Igor Levit / Piano Recital

Igor Levit / Piano Recital

He has become something of a travel guide through the often rocky and impassable terrain of Beethoven’s music. With his recording of all 32 Beethoven sonatas and the accompanying podcast, Igor Levit has developed into one of the best Beethoven interpreters and mediators of our time. It is absolutely logical that he is now venturing out of the carefully scrutinised cosmos of works originally written for piano and into more unexplored territory: Beethoven’s symphonies in the versions by piano virtuoso Franz Liszt – which were actually considered unplayable – are the common thread running through Levit’s current season. And who could be better suited to scaling these symphonic mountains than the exceptional pianist? After Brahms’ four ballads , his fingers should definitely be warm...

Igor Levit

Every pianist and soloist takes a risk with Franz Liszt's transcription of Beethoven's Symphony No. 7. Few have dared to tackle this pianistic chunk, which demands everything at once: power, virtuosity, a sense of the piece's architecture, and a keen ear for detail. Igor Levit takes on this task. Liszt has long been a favorite in his repertoire. For a TV documentary, he already traced the composer's footsteps around 15 years ago. Levit's program for the Essen Philharmonic is brilliant: First, he takes us back to the starting point of all romantic piano virtuosity, Bach's "Chromatic Fantasy and Fugue".

Klavierabend Igor Levit

World-renowned pianist Igor Levit, known for his diverse programming, rarely played Chopin. However, this changed in 2024 with performances at the Salzburg Festival and Elbphilharmonie. In 2025, he'll play Chopin's Piano Sonata in B minor at the Albert Concerts, preceded by Schubert's Sonata in B-flat major and Schumann's Night Pieces. Chopin's sonata, his last, blends tradition and visionary spirit, reflecting his genius as both virtuoso and poet.

Igor Levit

Igor Levit

Igor Levit is one of the most significant pianists of his generation (born in 1987) and regularly performs on all the major stages worldwide. He has appeared at Konserthuset Stockholm on several occasions, including during the 250th anniversary of Beethoven's birth, when he performed all of Beethoven's piano sonatas in a series of live-streamed concerts (due to the pandemic).Beethoven is also featured on the program for this concert: the third symphony – Eroica – in Franz Liszt's famous arrangement. The program as a whole consists of what is often referred to as the three great Bs of classical music history: Bach, Beethoven, Brahms, and begins with Bach's chromatic fantasy and fugue. It was acclaimed and regarded as a masterpiece even during Bach's lifetime, filled with advanced voice leading and lightning-fast runs.Between Bach and Beethoven, Levit has placed Brahms' atmospheric and youthfully explosive ballades; he was only 21 years old when he wrote them. They are designed as short musical narratives. We know that the first one is based on an old Scottish ballad about Edward, who returns home with blood on his sword. The atmosphere is dark and ominous. However, no source material for the other three has been preserved.

Igor Levit

In the 19th century, piano arrangements played a crucial role in disseminating symphonic works, with Franz Liszt's arrangements of Ludwig van Beethoven's symphonies considered the pinnacle. Igor Levit takes on this challenge. He performs Liszt's piano version, a feat that demands everything from a pianist. Levit also presents music by Johann Sebastian Bach and late piano pieces by Johannes Brahms.

Piano Recital

Grigory Sokolov, photo: Mary Slepkova / DG Grigory Sokolov has worked hard to secure privileges that few contemporary musicians can boast. He gives practically no interviews, rarely visits the recording studio, has performed solo for a number of years and compiles his own recital programmes, without particularly hurrying to announce them. He first sat at a piano at the age of five, almost 70 years ago. Ever since he has been reluctant to part with his beloved instrument, especially during his lengthy performances, giving endless encores (at times as long as a separate recital). Paradoxically, he is a rare example of an artist who communicates with the outside world almost exclusively through his performances, which force reviewers into extraordinary, at times quite humorous, verbal gymnastics in search of the right concepts to describe the artistry of his playing and the aura he creates around him. A voluminous anthology of surprising metaphors might be compiled from the texts on Sokolov’s playing, which may suggest that it is impossible to capture the personality of this remarkable pianist, let alone his interpretations, in words. Bartłomiej Gembicki

Piano Recital

András Schiff, photo: Nadia F Romanini The repertoire will be announced by the artist on the stage.

Riccardo Minasi | Igor Levit

Over the last few weeks Igor Levit, one of the great Beethoven pianists of our era, explained and played all 32 Beethoven sonatas on BR-KLASSIK. Now he’s the BRSO’s artist-in-residence for the 2020–21 season! Levit has already thrilled audiences by playing four Beethoven piano concertos with the same orchestra, most recently the Second, with his idiosyncratic blend of stylistic fidelity and spirit of adventure. All that’s missing is the First, op. 15, which now stands on the programme to complete the cycle. At the head of the orchestra is Riccardo Minasi, the principal conductor of the Mozarteum Orchestra and a champion of period performance practice. He’s giving his début with “Viennese classics”: Beethoven will be followed by Haydn’s Symphony no. 88, a French-inspired work that enchants us with its expressive Largo and its lilting dance movements, whether gruff in the Minuet or elegant in the Finale.

Riccardo Minasi | Igor Levit

Over the last few weeks Igor Levit, one of the great Beethoven pianists of our era, explained and played all 32 Beethoven sonatas on BR-KLASSIK. Now he’s the BRSO’s artist-in-residence for the 2020–21 season! Levit has already thrilled audiences by playing four Beethoven piano concertos with the same orchestra, most recently the Second, with his idiosyncratic blend of stylistic fidelity and spirit of adventure. All that’s missing is the First, op. 15, which now stands on the programme to complete the cycle. At the head of the orchestra is Riccardo Minasi, the principal conductor of the Mozarteum Orchestra and a champion of period performance practice. He’s giving his début with “Viennese classics”: Beethoven will be followed by Haydn’s Symphony no. 88, a French-inspired work that enchants us with its expressive Largo and its lilting dance movements, whether gruff in the Minuet or elegant in the Finale.