Peter Meisel Part of Igor Levit Featured Artist Part of Levit Igor Featured Artist Hall Barbican Wed 19 Feb 7.30pm Brahms Beethoven, Bartók and Levit plays Igor Part of Barbican Presents 2019–20 Part of Beethoven 250

1 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 2 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall Important information allowed in the hall. the in allowed are not Drinks queues. the to beat drinks interval -1, Gand 1. Pre-order Levels on are located Bars refreshment? for Looking 20-minute interval. 20-minute 9.20pm,about a with 7.30pm at and finishes at begins concert The and finish? start concert the does When for the curtain call. curtain the for –save it performance the recordings during Take or photos Please don’t…

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Advertising by Cabbell (tel 020 3603 7930) 3603 (tel 020 by Cabbell Advertising All information at time correct of printing Smith by Harriet produced Programme musicianship of pianist Igor Levit. Levit. Igor of pianist musicianship the extraordinary celebrating series Artist Featured our in last the A warm to welcome tonight’s concert, tonight’s performance to Welcome for two pianists. pianists. two for by adapted composer the then but quartet Fuge Grosse mighty the with it’s so wepianist apt that start aBeethoven as his name made first He importantly, alive it his for audiences. bring and, most of repertoire demanding most the allows him that piano to the tackle at an ease with intellect afearsome combines He acclaimed. hugely already is Levit Igor thirties, in his early only still Though , originally written for string for, originally string written

Becker perform Brahms’s perform Becker masterly and Markus and he of variations to sets intrinsic is loves Levit that journey the Igor and Andreas Boettger for Bartók’s brilliantly brilliantly Bartók’s for Boettger and Andreas Reda Klaus they are by joined percussionists interval the After orchestra. for incarnation on aTheme of Haydn Head of Music Head HumphreysHuw you enjoyI hope it. series. awonderful been has tofinale what Tonight’s astunning to promises be concert Percussion. Two for Sonata iconoclastic Pianos and

, better known in its in its known , better Variations Variations

3 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 4 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall interval Brahms Beethoven Brahms and Bartók Beethoven, Levit plays Igor Part of Barbican Presents 2019–20 Presents Barbican of Part Part of Beethoven 250 Part of IgorLevit Featured Artist Boettger Andreas Reda Klaus Becker Markus Igor Levit Bartók Hall Barbican Wed 19 Feb 7.30pm 20minutes Sonata for Two for Percussion and Sonata Pianos Variations of on aTheme Haydn

piano percussion

Grosse Fuge Grosse piano

percussion

134 Op Fuge (piano,Grosse hands) four (1770–1827) parts of the finale of his Ninth Symphony. Ninth ofhis finale ofthe parts in than powerfully more nowhere effect, to monumental form the use also could He massive the in variation 32nd the as appears that one uproarious the least not moods, different quite conjure the launches that one the as obstreperous as (the ‘subject’) atheme has That his to end piano sonatas, famously most in fugues using than more nothing loved He landscapes. bigger and bigger into form contrapuntal intense this incorporated and 19th the into century roaringly it propelled as such works with trend the started JSBach If scale. big a on operates suggests, name its as which, Beethoven’s so-called is tonight we hear piece first The fugue the Beethoven and Hammerklavier Grosse Fuge Grosse Art The (1826) but elsewhere he can can he elsewhere but 106. 106. Op Sonata, Grosse Fuge Grosse Diabelli VariationsDiabelli , Beethoven Beethoven , – . monumental monumental For Igor Stravinsky, Beethoven’s a new finale. To everyone’s surprise, Beethoven To finale. a new Beethoven everyone’s surprise, for fee extra agenerous him separately, offering to persuade Beethoven to publish the Fugue trying about set he that it about worried so was astray. Beethoven’s publisher Artaria Matthias him led finally hadn’t Beethoven’sif deafness for the musicians struggling pity and wondered as ‘incomprehensible, like Chinese’, expressed the described he many when for spoke clearly journal musical aprominent for Areviewer voice. alone was he seems it But Asses!’ Cattle! repeated! been have should alone That Fugue? was furious: ‘And why didn’t they encore the Beethoven Reportedly finale. by the bewildered completely was audience the by accounts all but – repeated to be had movements fourth and second the fact –in well down went Quartet the with 1826, in Vienna, in played was it performance first its had 130 Op the Quartet 130.Op When B flat, in Quartet String six-movement of the finale the as purpose, intended originally its fulfils it there’s ofwhether Then question the to finding it forbidding, perplexing, or both. admit musicians willstill and commentators brave afew composed, was it after centuries today, even And it. two to play refused Quartet, Busch the advocates Beethoven legendary those including quartets, string many outstanding day own Stravinsky’s In mark. the hit he then to understand’ ‘difficult implying also was he by ‘contemporary’ If forever’.will be contemporary of piece music that contemporary Fugue’) was ‘an absolutely Grosse Fuge Grosse Grosse Fuge Fuge Grosse as finale. The rest of the ofthe rest The finale. as

