The classical music scene, like all other entertainment industries, likes hypes. Quite often those are a bit fabricated, and at a closer look tend to disappoint (sorry, Lang Lang), or their presence in the limelight is very short-lived just to be replaced by the next wunderkind. And I’m afraid, the big classical labels have their share of the blame (well, they have to sell their stuff, too).
That said, in this long list of young stars and starlets, every once in a while you’ll find a true artist. I’ve already written about Rafal Blechacz and Benjamin Grosvenor, both of which will end up in the pantheon of the best pianists of the 21st century, I’m willing to be a lot of money on that.
My third name in the triumvirate of 21st century giants is Igor Levit. I’ve already praised his outstanding partitas here, and his first album, the late Beethoven sonatas, is also exceptional.
Levit was born in Russia but moved at the age of 8 to Hanover, Germany, where he lives to this day (why somebody would stay in what is probably the dullest city in Germany escapes me, but at least nothing there distracts him from practicing, which is good for the rest of us).
He has now released his third album, a massive 3 CD affair (or what used to be 3 CDs in the pre-download area). It takes some guts to start your recording career on nothing less than Beethoven’s late piano sonatas at the age of 26. Well, with his latest release, he doesn’t attack only one, but two of the absolute summits of the piano repertoire, the Goldberg AND the Diabelli variations. So will he lose his breath in this Himalaya?
Goldberg and Diabelli
Well, let’s make it quick: this is yet another outstanding album. His Goldberg’s are really among the best I’ve ever heard on modern piano. All you Gould lovers out there, check this out! Really. You may miss Glenn’s humming, but honestly there is nothing else to miss here.
Levit plays with astonishing precision, but at the same time you just hear every note is just there, just at the right moment, with just the right weight. This immediately becomes my go-to version on modern piano (although I still prefer harpsichord here, so will remain loyal to Hantaï nevertheless).
Now to the Diabelli’s. I’ve already given my preference with Schiff’s ECM recording and Staier on pianoforte. And now I immediately have to add this recording to this list.
Again, what wins me over immediately is the precision and timing. And don’t get me wrong, just because I mention precision so much doesn’t mean this is heartless robot playing. To the contrary.
Just to quote some examples: On the slow variations 14 and 20, time just seems to stop. For a moment you are in a different time and space. Absolutely absorbing.
Or take variation 21. moving from fast to slow all the time, which on some recordings can make you feel a bit sea-sick. Not here, any tempo change just comes along completely natural.
You get a glimpse of his virtuosity in the breathtaking speed of variation 27. But Levit is anything but your classical virtuoso, he uses his outstanding technical capabilities only for purely musical purposes, never to impress (although I’d be very curious to hear Levit eventually moving away from Bach and Beethoven and attack Rachmaninov et al, unfortunately he’s already said he doesn’t want to play Chopin as Blechacz does it so well).
I’m not going to comment on the Rzewski, I’m just completely incompetent to add any meaningful comment to any music that goes beyond traditional tonality. That said, this piece has enough moments that make me want to listen to more, which is more that I can say about a lot of other 21st century classical music.
So, overall, yet another absolute must have album from Levit.
My rating: 5 stars
UPDATE Nov 6, 2015: Gramophone agrees with me and gives this album a “Recording of the Month”.
UPDATE Nov 29: My other preferred classical review magazine, Classica, is also pleased and gives this recording 4 stars.