Igor Levit - Fantasia (2023) [Hi-Res]

Tracklist

CD1
01. Suite for String Orchestra No. 3 in D Major, BWV 1068: Air (Arr. for Piano by A. Siloti)
02. Chromatic Fantasia and Fugue in D Minor, BWV 903: I. Fantasia
03. Chromatic Fantasia and Fugue in D Minor, BWV 903: II. Fugue
04. Piano Sonata in B Minor, S. 178: I. Lento assai - Allegro energico
05. Piano Sonata in B Minor, S. 178: II. Andante sostenuto - Quasi adagio
06. Piano Sonata in B Minor, S. 178: III. Allegro energico
07. Lieder aus Franz Schubert's Schwanengesang, S. 560: No. 12, Der Doppelgänger (Transcribed from Schubert's D. 957 No. 13)

CD2
01. Klavierstück in B Minor
02. Piano Sonata, Op. 1
03. Fantasia contrappuntistica, BV 256
04. Nuit de Noël, BV 251



In this new 2 CDs release, Igor Levit offers a contemplative exploration of the improvisatory aspects inherent in the fantasia. This journey encompasses both renowned pieces such as Liszt’s B minor sonata and lesser-known piano works like Busoni‘s “Nuit de Noël.” Levit weaves together a musical puzzle, drawing subtle parallels between these compositions.

One of these specific threads connects the Liszt Sonata to the Berg Sonata Op. 1. The obvious connection is by key and one-movement form but as far as character is concerned, this is where each composer’s take on “improvisation” starts to diverge. The Liszt Sonata (CD 1, tracks 4-7) needs little introduction with notable versions by Horowitz (1932), Richer live (1965), and Arrau and Argerich (both 1971). Precedence aside, it’s worth noting that the element of the fantasia resides in the work’s sprawling length and plethora of themes and motifs. I listened in anticipation for a suspenseful opening in Levit’s performance but didn’t find it quite heady enough: the ominous descending line moves a bit too slowly and the octaves, which should cut through the air like a guillotine, don’t have enough snap. I was momentarily worried that this would set the stage for the rest of the sonata, but the pianist does stellar work going forward. Yes, he takes a markedly dry stance on articulation, but the urgency and madness of the Allegro Energetic is not lost. The grand D major theme (3’21”) is most satisfying: resonant and surging, the theme greets the ear with expansive waves of sound.

What I’ve always appreciated about Levit’s playing is how he tries to approach the music from a lesser explored angle. Such is the case with the Andante Sostenuto, in which he purposefully takes the time for the sounds to fully dissipate; this mindful release of notes subconsciously encouraged me to fully appreciate each sonority individually from start to finish, rather than its merely place in a phrase. Thus, this “slow movement” becomes not just a portrayal of the more lyrical side of the sonata, but truly lets the mind wander and explore.

The fugue sees the return of Levit’s pointed articulation, which does sound skittish at times but is nonetheless exciting. Particularly impressive is his transition back into the opening thematic material (5’25” onwards) with unparalleled clarity in the fast passages that drive a whirring energy. This in turn metamorphoses into convincing octaves that blast out a hefty dose of menace.

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