(‘Grand (‘Grand Grosse Fuge Fuge Grosse ,

5 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 6 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall themes and harmonies above it. above harmonies and themes varies composer the while change, without repeated is that bass) the in (often pattern amelodic from built Passacaglia composer. the for tricky it makes which ofwriting, form strict it’savery and fugue turn. The dominates ‘subject’ the entire in part other by each pitch adifferent at taken up then is and fugues) instrumental a‘voice’ as (known in even part one in heard first is which short, often ‘subject’), Fugue Glossary

A fugue takes a theme (the (the atheme takes A fugue

A work or movement movement or A work quieter double fugue that follows. A sense of of Asense follows. that fugue double quieter slower, to the suited well are also textures piano Transparent, crystalline writing. harmonic the of intricacies the to hear it’seasier intonation cleaner given and octaves, in reinforced is bass the when especially music, the in ofstrife element to the suited are well sonorities percussive In the fugue colossal the first strings. piano’s on than rather piano on expressively played impression different asubtly makes also follows that introduction slow fragmentary tentative, The pianists. both for tremolando abrusque have we octaves string ofmassed place in startling: original version quartet the opening is quite the know who those For apoint. so,If had he music. the on view another taking ways some in as it saw he that number, suggests 134 Op –which arrangement himself, giving it another opus the made so and Halm’s with efforts impressed wasn’t Beethoven job, but the todo Halm Anton had originally approached the composer Artaria performance. first ill-starred that after soon made Beethoven which hands, four piano however, for known, well arrangement the is less Even over acentury. well for played, rarely but discussed much feared, admired, remained, it thus 133. Op And as isolation, splendid in the and agreed, on solo strings. As the the As strings. solo on than piano the on easier significantly is music there’s ofthis but some works, that late doubt no many ofBeethoven’s in akey is ingredient limits, expressive and technical to their them pushing in then instruments, the ‘against’ not if struggle, Programme note by Stephen Johnson by Stephen note Programme played’. be ever ‘greater can it than is music great some that remark Schnabel’s Arthur pianist ofthe proof striking most the is 134 Op Perhaps roundabouts? and Swings ensembles. string finest by the even matched rarely, away in focus into ever, if comes essence musical the that find may others but original, the of edginess the miss may some climax massive Grosse Fuge Grosse Grosse Fuge Grosse appeared in print in print appeared builds to its to its builds (1770–1827) Ludwig van Beethoven after the appearance of his First Symphony, First ofhis appearance the after acomposer, as than but pianist aconcert as successful more was Beethoven first At period. this during bounds and leaps in advanced style his and Haydn from deal agreat learned him), Beethoven for but aproblem posed always figures (authority patrons aristocratic his with relationships later manywere ofhis as strained, was relationship Their Haydn. with the study world-famous composer Joseph 1792 in and to recognised, to Vienna went he soon were talents His music. in strength and of his alcoholic musician father, but found refuge hands the at abuse horrible suffered Beethoven ofBonn, city Rhineland the in up Brought failed. had idealism political when atime at of hope fighter, avoice freedom and hero, amusical ofRomantic type anew become had composer 1827 in death ofhis the time By the servants. 1770, uniformed still were many composers in born was van Beethoven Ludwig When Beethoven began to realise that something as crisis, by profound followed was Success stage. musical taken to the had force new startling a that 18 Op clear was it 1800 in quartets, ofstring set earliest and Concerto Piano First attitude to theattitude former French Revolutionary hero Emperor, himself his and proclaimed Napoleon when incensed was Beethoven but Bonaparte, to Napoleon dedicated been to have was plane. Initiallypersonal-dramatic the ‘Eroica’ and epic anew onto writing symphonic takes Symphony,Third (‘Heroic’, ‘Eroica’ the 1803) His composing. in strength found he ever As hearing. his with wrong seriously was and his only opera opera only his and (1807–8) Symphony Fifth the as masterpieces later such in heard be can hope of defiant expressions and tyranny against Protests remained complicated. Profile by Stephen Johnson world. this beyond apparently things in but politics, in not meaning finding ofvisionary, kind adifferent as world this left individualism, ofheroic embodiment the Beethoven, Thus documents. of spiritual significance the acquired calm, have inner ofprofound moments with also yet desolate works,extraordinary sometimes anguished or ever These and composed. quartets string sonatas ofpiano sequence remarkable most (1822–4) and Symphony Ninth choral-orchestral monumental the just not music: searching most ofhis some of creation the saw Yet period same this year. following the Beethoven’s decline final accelerated 1826, in probably suicide which to his attempted led unhappiness increasing Karl’s but battle, legal the won Beethoven Karl. nephew ofhis custody for sister-in-law his with struggle protracted bitter by his scarred were years these Personally period. ‘late’ his to as referred often phase, creative anew entered 1816, in silence ofnear ayear After Beethoven compositions. finest his among as now regarded not –significantly Symphony ‘Battle’ so-called his in Wellington general British 1813in victorious the hymned Beethoven Bonaparte’s Joseph but after defeat at Vitoria

