Igor Levit is, along with Daniil Trifonov, the pianist du jour. Lauded for his disc of the Goldberg Variations and Diabelli Variations and Rzewski’s The People United Will Never Be Defeated, and with a slew of critical superlatives for his debut disc of late Beethoven piano sonatas, Levit is a pianist who concerns himself with the most serious edifices of piano literature, while Trifonov tends towards the more romantic virtuoso repertoire.
Beethoven’s 32 piano sonatas represent the loftiest Himalayan peaks of the repertoire, both in terms of the arc of their composition (three distinct periods which mirror significant stages in the composer’s life, artistically and emotionally), and the demands these works place on the pianist. The complete Beethoven cycle, a performance of all the piano sonatas, usually over eight concerts, is a Herculean task, not to be undertaken lightly. It fully tests the mettle of any performer, but the perennial appeal of presenting these works in a cycle is a mark of their significance and the special reverence they have accrued.
On Wednesday night, Igor Levit embarked on his Beethoven sonatas cycle at the Wigmore Hall, bringing his intelligent and distinctive approach to these great works.
Read my full review here
(Photo © Igor Levit)