By C. J. Gianakaris
KALAMAZOO – Pianist Igor Levit, laureate of the 2018 Irving S. Gilmore International Keyboard Festival, took the spotlight for two impressive Beethoven performances during the event’s two-week run in May.
Levit, Russian born though a resident of Germany since childhood, was declared winner of The Gilmore’s unusual competition by an anonymous panel of six judges. The contestants don’t know they’re competing; rather, the jurists pursue the nominees around the world to evaluate them in actual concert performances.
(Robbie Lawrence)
The winning pianist, designated as Gilmore Artist in the quadrennial competition, receives numerous performance dates and a $300,000 cash award.
[As the Gilmore Festival got underway, Levit picked up an additional honor from the U.K. – the Royal Philharmonic Society Music Award for Instrumentalist, celebrated by the jury as “an artist who never takes the easy option, who is not afraid to challenge audiences and who is fully engaged in the world.” Summer audiences have the chance to make Levit’s acquaintance at recitals at London’s Wigmore Hall July 21 and the Salzburg Festival Aug. 4, and concerto performances with the Boston Symphony at Tanglewood Aug. 12 and the Chicago Symphony at Ravinia Aug. 18.]
Levit performed twice during this year’s festival, once in a recital of late Beethoven sonatas and again playing the composer’s Piano Concerto No. 4 in G with full orchestra at the festival finale. Audiences thereby could judge his excellence for themselves. The verdict: superlative playing, promising a top-flight future career.
From the start of Levit’s recital in Kalamazoo College’s Stetson Chapel, with the Sonata in No. 30 in E major, Op. 109, Levit’s inordinate musical intelligence was evident. The opening Vivace ma non troppo established personal empathy – almost sweetness – in its ruminations.
Melodic line never vanished, nor was delicacy overwhelmed by Beethoven’s sudden bursts of frustrated passion. Levit’s playing expressed virility in the abrupt passages of the Prestissimo movement, contrasting with the religious-like contemplation of the lengthy third movement. The crystalline quality of his finger work and trills was thrilling, and his double pianissimos were ethereal. (The first two movements of the Op. 109, from a recent Levit recital for Denmark Radio, is available for viewing below.)
The Sonata No. 31 in A-flat major, Op. 110, showcased Levit delineating its beauty and sculpted elements, beginning with the Moderato cantabile. He masterfully controlled the harsh contrasts and flaring chords of the Allegro molto. The closing Adagio ma non troppo – Allegro ma non troppo may have seemed a touch slow in its meditative passages, yet Levit kept firm control in an evolving fugal portion. The nine consecutive, insistent chords effectively conveyed the composer’s ever-increasing frustration, and the work built stunningly toward towering double, even triple fortissimos. The last two movements of the Op. 110, from a Levit Amsterdam recital, is available here.
(Robbie Lawrence)
Beethoven’s last Piano Sonata, in C Minor, Op. 111 – comprising two movements – completed an impression of interpretive coherence that Levit brought to the final three sonatas. Dramatic music led to allegro fugal effects in the first section, while extended ruminations marked the last movement. Levit’s trills and arpeggios were unfailingly immaculate and elegant, producing a spiritual ethos.
The pianist projected a sunnier Beethoven in the Fourth Piano Concerto, performed in the outstanding acoustics of Chenery Auditorium. Throughout, Levit’s playing remained secure and mature, and the exquisite sustained trills of the middle Andante displayed a superlative touch.
Under the baton of conductor emeritus Raymond Harvey, the Kalamazoo Symphony Orchestra provided able partnership. Harvey integrated the orchestra with the soloist to striking effect. Their performance of the Rondo bespoke sparkling joy. During the middle Andante section, Levit maintained a secure, stately tempo, allowing clarity of the orchestra parts.
At the festival finale, Levit shared the spotlight. Following a solid performance of Mendelssohn’s overture Calm Sea and Prosperous Voyage, the Kalamazoo Symphony gave an energetic account of William Bolcom’s Symphony No. 1. The work emphasized martial elements marked by snare drums and marching rhythms throughout. Bolcom, a Michigan resident, was in attendance and received a hero’s ovation.
Stand-out performances by several past Gilmore Artists provided more festival highlights. Leif Ove Andsnes (1998), Ingrid Fliter (2006), Kirill Gerstein (2010), and Rafał Blechacz (2014) all played during the ambitious gathering.
C. J. Gianakaris, professor emeritus of English and Theatre at Western Michigan University, co-founded and for 25 years co-edited the quarterly Comparative Drama. He has reviewed music and theater in Kalamazoo for over 30 years.
