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Igor Levit

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February 1, 2025

Igor Levit

Sat, Feb 1, 2025, 19:00

Theater und Philharmonie Essen, Alfried Krupp Saal (Essen)

Igor Levit (Piano)

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".

Info & Ticket (www.theater-essen.de)

February 10, 2025

Igor Levit / Piano Recital

Mon, Feb 10, 2025, 19:30

Laeiszhalle, Großer Saal (Hamburg)

Igor Levit (Piano)

When listening to Igor Levit play Beethoven, you feel that you are being taken by the hand, that you are being led in a determined and yet extremely friendly manner on an exploration of a densely built-up terrain. An unexpected attraction captivates at every bend in the road, everything is there in its intimacy, grandeur, in its deep, ethical seriousness. And yet it seems close, accessible, completely present. This also applies when Levit takes on a work that was not actually intended for piano, such as Beethoven’s expansive »Eroica« Symphony: Beethoven is as direct, spontaneous and physical as life itself. But also as existential and uncomfortable as the things that determine our happiness and our worries. Igor Levit achieves that magical balance between the telling details and the meaningfulness of the big picture that characterises the classic Beethoven.

Info & Ticket (www.elbphilharmonie.de)

February 11, 2025

Igor Levit / Piano Recital

Tue, Feb 11, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

Igor Levit (Piano)

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...

Info & Ticket (www.elbphilharmonie.de)

June 27, 2025

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jun 27, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Igor Levit (Piano)

The chicken that seems to cluck through the first movement of Haydn's Paris Symphony No. 83 in the second theme was not sighted there by the composer himself but, as is so often the case, by posterity. But with Haydn's numerous symphonies, epithets are certainly helpful. With ‘La Poule’ from 1785, Joana Mallwitz continues her Haydn focus at the Konzerthausorchester, which spans several seasons. This is followed by a leap into the 20th century: Béla Bartók's Third Piano Concerto, interpreted by Igor Levit, touchingly demonstrates that shortly before his death in exile in the US in 1945, the seriously ill composer managed to free himself from the gloom of his final years and write a cheerful, luminous work for his wife, the pianist Ditta Pásztory. He was only unable to orchestrate the last 17 bars himself. The suite from Stravinsky's ballet ‘Petrushka’, which takes place at an early 19th century Russian fair among Punch and Judy puppets, forms the furious conclusion to the evening.

Info & Ticket (www.konzerthaus.de)

June 28, 2025

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Jun 28, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

Konzerthausorchester Berlin, Joana Mallwitz (Conductor), Igor Levit (Piano)

The chicken that seems to cluck through the first movement of Haydn's Paris Symphony No. 83 in the second theme was not sighted there by the composer himself but, as is so often the case, by posterity. But with Haydn's numerous symphonies, epithets are certainly helpful. With ‘La Poule’ from 1785, Joana Mallwitz continues her Haydn focus at the Konzerthausorchester, which spans several seasons. This is followed by a leap into the 20th century: Béla Bartók's Third Piano Concerto, interpreted by Igor Levit, touchingly demonstrates that shortly before his death in exile in the US in 1945, the seriously ill composer managed to free himself from the gloom of his final years and write a cheerful, luminous work for his wife, the pianist Ditta Pásztory. He was only unable to orchestrate the last 17 bars himself. The suite from Stravinsky's ballet ‘Petrushka’, which takes place at an early 19th century Russian fair among Punch and Judy puppets, forms the furious conclusion to the evening.

Info & Ticket (www.konzerthaus.de)

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".

Igor Levit / Piano Recital

Mon, Feb 10, 2025, 19:30

Laeiszhalle, Großer Saal (Hamburg)

When listening to Igor Levit play Beethoven, you feel that you are being taken by the hand, that you are being led in a determined and yet extremely friendly manner on an exploration of a densely built-up terrain. An unexpected attraction captivates at every bend in the road, everything is there in its intimacy, grandeur, in its deep, ethical seriousness. And yet it seems close, accessible, completely present. This also applies when Levit takes on a work that was not actually intended for piano, such as Beethoven’s expansive »Eroica« Symphony: Beethoven is as direct, spontaneous and physical as life itself. But also as existential and uncomfortable as the things that determine our happiness and our worries. Igor Levit achieves that magical balance between the telling details and the meaningfulness of the big picture that characterises the classic Beethoven.

Igor Levit / Piano Recital

Tue, Feb 11, 2025, 20:00

Elbphilharmonie, Großer Saal (Hamburg)

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...

Konzerthausorchester Berlin, Joana Mallwitz

Fri, Jun 27, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)

The chicken that seems to cluck through the first movement of Haydn's Paris Symphony No. 83 in the second theme was not sighted there by the composer himself but, as is so often the case, by posterity. But with Haydn's numerous symphonies, epithets are certainly helpful. With ‘La Poule’ from 1785, Joana Mallwitz continues her Haydn focus at the Konzerthausorchester, which spans several seasons. This is followed by a leap into the 20th century: Béla Bartók's Third Piano Concerto, interpreted by Igor Levit, touchingly demonstrates that shortly before his death in exile in the US in 1945, the seriously ill composer managed to free himself from the gloom of his final years and write a cheerful, luminous work for his wife, the pianist Ditta Pásztory. He was only unable to orchestrate the last 17 bars himself. The suite from Stravinsky's ballet ‘Petrushka’, which takes place at an early 19th century Russian fair among Punch and Judy puppets, forms the furious conclusion to the evening.

Konzerthausorchester Berlin, Joana Mallwitz

Sat, Jun 28, 2025, 20:00

Konzerthaus Berlin, Großer Saal (Berlin)