Johannes Brahms (1833-1897)
Piano Concerto No. 1 in D minor, Op 15 (1858)
Piano Concerto No. 2 in B-flat major, Op 83 (1881)
Seven Fantasias, Op 116 (1892)
Intermezzi, Op 117 (1892)
Klavierstücke, Op 118 (1893)
Klavierstücke, Op 119 (1893)
Waltz in A major, Op 39/15 (1865)
Igor Levit (piano)
Wiener Philharmoniker/Christian Thielemann
rec. 2023/24, Musikverein, Goldener Saal, Vienna (concertos); Leibniz Saal, Hanover (Op 116-119)
Sony Classical 19658897652 [3 CDs: 174]
Igor Levit semes to me to be a particularly interesting pianist. Not only does he have a formidable technique – one would expect nothing less at this level – but also, he seems to be a most thoughtful musician. So, I was delighted to find that he has recorded both of the Brahms piano concertos – pinnacles of the repertoire. Furthermore, Sony has included as a significant bonus a disc on which Levit plays the twenty pieces for solo piano which Brahms composed in 1892 and 1893.
The documentation consists of a conversation between Levit and Thielemann. I don’t find the first half is particularly interesting; they reminisce about their past collaborations, falling over themselves to compliment each other. The second half is more germane. Here, they discuss the two concertos and Levit expresses a preference for the Second concerto, which he finds “infinitely easier to play than the First”. This has nothing to do with the technical demands of either piece; rather, Levit finds the First is “often bitter and dark. There is a lot of weight that you have to move”. By contrast, he sees the Second thus: “despite the dramatic character of certain passages, overall it is a very optimistic piece. It leads you into a realm of beauty”. I understand his point of view. Nonetheless, I enjoyed both performances.
Thielemann launches the D minor concerto with strength and purpose, though he also eases off in the places where Brahms does. When Levit begins to play (3:31) he seems very relaxed; throughout the movement he judges the lyrical passages beautifully. Elsewhere, however, he is able to summon up the leonine strength that Brahms requires of his soloist (for example, in the tumultuous passage between 10:33 and 11:32 and again from 12:20 before the pianist reprises the material of the orchestral introduction). This is, as Levit suggests, a hugely demanding movement but I think he plays it magnificently, benefitting from excellent support from Thielemann and the VPO.
The Adagio second movement receives a searching, noble performance. Levit responds acutely to this introspective music and he brings out the music’s poetry very successfully. The orchestral contribution is very fine. The Rondo finale is given an athletic, dynamic reading. I thought this performance was exciting and often powerful.
If the account of the Second concerto is even more successful, I think that’s down to the music itself and how these artists perceive it. (I should say that I didn’t read the booklet conversation before listening for the first time so I feel I can honestly say that the views they expressed didn’t influence my perception of their performance.)
We hear a fine partnership at work in the first movement. Levit plays marvellously and the VPO matches him as both soloist and orchestra jointly and severally develop Brahms’ musical ideas. The second movement also goes very well; surging impetus is allied to a more relaxed lyricism according to the dictates of the music. I think the serene Andante should be the highlight of any performance of this concerto; that’s definitely the case here. I’m glad that the VPO’s solo cellist, Tamás Varga is credited; his lovely, warm-toned and beautifully phrased playing deserves special mention. The tranquillity of this movement comes as balm after the turbulent end of the previous movement. I always listen out for the wonderful episode (here beginning at 6:51) where the piano, initially partnered just by the clarinets, softly ruminates through many key changes, gradually leading back to the cello solo (8:42). It should be a magical passage and that’s achieved here, thanks to the sensitivity of both Levit and the orchestra. This movement is a profound meditation and here it receives a most satisfying performance. The finale is taken attacca. The light, cheerful opening of this performance sets the tone for what is to follow. Levit’s pianism is nimble and playful. This rendition of the finale certainty has a smile on its face.
I enjoyed these two performances very much. I don’t think that either quite dislodges my personal favourites – Curzon/Szell in the First, and Gilels/Jochum or Freire/Chailly in both concertos – but Levit and Thielemann provide much to admire and enjoy.
I said earlier that Sony offers a significant bonus in the shape of a third disc on which Levit plays the late piano pieces Opp 116-119. In fact, I would not be entirely flippant if I said that Sony offers the two concertos as a substantial bonus to the disc of piano solos. That’s because Levit’s recordings of these late pieces are outstanding in every way.
In the Seven Fantasias, Op 116 I was immediately impressed by the thrusting forward momentum with which Levit invests the D minor Capriccio; his playing is full of energy. Immediately thereafter, he brings to the A minor Intermezzo an atmosphere of introspective mystery. His lovely touch is absolutely ideal for this enigmatic music. The fourth piece, the E major Intermezzo is withdrawn and reflective. Levit conveys the impression that he’s communing with himself, yet at the same time he draws the listener in. He’s so subtle in his delivery of the inward-looking Intermezzo in E minor, yet he concludes the set by bringing capricious energy to the D minor Capriccio. By any measure, Levit’s account of these seven pieces is outstanding.
No less memorable is the reading of the three Intermezzi, Op 117. His playing in the E-flat major piece is wonderfully poised from start to finish and I love the half-lights and shadows that Levit brings to the C-sharp minor Intermezzo. The set of six Klavierstücke, Op 118 includes my own favourite among all these twenty late pieces, the Intermezzo in A major (which Levit takes attacca from the preceding A minor Intermezzo). Here, his instinctive, subtle rubato is just right and the music is beautifully shaded. As I listened to this very expressive performance I had a strong sense of a narrative thread, which I don’t always get. By contrast, the following piece, the Ballade in G minor is one of the liveliest compositions among all twenty pieces; I admired Levit’s strong rhythmic projection The last of the set, the E-flat minor Intermezzo is darkly mysterious with its seeming hints or half-echoes of the ‘Dies Irae’. Levit’s playing is very imaginative, including in the more robust central session.
Finally, we hear the four Klavierstücke, Op 119, again in memorable performances. The opening B minor Intermezzo is essentially tranquil and inward; Levit’s delivery is special, with every note perfectly placed and weighted. In the central section of the E minor Intermezzo Levit really takes to heart the second word in Brahms’ Andantino grazioso marking. In the outer sections Brahms’ somewhat nervy rhythms are expertly articulated. Levit’s account of the C major Intermezzo is playful. Then he is masterful in his delivery of the E-flat major Rhapsody, where Brahms succeeds in packing a lot into a relatively short piece (here, just over five minutes in duration).
These are superb renditions of Brahms’ late masterpieces in miniature. I greatly welcomed the contrast between experiencing Levit on the public ‘big stage’ of the concertos and then in the more intimate world of these perfectly crafted late essays for solo piano.
In a nice touch, there’s a little encore after Op 119; Christian Thielemann joins Igor Levit to play the four-hands version of the A minor Waltz, Op 39/15. It’s a pleasing way to round off this Brahms collection.
Igor Levit’s many admirers will relish the opportunity to hear him playing Brahms. The concerto performances are very fine but the late piano pieces should not be missed on any account.
John Quinn
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