[ad_1]
Some musical experiences reveal their full potential the next day. First, there is the immediate experience of the end of the concert. The attenuation of concentrated tension, applause, expiration and breathing. In addition, there is always the feeling that after slowly infiltrating the night, one realizes in the next few days that he has experienced something special. The performance of pianist Igor Levit with 24 preludes and fugues opus 87 by Dmitri Chostakovich at the Konzerthaus in Vienna was such an evening. An event with deposit effect. Two and a half hours of pure playing time. Very (sometimes too) exhausting, especially for listening. It is perfectly understandable that some visitors caught their attention after the first part. And yet, keeping this business is also part of the game.
Composed in the 1950s, Shostakovich clearly followed the tradition of Johann Sebastian Bach's "Well-Tempered Clavier". Varied, multicolored and multi-faceted, this cycle is imbued with the turmoil and drama of the life of its creator. Magisterially presented by Igor Levit. Very structured and with a sound palette probably unique. The soft and silky highs are remarkable. Delicate spider webs, diffuse mists, mysterious murmurs. As if it was a prepared piano, you suddenly heard a xylophone and a celesta. Pulsing bbad beats and virtuoso speed led Zwischenapplaus in the second part in the short term. After all, jubilation, pride, enthusiasm and fatigue.
concert
Igor Levit (piano)
Wiener Konzerthaus
Source link
