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Igor Levit


Sony Classical
Release Date: September 9, 2022

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60 Minutes profiles Igor Levit
Igor Levit - An interview with BBC New Generation Artist
May It Return To The Heart (Igor Levit, pianist & Hans Ulrich Obrist, curator) | DLD 18
Bundesversammlung: Igor Levit im Interview am 13.02.22
1 FRANZ LISZT: Liebestraum No. 3 S 541/3 00:03:54  
2 HANS WERNER HENZE: Tristan - Preludes for Piano, Electronic Tapes and Orchestra / I Prolog 00:06:26  
3 II Lamento 00:06:25  
4 III Präludium und Variationen 00:10:57  
5 IV Tristans Wahnsinn 00:05:36  
6 V Adagio – Burla I – Burla II – Ricercare I – Burla III – Ricercare II 00:05:47  
7 VI Epilog 00:14:05  
8 RICHARD WAGNER: Tristan und Isolde - Prelude 00:10:50  
9 GUSTAV MAHLER: Adagio 00:27:53 from Symphony No. 10  
10 FRANZ LISZT: 3 Harmonies du soir 00:10:00No. 11 from Études d’exécution transcendante S 139  
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On Igor Levit’s upcoming album “Tristan” the pianist explores nocturnal themes of love and death, fear, ecstasy, loneliness & redemption in the music of Richard Wagner, Franz Liszt, Gustav Mahler & Hans Werner Henze.

Includes his first concerto recording with the Gewandhausorchester Leipzig under Franz Welser-Möst.

The five works that feature on Igor Levit’s latest double album span a period of 135 years that extends from around 1837 to 1973. Very different genres are represented here. Only one of these works was originally conceived for piano solo, but Igor Levit’s exploration of borderline experiences in our lives – death in Life (2018), spirituality in Encounter (2020) and now, with Tristan, the link between love, death and our need for redemption – inevitably means that it is not just masterpieces for the piano that are central to his concern but, above all, compositions in which certain thematic associations find their most personal expression.

And yet Levit’s own thoughts revolve less around the themes of love and death as such than around the experience of night and of the nocturnal as a dark alternative to our conscious actions by day. Exceptional psychological states set the tone here: “Night has so many faces. It can signal a place of refuge or the loss of control, it signifies love and death, and it is the place where we feel our deepest, most paranoid fears,” says Levit. “The Adagio from Mahler’s Tenth Symphony contains a famous outburst of pain in the form of a dissonant chord, and Wagner’s Tristan und Isolde is all about a kind of emotional nuclear meltdown. All of the piece’s essential actions take place at night. In his reminiscences, Hans Werner Henze likewise recalled his work on Tristan as a time of nightmares and of dreamlike hallucinations."

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