Missa solemnis Missa Fidelio Wellingtons Sieg – – Sieg Wellingtons (1805, revised 1814), (1819–23) the but the

7 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 8 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall was probably composed by Haydn’s composed pupil, star probably was is now It exhilaration. the theme that believed mounting ofsteadily impression an creating ‘Passacaglia’), is this for term (the technical line bass repeating over aregularly section entire the almost up building practice, forgotten another back Later, brings he finale, the in dry. from far atmospheric, and warm is result the over –but swap constantly lines bass and –treble counterpoint’ of‘invertible technique archaic then the revives he instance, for Variations. In the slower, minor-key Variation these in thing same the does duly Brahms and devices, technical anachronistic seemingly with art own his enriched had Haydn addition, In master. Viennese older ofthe typical as saw Brahms aquality was sophistication technical and richness ofimaginative fusion effortless seemingly their but like Haydn, sound often The deeply. loved also but emulated and admired only not he by Theme Haydn The better. knew Brahms others. in inspired had he what in lay now significance his apioneer, as surely but acknowledged be might Haydn as such figure important an Even on. –moved progressed had Music Baroque and Classical composers? early ofRenaissance, ‘primitive’ the with efforts bother Why least. the to say eccentric seemed have would music such in interest growing his to many ofBrahms’sBut contemporaries life. creative his of end the to him inspire and fugues, to continued challenge which andBach Handel, especially their stimulus of inkinds studying creative Beethoven, for example, had found new past. remoter the of music the explore wasn’tBrahms to composer the first ‘St 56b, AnthonyOp Variations’ ofVariations Haydn, aTheme on Johannes Brahms (1833–97) was his tribute to a composer to acomposer tribute his was Haydn Variations not may Variations a on 4,

