Since then these terrific performances were voted runner up
in the Instrumental category of this year’s Gramophone Awards www.gramophone.co.uk
Now from Sony www.sonymasterworks.com we have a 2 CD set of Igor Levit playing
Bach’s Partitas BWV 825-830.
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| 88843076302 |
The Praeludium of Partita
No. 1 in B-Flat Major, BWV 825 is beautifully paced with Levit’s lovely
phrases allowing Bach’s superb invention to unfold. In the Allemande there is a fine flow, with a tremendous clarity that
seems wholly natural as the contrapuntal lines appear with a joyful rhythmic
quality. Already one can sense this is very fine Bach.
In the Corrente it
is Levit’s handling of Bach’s rhythmic quality that, again, comes through;
lithe, light, bouncing yet always achieving a remarkable clarity, yet with an
intoxicating forward momentum. Levit brings his thoughtfulness and poetry to
the Sarabande with such fine presentation
of Bach’s ideas. He shapes and develops the music brilliantly.
The beautifully pointed up Menuet I & II are terrific with a lovely ebb and flow before
the sparkling Gigue, crisp, lively
and full of charm with, again, such fine touch and phrasing. The depth and
concentration Levit brings is exceptional.
There is such a
well-controlled Sinfonia to open Partita
No. 2 in C Minor, BWV 826 with subtle shadings and Levit’s exquisite
phrasing and forward drive in the later stages where one can’t help but be
entranced. The Allemande flows with a
lovely cantabile before the Courante
where Levit lays out the varying phrases so finely, keeping the overall flow. The
Sarabande follows the Courante so
well, slow and exceptionally well phrased. There is a beautifully light and
buoyant Rondeaux with a fine ending
that leads so well into the concluding Capriccio
that receives a spellbinding performance here, second to none, a real joy.
There is more lovely phrasing and shaping to the Ouverture of Partita No. 4 in D Major, BWV 828 with pinpoint clarity of
textures and line. The gorgeously limpid Allemande really
embraces Bach’s ever flowing invention, superbly realised by Levit.
The Courante has vibrant, beautifully sprung phrases before the Aria where Levit finely draws the musical lines. There is lovely shaping and phrasing of the Sarabande with this pianist maintaining a natural forward movement. There is some terrific, delicately phrased playing in the Menuet, with nicely nuanced phrases and, in the Gigue terrific panache as Levit hurtles to the coda.
The second disc opens with Partita No. 3 in A Minor, BWV 827 where the Fantasia has a lovely sense of freedom and flow, something that
equally applies to the Allemande with
Levit’s finely held musical lines. The Courante
moves forward with a sense of urgency before the thoughtful and beguiling Sarabande.
The Burlesca is
full of energy and momentum with Levit’s fine touch and articulation shown to
great effect. In the Scherzo the
music moves forward with even more stunning forward drive before the Gigue that brings an equally fine
forward flow, with an unstoppable nature.
The Partita No. 5 in
G Major, BWV 829 brings beautifully precise and articulate playing before
the Praeambulum that pulls one in
immediately. There is a gently flowing Allemande
and a brilliant Courante before Levit
brings more of his thoughtful sensitivity to the Sarabande with some exquisite playing.
The Tempo di Minuetto
is light, gossamer in texture, absolutely superb. Levit’s subtle rubato is to
the fore in the crisp, beautifully phrased Passepied
before the concluding Gigue arrives with
a subtle ebb and flow as Levit quickly moves the music to its conclusion with
an unstoppable forward momentum.
There are some beautiful moments as the Toccata of Partita No. 6 in E Minor, BWV 830 makes its way through to a particularly fine conclusion. Levit brings all his delicacy and subtlety and exemplary phrasing to the Allemande with a freedom too.
The Corrente has a
terrific flow, with some lovely little flourishes before the beautiful
simplicity of the Air. The Sarabande has a lovely natural flow and
freedom to which the Tempo di Gavotta
makes a lovely contrast with Levit’s terrific sprung rhythms and lovely little
details. This pianist brings a fine conclusion to these works with the final Gigue, bringing all his exceptional
skills as a Bach interpreter.
I could use every superlative to praise Levit whose new
recording must be one of the most desirable Bach keyboard discs for a long
time. His playing is so refined, rhythmically secure, with lovely phrasing and
an ability to realise the structure of the music so well – all attributes that
I remarked upon when reviewing his Beethoven.
There are, of course, those who do not like their Bach
played on a modern piano, preferring harpsichord performances. This would be a
tremendous pity given the exceptional musicality of these readings.
Levit is finely recorded and there are interesting and
informative booklet notes.
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