconne.
LISE DE LA SALLE at Town Hall (March 4, 2 p.m.). Bach is cleverly wound through the intriguing young pianist’s recital, as his works are on her most recent recording, available on Naïve. Pure Bach comes in the form of the “Italian” Concerto, but from then on there is an adventure of influences and echoes: Roussel’s “Prélude et Fugue”; Liszt’s “Fantasy and Fugue on the Theme B-A-C-H”; Liszt’s rewriting of Bach’s Prelude and Fugue in A minor; Kempff’s version of the “Sicilienne”; Poulenc’s “Valse-improvisation sur le nom de Bach”; and, finally, Busoni’s vast transcription of the Chaconne in D minor.