5 and the the 5 and Variation scherzo-like brilliant the Even him. Brahms’s lead wherever may fantasy constant remains something –that subliminally only –if we sense that so variations, ofthe most in preserved is overall pattern This end. the at phrase a three-bar and beginning the at phrases five-bar two pattern: rhythmic irregular unusual, There’s an also recognisable. are usually outlines the them vary or decorate may Brahms much how matter no that so distinctive, highly but are simple melody ofthe elements basic The ofvariations. to acomposer taken, agift is is it which from partita wind the in Antonii’ St ‘Corale headed theme, The concert. this in we hear version this is it and pianos, two for aduet as the wrote Brahms caution, later. characteristic years With –three struggles agonising protracted, –after to complete was he Symphony First the for run apractice were the ways some In music. oforchestral acomposer as inexperienced byon aTheme Haydn his wrote he when 40 was Brahms remains. tribute ofthe spirit the matter: no But himself. master by Pleyel, the not Ignaz interval Johnson by Stephen note Programme future. to the way the pointed past Brahms’s the with career, engagement profound in time first the for Not pieces. influential and popular most ofhis one remained has it then 1874 in Palace Since immediately. encored was it London’s at Crystal performed was it – when ofBrahms’s successes one was big work The first exactly. template rhythmic this 7 follow ofVariation dance lilting 20minutes

, but he was still relatively relatively still was he , but Haydn Haydn Variations Variations first Variations first Variations (1873) (1833–97) Johannes Brahms their genesis intended as symphonies. as intended genesis their (1857–8) Serenade in First stages and at were (1854–9) Concerto Piano First his and forces, larger for to write him encouraged Schumann forms. instrumental and counterpoint music, choral Baroque and Renaissance broadened his compositional to study include he library, where to their access and works early ofhis publication fame, him bringing experience, – alife-changing Schumanns the visited 1853,In 20, Brahms aged music. Gypsy Hungarian and song love of folk alifelong developed he songs; and variations by composing and works their on movements by modelling craft compositional of his core the learning and public in Beethoven and Mozart Bach, performing excelled, he latter the at was it But piano. and cello horn, play could he sure making footsteps, his in follow to Johannes young the up brought initially Brahms’s father, musician, town aHamburg maintained (before Brahms had become a a become had Brahms (before maintained by Handel the including Trio variations, ofpiano (1865), sets and songs (1862–5), Sonata Cello Horn First the including music, ofchamber aflowering 1860s saw The (1861), Wagner which about Variations and Fugue on a Theme Variations Theme a on and Fugue

Vienna and become involved in the the in involved become and Vienna to moved had Brahms Cathedral. Bremen in 1868 Friday Good on performance complete (nearly) first its giving decade, ofthe half masterpiece choral his them.’ composed He to handle someone comes how who understands when forms, old the in achieved be yet may what sees ‘One attacked): to be rival serious Profile © Robert Pascall © Robert Profile richness’. ‘economy learnt yet had he whom from progressive’, ‘the as him characterised Viennese School; Schoenberg Second tothe appealed particularly which intricacy and subtlety compositional on rest works his of immediacy and power the figure: a Janus Yet ways some in was he perspective. historical ofa long understanding and study profound on based ofvoice individuality an fashioned Brahms Thus models. to Bachian overtly 11 returns music, organ, for preludes chorale day. last to this His remains it as works, loved most ofhis one became immediately which (1891), Quintet Clarinet the notably instrument, music showcasing chamber the composed the (1887). met to retire, but 1890 In intended he (1878–81)Concerto Concerto Double and (1878),the Violin Concerto Piano Second (1877, 2–4 Nos Symphonies 1884–5), 1883 and the legacy: Beethovenian the forwards works for orchestra and carrying soloists oflarge-scale adecade inaugurated which 1876 – Bayreuth Wagner opened year – the in Symphony First his finished last at He choralwith and orchestral societies. works oftheir performances Viennese first the giving there, Schubert and ofBach rediscovery great clarinettist Richard Mühlfeld and and Mühlfeld Richard clarinettist great A German Requiem German

in the latter latter the in

9 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 10 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall ‘I played over the music What a giftless bastard! bastard! giftless a What It annoysIt me that this Brahms is chaotic and and chaotic is Brahms after is who Rubinstein, human being, while while being, human hailed as agenius. Why, in comparison with him, Raff him, Raff with comparison Brahms. scoundrel that of is agiant, not to speak of self-inflated mediocrity is is self-inflated mediocrity empty dried-up stuff.’ stuff.’ dried-up empty all alive and important dated 9 October 1886 9October dated Tchaikovsky Ilyich by Pyotr entry a diary

