Classical Music: Brahms

Brahms
Piano Concerto No. 1 in D minor Op. 15; Piano Concerto No. 2 in B-flat major Op. 83;7 Fantasias Op. 116; 3 Intermezzi Op. 117; 6 Piano Pieces Op. 118;
4 Piano Pieces Op. 119; Waltz op. 39 no. 15 (version for piano 4-hands with Christian Thielemann)

Igor Levit, Piano
Christian Thielemann & the Vienna Philharmonic

Sony Classical 19658897652
More information here

This is a disc and a half, and for all Brahms’ lovers, a must buy. Actually, it is a superb album for anyone new to Brahms or who enjoys piano music. 

Igor Levit executes piano concertos in this triple album excellently, and a real treat is a section dedicated to the composer’s solo works: a host of short pieces Op 116-119, fantasias, and intermezzi, which are absolutely delightful. Levit grabs hold of the listener with gripping performances perfectly judged, drawing out all the beauty through lovely phrasing and dynamics.

For Levit, the addition of Brahms’s beloved solo works opp. 116–119 on the album just felt right. Levit says, “Brahms’s music cannot leave you untouched. It’s just physically and emotionally not possible. Take op. 118 no. 2, for example; it’s like an arrow shot straight into your heart. It’s simply the most beautiful, touching, and tender music imaginable.”

When it comes to phrasing, Levit brilliantly stamps his own interpretation on the piano concerti, with the Vienna Philharmonic under Christian Thielemann providing brilliant support. The Second Piano Concerto, featuring four movements instead of the typical three in Classical and Romantic periods, begins with a lyrical interaction between the horn and soloist. Levit then takes the audience on an exhilarating ride, where Thielemann uses the strong orchestral colour to paint a panorama of light and shade, from moments of delightful pianissimo to thundering fortissimo and technical wizardry capturing lots of emotion. The second movement, scherzo, is enchanting as the soloist and orchestra work together.

Equally, Concerto No. 1 is enjoyable with its Maestoso opening, the timpani setting the mood; perhaps Thielemann is a little restrained, but things soon pick up as Levit joins in. Before the energetic and charismatic finale, the woodwind makes lovely contributions that are effectively communicated in the adagio. The rhythmic detail is observed as well as the mood.

Levit and Thielemann conclude the album with a special encore—a four-hand rendition of Brahms's charming Waltz op. 39 no. 15.

It’s taken me some years to get to the point of having the courage to play and record this music, and Christian Thielemann has been instrumental in getting me here. Unlike Beethoven’s music, where you go emotionally from peak to bottom almost continuously, here Brahms is often the steadiest of music, with very long breaths and a steady heartbeat. Now that I feel right placed with this music, you couldn’t find me happier than I am right now.

Two hours and 54 minutes of music and not a moment wasted listening to it all.