Igor Levit - Encounter - Import 2 CD

Credits:

Igor Levit

Description:

Born out of a time of unprecedented hardship, Levitt's latest work contains a very personal message of hope and a desire to meet and encounter. The impact of the Corona on the world: On March 10, 2020, Igor Levitt played Beethoven's Piano Concertos Nos. 3 and 4 at the Erbphilharmonie on his birthday, to thunderous applause. The next day, a lockdown was declared in Germany and all concerts were canceled. Levitt, unable to do anything about the pain and embarrassment of not being able to perform on stage, the frustration of not being able to deliver his music to his audience, and the sorrow of not being able to share the music he was playing, became possessed and performed live from his home every night for 50 nights, streaming live from his home, creating a worldwide sensation. The band became a worldwide sensation. This latest album, titled "Encounter" (= Encounter), is the same two-disc set as "Life" released in 2018, and is the result of such epic internal emotional struggles and social experiences.Conceived in the process of Levitt's attempts to suppress his intense emotions amidst the Corona disaster, to find joy, solace, and the possibility of playing freely from music, and to find "encounters=encounters" of all kinds, it was recorded at the Church of Jesus Christ in Berlin in late May, 2020. With the exception of Feldman's piece, all of the pieces were arranged for solo piano from original works with (or based on) lyrics. All of them have a well-honed beauty and are calm, quiet music that seems to look inward with serenity. The Bach-Busoni chorale preludes, such as "I Hear the Voice Calling Me to Awake" and "Come, O Savior of the Heathens," are well-known among the general public, but there are few recordings of the complete works, and the Brahms-Busoni chorale preludes are even less commonly performed. The piano arrangement of Brahms' "Four Solemn Songs" by Reger is literally a secret.For Levitt, the Bach and Brahms Chorale Preludes symbolize the "inner encounter" he experienced when performing alone, while Feldman's "Night at Mali" is an "outer encounter" that recalls the enthusiastic response he received from viewers around the world in streaming performances. The music symbolized the importance of being able to think and feel each other's thoughts and feelings even though we are physically separated. Sony Music, which deeply touches the listener's inner self.

Tracklisting:

1.10 Chorale Preludes BV B27~No. 1: Komm, Gott Schopfer, Heiliger Geist BWV 667: Vivace maestoso
2.10 Chorale Preludes BV B27~No. 2: Wachet auf, ruft uns die Stimme BWV 645 : Allegretto tranquillo
3.10 Chorale Preludes BV B27~No. 3: Nun komm, der Heiden Heiland BWV 659: Adagio
4.10 Chorale Preludes BV B27~No. 4: Nun freut euch, lieben Christen gmein BWV 734: Allegro
5.10 Chorale Preludes BV B27~No. 5: Ich ruf zu dir, Herr Jesu Christ BWV 639: Andante
6.10 Chorale Preludes BV B27~No. 6: Herr Gott, nun schleuss den Himmel auf BWV 617: Un poco agitato
7.10 Chorale Preludes BV B27~No. 7a: Durch Adams Fall ist ganz verderbt BWV 637: Andante mesto
8.10 Chorale Preludes BV B27~No. 7b: Durch Adams Fall ist ganz verderbt BWV 705 (App. B): Fuga. Molto sostenuto
9.10 Chorale Preludes BV B27~No. 8: In dir ist Freude BWV 615: Allegro marcato
10.10 Chorale Preludes BV B27~No. 9: Jesus Christus, unser Heiland BWV 665: Andante non troppo
11.6 Chorale Preludes BV B50~Herzlich tut mich erfreuen Op. posth. 122/4: Andante tranquillo
12.6 Chorale Preludes BV B50~Schmucke dich, o liebe Seele Op. 122/5: [Andante, quasi Adagio]
13.6 Chorale Preludes BV B50~Es ist ein Ros entsprungen Op. 122/8: [Andantino]
14.6 Chorale Preludes BV B50~Herzlich tut mich verlangen Op. 122/9: Moderato deciso
15.6 Chorale Preludes BV B50~Herzlich tut mich verlangen Op. 122/10: Andante tranquillo
16.6 Chorale Preludes BV B50~O Welt, ich muss dich lassen Op. 122/11: Solennemente. Molto sostenuto