Bartók A bluffer’s guide to … of the 20th-century repertoire. repertoire. 20th-century of the string quartets which are cornerstones of six acycle wrote also he pianist, exceptional an was Bartók Though gentleness. to hushed extroversion brilliant from range that worlds andPercussion Celesta Percussion and the Two for and Sonata the Pianos both of instruments: possibilities coloristic by the fascinated equally was He mid-1920s. the from date of which all Sonata, Piano and Concerto Piano Mandarin Miraculous ballet brilliant raucously the as such works in evident particularly is taker, that and aModernist, risk- amusical also was Bartók difficult. to very easy from moving books ofsix up made method teaching as well Dances Romanian of sets the in heard be can that ofwriting style authentic to an Hungarian music inherited from Liszt of view Romantic ageneralised from to move him greatly, helping style musical own Bartók’s influenced This Turkey as afield far Algeria. as and also but Hungary native their from only not dances and songs traditional – recording ethnomusicologists true Kodály,Zoltán first ofthe one friend his with together was, Bartók Mikrokosmos and and Music for Strings, Strings, for Music , an innovative innovative an , and the First First the and Hungarian explore sound Folk Songs Folk The The and and , as , as

and Percussion and Two for Sonata Pianos (1881–1945) Bartók Béla hugely contrasting works: the Violin Concerto the works: Violin Concerto contrasting hugely two on simultaneously to work able was Bartók why, explain 1937, in partly might That versa? vice –and mollifying more something with anti-modernism militant tobalance aneed there Was Beethoven. oflate inwardness the recalling style expressive ahighly-charged with alternates modernism dislocating and abrasive which in quartets, string six ofhis second the composed Bartók later years afew only But to imagine. hard is Rachmaninov contemporary old-world decidedly ofhis lyricism luxurious like the less –anything game ofthe ahead well to be seems ferocious his In equivocal. more was attitude Bartók’s out the piano’sbringing qualities. percussive sentiment-laden stringwriting and delighting in on way, the back his to lead turning appeared Stravinsky arch-modernist The baggage. from freed pretentious, narcissistic re-created, tobe needed itself Music past. discredited the Romantic emotionalism was now with associated World War, changed markedly. attitudes All that First ofthe catastrophe the after particularly wore on, and century 20th the as But points. selling main ofits one was nuance affective and ofcolour variety awide with them invest piano’s to notes sustain and ability increasing the while sentiment, conveying for vehicles ideal instruments’ near-vocal qualities made them stringed the emotion, ofpersonal expression the on value ahigh to place tended that age an In strings. and piano the ofinstrument: kinds two by dominated was music classical Western 20th, ofthe years early the and 19th the In century 3 Allegro non troppo 2 Lento, ma non troppo lento1 Assai –Allegro molto years later, when Bartók composed his Third Third his composed later, Bartók years when year. following the Seven Pásztory-Bartók Ditta wife his and by Bartók premiered Percussion, Two for and Sonata the Pianos and ideas, main many ofthe colour Hungary native his for pain love and mingled 2), which in No (later Allegro barbaro , composed in 1911, in , composed he

