Περιγραφή
Καλλιτέχνες
Contents Busoni: Chorale Preludes (10) after J.S. Bach No. 1, Komm, Gott Schöpfer, Heiliger Geist, BWV 667 No. 2, Wachet auf, ruft uns die Stimme, BWV 645 No. 3, Nun komm, der Heiden Heiland, BWV 659 No. 4, Nun freut euch, lieben Christen gmein, BWV 734 No. 5, Ich ruf zu dir, Herr Jesu Christ, BWV 639 No. 6, Herr Gott, nun schleuß den Himmel auf, BWV 617 No. 7a, Durch Adams Fall ist ganz verderbt, BWV 637 No. 7b, Durch Adams Fall ist ganz verderbt. Fuga, BWV 705 No. 8, In dir ist Freude, BWV 615 No. 9, Jesus Christus, unser Heiland, BWV 665 Busoni: Chorale Preludes (6) after Brahms Herzlich tut mich erfreuen, Op. 122 / 4 Schmücke dich, o liebe Seele, Op. 122 / 5 Es ist ein Ros entsprungen, Op. 122 / 8 Herzlich tut mich verlangen, Op. 122 / 9 Herzlich tut mich verlangen, Op. 122 / 10 O Welt, ich muss dich lassen, Op. 122 / 11 Brahms: Vier ernste Gesänge, Op. 121 – arr. for solo piano Reger Denn es gehet dem Menschen wie dem Vieh, Op. 121 / 1 Ich wandte mich und sahe an alle, Op. 121 / 2 O Tod, wie bitter bist du, Op. 121 / 3 Wenn ich mit Menschen- und mit Engelszungen redete, Op. 121 / 4 Reger: Nachtlied, Op. 138, No. 3 Feldman, M: Palais de Mari A very personal double album, carried by the desire for encounter and togetherness. The programme includes rarely performed Bach and Brahms arrangements by Ferruccio Busoni and Max Reger as well as “Palais de Mari”, the last piano piece by Morton Feldman. Igor Levit’s double album “Encounter” is looking for sounds that give inner strength and emotional support. Based on haunting vocal compositions from Bach to Max Reger, the works articulate the desire for encounter and human togetherness – in a time when isolation is the order of the day. The result is a very personal recital. Once again the 33-year-old crosses the boundaries of the pure piano repertoire: in the Busoni transcriptions of Bach’s chorale preludes and the late Brahms, rarely heard as complete cycles, Levit takes on the role of an organist filling large church spaces. He gives instrumental eloquence to the overcoming of agonizing fear of death in Johannes Brahms’ “Four Serious Songs”. The gentle shimmer of a few notes, in turn, makes Morton Feldman’s extremely quiet piano piece “Palais de Mari” (1986) the epitome of a sensual, supersensible space of possibility. Levit’s repertoire compilation justifies the title of the album. The works make a community of experience out of many individuals forced to distance themselves from each other. They establish contact to religious and inner-worldly spirituality. In addition, the inner connections between the composers and their respective aesthetics make “Encounter” a journey that offers amazing discoveries even on seemingly familiar terrain. “The isolation at home in the weeks since mid-March 2020 has often been hard for me as well. As an artist, however, I have never in my life felt so unbound, so permeable as on those days when I often decided what I would play in my house concerts only half an hour before the live stream,” reports Igor Levit. The omission of all routines of the concert business apparently also had its positive sides: “Being able to make music without any compulsion and spontaneously choosing works in which all the questions of love and death, loneliness and the possibility of genuine charity are dealt with, has given my piano playing a relaxed quality that I had never known before in this form |