August 18, 2022
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When the pianist Igor Levit streamed dozens of performances from his house in Berlin in the course of the first pandemic lockdown in 2020, he wore neat however informal garments: closefitting sweaters, hoodies over T-shirts. He was inviting you to a live performance, sure, but in addition into his house; he provided, in milieu and music, each elevation and luxury.

Carnegie Hall, Levit made clear from the second he walked onstage there Thursday night, is like house for him, too.

Showing for his first solo recital within the gilded Stern Auditorium, he got here on sporting a darkish, slouchy collared shirt, left unbuttoned to disclose a crew neck beneath, and black denims. The impression, as common with him, was of an artist who dispenses with formalities and fripperies to focus — with rest but in addition intense seriousness — on the music.

It was, additionally as common for him, an elegantly organized program. A Beethoven sonata that ends in a collection of variations led into the premiere of a brand new set of variations by Fred Hersch. A transcription of the prelude to Wagner’s opera “Tristan und Isolde” was adopted with out pause by the B minor Sonata of Liszt, Wagner’s champion and eventual father-in-law — which ends, as “Tristan” does, in the important thing of B.

Constructing to a mighty climax in a grand account of Liszt’s sprawling sonata, Levit projected a form of burning persistence by way of the night. His taking part in is changeable, however by no means comes throughout as improvisatory; there’s at all times a way of deliberation, generally in tempos however at all times in method, a palpable sense that the whole lot has been thought out. But the outcomes really feel assured and fiery, not merely or coolly analytical.

From its gently rocking opening — right here a mistiness out of which emerged quiet readability — Beethoven’s Sonata No. 30 in E (Op. 109) obtained a dreamier, and ultimately extra explosive, rendition than on the recording Levit launched in 2013.

He has a present for gentleness, shaping tender, tender melodies that ache with out slackening. Within the third motion, he constructed the ultimate variation to livid, ecstatic runs. However the biggest influence got here when these runs dropped out, leaving the remnants of a barely audible trill as the trail again to the theme.

Hersch is greatest often called a jazz pianist, however he additionally writes poised live performance works. Whereas Levit has performed a few of his brief items, this new Variations on a People Music is substantial, a bit greater than 20 minutes lengthy.

The theme right here is the plaintive “Shenandoah,” and Hersch provides sober, refined, respectful remedy to a track that, as he writes in a program observe, “I realized as a toddler and has a lot emotional resonance for me.” One of many 20 variations is barely skittish; one other is barely sturdy; essentially the most memorable sprinkles tiny quivers within the pauses of a gentle piano line. However the temper is constant, and kindly.

Levit is one in all classical music’s most politically outspoken figures, which is one cause that the untroubled sincerity of Hersch’s interpretation of “Shenandoah” is so placing. The track is assumed to have its roots among the many fur trappers of the early American Midwest and their relations with the Indigenous inhabitants; it’s a melody that touches the core of our nation’s historical past, in all its complexity. However these unvaried variations are a musical imaginative and prescient of almost unbroken serenity and benevolence — notably, curiously nostalgic.

The “Tristan” prelude was right here, in Zoltan Kocsis’s association, much more progressive, its opening virtually surreally elongated by Levit in order that his eventual touchdown on flooding chords provided a few of the shock this work held for its first listeners. Kocsis’s association ends in shadows, out of which Levit’s Liszt emerged; a tough modern to “Tristan,” the sonata was right here a stand-in for the opera.

It had the time-bending impact “Tristan” usually does, its contrasting sections seeming to drift alongside each other in an enormous expanse. The sense of scale was memorable, as was Levit’s contact: densely liquid low rumbles; charcoal-black stark chords; extraordinarily tender passages that sounded candied, like snow glittering in moonlight.

The coherence of his conception of the night prolonged to the encore: the precise ending of “Tristan,” the “Liebestod,” in Liszt’s transcription. Its climax — which Liszt achieves by working the acute ends of the piano concurrently, to delicately epic impact — spoke for the recital as a complete, judiciously balanced but thrilling.

Igor Levit

Carried out on Thursday at Carnegie Hall, Manhattan.

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