(1937) Here, however, without the sound of string however,Here, ofstring sound the without music. the in to emerge her for feelings tender evident ofhis some allowed he widowed), to be realised, (soon, he as Ditta for Concerto Piano Programme note by Stephen Johnson Johnson by Stephen note Programme 1937. in heading was humanity where was no under illusions about native land, Bartók his from exiled to be soon understandable: be would That gaiety. folkish dancing its behind streak a bitter detected have some though jollity, attempts finale the this After sublime. ofthe notions Romantic from way along still is religious of feeling, the though spirit this music to close something him in aroused night at Plain Hungarian ofthe sounds the that remarked have to said is Bartók atheist, adeclared Although of sounds percussion. the unpitched mysterious from emerging chant piano with follows, music’ ‘Night inventive Afabulously role. defining the rhythm gives Bartók here form; sonata dynamic element in Classical first-movement driving the been always ofkeys had Contrast theme. second contrasting the 4 + 23in teasing amore becomes then theme, molto Allegro main the 3+2in as up broken 9/8 basic the metre: (3 is +33) sustained one within variation rhythmic in study impressive an is movement first The Sonata. ofthe character rhythmic the on noticeably –most mark its leaves regions Balkan the and of Hungary music folk ofthe study meticulous Bartók’s edge’. very the on ofapocketknife, blade the with or fingernail, ‘with the metal the strike to told is sticks’, thin and cymbal-player the and light very ‘with two to play instructed is drummer the side- pages in the closing instructions: precise of are full by contrast percussionists two the for parts the markings; expression on short is writing piano The throughout. almost mask impassive, even objective, an maintains music the territories, expressive warmer into it to lure instruments

11 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 12 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall Hungarian, Romanian andSlovak folk music, He authored numerous books andarticleson of thebuddingdisciplineof folk musicresearch. eventually becameoneof the leading exponents ethnomusicological fieldwork in1906 and The young composerbeganhis time, attheforefront of international modernism. was authenticallyHungarianand,at thesame Bartók to create an originalmusicalidiomthat Zoltán Kodály. Folk musicmade it possiblefor through hisfriendshipandcollaboration with music through achanceencounter andthen discovered theancientlayers of Hungarianfolk in themusicof Beethoven andBrahms. Hefirst Austro-Hungarian monarchy, Bartókwas steeped Like any young musician growing upunder the a composerandpianist. moved to Budapestto attend theConservatory as Bratislava, Slovakia). Attheage of 18, Bartók towns before settlinginthecityof Pozsony (now a schoolteacher, inasuccessionof provincial and hisyounger sister lived withtheirmother, their father atanearlyage, theyoung Bartók translates as‘Great SaintNicholas’).Having lost between thetwo countries(thenameof thetown Sânnicolau Mare, Romania, neartheborder Nagyszentmiklós, Hungary, now known as Béla Bartókwas bornon25March 1881 in (1881–1945) Bartók Béla

