Levit himself deserved six out of five stars for his performance, but there were a few technical issues.
The star pianist discusses the 52 concerts he streamed from his Berlin home when COVID hit, his 15-hour livestream of Satie's Vexations, and his forthcoming digital concert of Beethoven's Diabelli Variations.
Another superbly serious encounter courtesy of Igor Levit.
Levit goes full cycle – pianist stakes his claim as a Beethovenian for contemporary ears.
Star pianist’s profound new album is grown out of tragedy.
The decision comes after the Awards faced a backlash, including from artists such as Daniel Barenboim, Mariss Jansons and the Leipzig Gewandhaus, for recognising a rap duo whose works have been deemed anti-Semitic.
The Russian-born pianist has attracted attention for his keen musicianship as well as his anti-Brexit, anti-Trump views.
Igor Levit and Daniel Barenboim have each made an appeal to European unity at the music festival.
Steve Davislim's Tito will also be among the highlights to catch the ears of Aussie audiences.
The last time I reviewed Igor Levit in Limelight, back in the December 2014 issue, I wondered where a recording career that had begun with the late Beethoven Piano Sonatas and followed through with Bach’s complete Partitas might head next. “Levit is here to stay,” I mused; but in my wildest dreams I couldn’t have second-guessed this next move. That said, if you are going to record Bach’s Goldberg Variations, then adding Beethoven’s obviously indebted Diabelli Variations makes sound historical and musical sense. But you can only imagine how the pitch to the suits at Sony, slowly digesting Levit’s proposal that they release what they’re assuming will be a hefty Bach/Beethoven pairing, unfolded. “And on disc 3…” “Disc 3, Igor?” “Yes, on disc 3, I want to record a 60-minute set of variations based on a Chilean song that preaches the values of Marxist revolution.” Frederic Rzewski emerged during the mid-60s as a musical polymath: a free improviser who gorged on low-fi electronics in the collective Musica Elettronica Viva; a pianist who specialised in the likes of fingerbusting Stockhausen, Cardew and Boulez; and as a composer who, in works like The People United Will Never Be Defeated! (1975), managed to…