Reprinted from yesterday's late editions.
Andre Watts Monday night began his celebration of the 150th anniversary of the death of Schubert with the first of eight concerts he will play in the Kennedy Center between now and mid-December.
In the two large works on his program, the G. Major Sonata and the Wanderer Fantasy, Watts showed clearly the extent to which he has deepened his interpretive art since last he played Schubert here. He also showed the areas in which he still takes high risks even when the taking costs him more than he gains in the process.
The sonata is one of the most trying in the entire Schubert catalogue: long, repetitive, at times seeming to lack form, though actually he form and pedaling that did not escape undue blurring. If the adagio song of the Wanderer was sheer poerty, little that followed was on the same plane.
Watts probably knew he was over-stepping wise boundaries. He is not likely to have been wholly happy with the final results. Earlier, he played the B Flat Impromptu of Op. 142 with beautiful effect, having opened the evening with the Valses Nobles tha would have been ideal had they been a little less insistent in their larger moments.