Pianos andPercussion, widelyregarded asthe Violin Concerto No.2andtheSonata for Two Music for Strings, Percussion andCelesta profana Nos 3 and4thedeeplymoving Piano Concertos Nos 1and2,theString Quartets renewal resulted insuchmasterworks asthe previously gathered material. Amajorstylistic were atimeof extensive analyticalwork onthe the FirstWorld War. The1920s andearly1930s Bartók largely stopped collectingfolk musicafter modernistic score. 1924, later revised), thelatter beingBartók’s most pantomime The Wooden Prince Two more stage works followed: theballet influences, especiallythatof ClaudeDebussy. new discoveries andsynthesise themwithWestern revised), allof which,indifferent ways, reflect the the opera (1908), hisString Quartet No 1(1908–9) and breakthrough withhis No 1 (1905, later revised), heachieved anartistic such earlyworks as turning away from theRomantic nationalismof and fundamental effect onhismusicalstyle; (1936). Hiswork infolk musichad animmediate research tripsto Biskra, Algeria(1913) andTurkey occasionally venturing even furtherafield, with Profile by Peter Laki York Cityon26September 1945. Concerto No 3.Hediedof leukaemia in New Sonata for Unaccompanied ViolinandthePiano for Orchestra one of hismostpopular works, the American years, hecomposedwhatbecame pupil andsecondwife, Ditta Pásztory. During the in 1940, heemigrated to theUSA withhisformer he found hecouldnot live underitsshadow and, Although not personallythreatened by Nazism, Budapest Academy of Music. concert pianistandaprofessor of pianoatthe Bartók alsomaintained abusy scheduleasa summits of hisoeuvre. Through alltheseyears, . Later inthe1930s, Bartókcomposed Duke Bluebeard’s Castle The Miraculous Mandarin (1943, rev. 1945), aswell as the (completed 1917) andthe Kossuth 14 Bagatelles (1903) ortheSuite (1911, later Concerto Concerto for piano for piano Cantata (completed (completed , the , the Felix Broede/Sony Classical About the performers Symphony Hall. Washington DCandSanFrancisco’s Davies Princeton University, theKennedy Center in at, amongothers, New York’s CarnegieHall, all-Beethoven sonata programme –appearing season willseehimontour intheUSA withan Stockholm’s Konserthuset. Theendof the Festival, ElbphilharmonieHamburg and three Beethoven sonata-cycles attheLucerne season alsomarks thestart of aseriesof of thecomplete Beethoven sonatas. This Igor Levit’s highlyanticipated first recording In September 2019 Sony Classicalreleased . the University of Music,Drama andMediain was appointed professor athisalmamater, the Heidelberg SpringFestival andlastyear Academy andtheStandpunkte Festival at the ArtisticDirector of theChamberMusic Society’s Instrumentalist of theYear. Heis that sameyear won theRoyal Philharmonic Levit was namedthe2018 Gilmore Artistand the essentialartistsof hisgeneration’, Igor Hailed by the Levit Igor piano New York Times as ‘oneof Orchestra, conducted by Manfred Honeck, tour inEurope withthePittsburgh Symphony Orchestral engagements willseehimon Messiaen. with repertoire ranging from Beethoven to a solorecital plustwo chamberconcerts, at theBarbican.Theresidency comprises This seasonheisalsotheFeatured Artisthere at Sadler’s Wells. to himby theTrustees of IndependentOpera plays aSteinway DGrand Piano,kindlygiven In ,where hemakes hishome,IgorLevit Award andRecord of theYear in2016. Rzewski, won featuring works by Bach, Beethoven and the complete Bach (both 2014). Hissecondrecording featured Philharmonic Society’sYoung ArtistAward Newcomer of theYear Award andtheRoyal last five sonatas won the Classical andhisdebutdiscof Beethoven’s He hasanexclusive contract withSony the institute. and performance scores inthehistory of Media in2009withthehighestacademic Hanover University of Music,Drama and of 8.Hecompleted hispianostudiesatthe moved to Germany withhisfamily attheage Born inNizhny Novgorod in1987, IgorLevit Orchestra. Orchestra andtheViennaPhilharmonic international tours withtheZurichTonhalle Concertgebouw Orchestra, aswell as Chicago Symphony Orchestra andRoyal with theBerlinPhilharmonicOrchestra, Highlights of pastseasonsincludehisdebuts London PhilharmonicOrchestra. Orchestra, LeipzigGewandhausorchester and and returns amongothers to theCleveland

Gramophone Partitas BBC MusicMagazine , whilehisthird, ’s Instrumental

13 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 14 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall

Irène Zandel Media. and Drama Music, for University Hanover the at aprofessor 1993 been Since has he Brendel. Alfred from advice from benefited many years for and Kämmerling Karl-Heinz with studied He Gerhardt. Kam Alban and Levit, Sharon Igor Brendel, Mayer, Mönkemeyer,Albrecht Nils Adrian with worked has he musician achamber As Fisher.and Thierry Abbado, Howard Sanderling Michael Griffiths, Claudio as such conductors with appeared has He ofWales. Orchestra National BBC and orchestras Symphony SWR and WDR NDR, Orchestra, Symphony Radio Berlin Philharmonic, with leading orchestras, including the Berlin played has He Sommer, others. among and Kissinger Festival Ruhr, Schleswig-Holstein Klavier-Festival the at performs regularly He improvisations. his jazz for renowned pianists, classical among unusually also, is He ideas. creative richly together putting director, for aprogramme known as demand in equally is He to Rihm. Wolfgang J SBach from ranging repertoire in home at apianist as himself for aname made has Becker Markus Becker Markus piano the Freiburg University ofMusic. University Freiburg the at Boettger Andreas with later and Hague The in Royal the Conservatory at studied Reda Klaus Reda Klaus aalready benchmark. considered is 12 on (Thorofon) works piano CDs complete ofReger’s recording His Hyperion. for mostly CPO, records now and he Thorofon Decca, EMI, 2019. in award Klassik for albums made Having Opus Award the and Choice Critics’ German the as Awards, well as Klassik ECHO three including ofprizes, anumber with recognised been has Becker’s discography Markus the Merlin Ensemble Wien. and ofEurope Orchestra Chamber the Bremen, KammerphilharmonieModern, Deutsche the Nomos Quartet, Ensemble, Arte Ensemble Reine piano Elisabeth and duos, Silver-Garburg Paratore, the others, among with, worked has He chamber musician. Hanover, in akeen also is he Radiophilharmonie NDR ofthe Timpanist Principal being as well As percussion percussion since 1994. Media and Drama ofMusic, University Hanover the at Timpani and of Percussion Professor been has He festivals. international Takemitsu and Nono at Lachenmann, Helmut Henze, Cage, by Boulez, works performed has he percussionist, aconcert As from ‘Montag’ ‘Dienstag’ as and such productions opera and premieres many world including internationally with theperforming composer, Ensemble, Stockhausen Karlheinz the joined Zappa’s 1992 Frank and tour a1982 American including South ofprojects, arange in part took he time, this During Modern. ofEnsemble amember became he which after ofMusic, University Freiburg the at Wulff Bernhard with studied subsequently 1968 in He West Africa. lesson Guinea, in percussion first his received Boettger Andreas Boettger Andreas Licht . Yellow Shark percussion percussion album. In 1983 In album. he

about Igor Levit need to know Five things you Will Never Defeated! Be Rzewski’s Diabellis Goldbergs of the repertoire: Bach’s recording was of three giants variation form, and his third He’s aman with obsessed pro-European statement. which many saw asa Night of the 2017 Proms, as an encore atthe First Beethoven’s rumpus when he performed of something a caused And political aswell asmusical. speaking out on matters that bears outHe by Pianist. European. Citizen. Human being. His handle reads: just 25 when he made it. by any standards. was He sonatas, adaring debut was of Beethoven’s five last recording first-ever His and Frederic Frederic and The People United United People The , Beethoven’s

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15 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall 16 Igor Levit plays Beethoven, Bartók and Brahms Wed 19 Feb, Hall

Benjamin Ealovega dazzling orchestraldazzling phantasmagoria. solo transcription of a Mussorgsky’s spectacular as well as sonata, ofProkofiev’s steel wartime the to Schumann Brahms’s beloved to his homage from ranging recital colourful a flamboyantly performs eski Trpcˇ Simon pianist Charismatic Tue 25 Feb 7.30pm, Hall Trpcˇ recital in Simon eski we can recommend the following concerts: following the recommend we can youIf enjoyed today’s performances, soon yousee again to We hope whatever time you choose to visit. to visit. you choose time whatever free, always and open always It’s events. and commissions youwhere can installations, see G, space Level avibrant visit also You can architecture. Brutalist iconic ofour history to the introduction are agreat tours towers, Barbican ofthe heights soaring to the theatre ofthe depths sunken the From Barbican the Discover

Chris Lee Mozart’s poised Piano Concerto No 25. No Concerto Piano poised Mozart’s for Symphony. Trifonov them Daniil joins First Mahler’s conducting barnstorming Philharmonic York New ofthe Director Music as appearance London first van Zweden his makes Jaap Thu 7.30pm, Apr 30 Hall Symphony 1 No Mahler New York Philharmonic: