Monthly Archives: July 2023

IGOR LEVIT IGNITES DAVIES HALL: Part III, Recital

The San Francisco Symphony invited the fabulous pianist, Igor Levit, to visit San Francisco for a two week Residence. This is unusual. This writer and officers of the Press division of the SFS could not find similar events. Levit, relatively young at 36, is a sought after recording artist, performer with the world’s great orchestras, and recipient of prestigious awards. He is hot and, from hearing his remarkable performances, there is no indication that his place in the music world will cool off. His recital on June 27 featured music by Johannes Brahms; jazz pianist and composer, Fred Hersch; Richard Wagner, arranged by the late and wonderful Hungarian pianist, Zoltan Kocsis; and Franz Liszt.

Levit’s Themes: The program was more than a collection of great works for the piano. The selections dovetailed with the previous programs played with the SFS. There are underlying themes connecting the music. Brahms’ Six Chorale Preludes were arranged by Ferruccio Busoni, the composer/inventor of the amazing Concerto in C major, performed by Levit and the SFS on June 22, 24, 25. Levit admires Busoni for his individuality, over the top piano technique, and his ability to arrange great music by Bach, Brahms, Bizet, Beethoven, and others. Levit has expressed his fellow feelings with Busoni who was also a searching intellect. Levit said Busoni is “basically saying the the job of the creator is to set the music free again. That means making your own choices, because how could you possibly believe that what you hold in your hands, the dots and the lines on paper, could ever be the last word?” This means that a sensitive, knowledgeable arranger – like Kocsis and Busoni both great pianists and intellects – are in a way recreating the music, like a fine conservator must not only fix an injured painting, but will be doing the painting again.

Levit also said that “the musical form, which is closest to me, is the variation.” Busoni’s Concerto in C major is gigantic and its third movement contains four variations. This is one of the aspects of the Concerto which excites Levit and his audience. As written in Part II of these articles, Levit finds the truth of the music in the variations. Busoni salutes great composers from the past in the Concerto, and Levit is able to recall/recreate their styles when he plays those references. In his performance of Beethoven’s Piano Concerto No. 5 in E-flat major, the Emperor, one could hear that two variations, one for the piano and one for the orchestra, are at the heart of the movement both in the sounds of the music and the structure Beethoven chose for these moments.

Johannes Brahms, composer (1833-1897)

Brahms’ Six Chorale Preludes was quiet and so beautiful that it nearly ached. These Preludes were part of his final, great work, Eleven Chorale Preludes for organ. These were composed in May and June, 1896. However, they were not performed until 1902. How sad that the great Brahms could not be present for the premiere. In 1902, Busoni selected six for which to create piano transcriptions. The chosen ones are Nos. 4, 5, 8, 9, 10, 11. While Busoni occasionally complained that Brahms did not progress out of his own style, Busoni respected him and his music. I remembered listening to a recording of the Six Chorale Preludes many years ago and feeling Brahms’ longing, resolution, and an acceptance that was not giving up. After hearing Levit play Busoni a few days before, it was very fine to hear Levit play this quiet, philosophical music in which dissonance entwines and moves the character of the preludes.

Fred Hersch, composer/Jazz pianist

Fred Hersch’s Songs Without Words, Book II, was a delightful addition to the program. Delightful does not mean simple. The music all has a “singing quality,” writes the composer, and it seems to this listener that some of them could be in the Variations folder. They are original and yet have references to sources such as Chopin’s Minute Waltz. In this collection, Hersch wrote The Two Minute Waltz that “is a humorous take,” he wrote, which could be “from a Rodgers and Hammerstein” musical. Among other references are the choro of Brazilian music which Hersch refers to as nearly a Brazilian “version of Ragtime.” Hersch’s Songs Without Words, Book II include Little Nocturne, Canzona, Soliloquy, The Old Country, The Two-Minute Waltz, and Choro de Carnaval. The Soliloquy is one voice which speaks from the left hand playing alone. In 2000, Hersch released the first set of six Songs Without Words, acknowledging and honoring the title given by Felix Mendelssohn for his classical beauties. It all ties together: on the Beethoven program, June 17, Consolation, from Mendelssohn’s Songs Without Words, Op.30 was the encore Levit performed. Igor Levit planned a program that demonstrate his involvements to the audience. We noticed. My undergraduate college had a many decades old popular observation: Everything correlates. Levit saw to it that all three programs, despite having totally different music on each one, definitely correlate

.Richard Wagner (1813-1883)

Variations or similarities: The second half of the concert presented mysteries, revelations, and thrills with two big pieces by big composers: Richard Wagner and Franz Liszt. Having been alerted in the first half that this is not “only” music, one wondered what Igor Levit had up his sleeve. Wagner’s piece came first on the program but historically came second. Take a look at the dates. Liszt, born in 1811, in Raiding, Hungary. Wagner, born 1813, in Leipzig, Germany. The Wagner selection, Prelude from Tristan und Isolde, had its first performance, in Prague,1859. Liszt completed his Piano Sonata in B minor, 1852-53. There is a reason for Levit performing the Prelude from Tristan und isolde and continuing with barely a breath between it and the beginning of Liszt’s Piano Sonata in B Minor. For one thing, the Liszt Sonata begins with music that sounds so much like the end of the Wagner Prelude. Remember: Liszt’s piece was completed six years before Wagner’s. The opera Tristan und Isolde did not appear until six years after Wagner’s Prelude debuted, though the Prelude is named Prelude from Tristan und Isolde, even though there was no opera to be “from.”

Franz Liszt (1811-1886) composer, famous pianist

Tristan and isolde: Listening to the Prelude, one could imagine the tumultuous and sexy relationship of Tristan and Isolde. It is both a long and short story. It is long because it can be traced to origins in the 12thc. CE. Or, if one wants, there are suggestions of a similar story back in the 6thc. CE, and that’s not counting its many variations. Deep into the Romantic movements in the 19thc., the story continues; it is very long. The variations can count, adding alternative motivations and outcomes that have branches of their own. The Tristan/Isolde love situation could merge into the Arthur/Guenevere/Lancelot problem. Let’s not go there now. The short version is universal: Tristan travels to Ireland to bring Isolde (Yseult, Isseult, you choose) to Cornwall to marry King Mark, Tristan’s uncle. On the voyage, T and I take a love potion. Was it intentional or accidental? Did Isolde give the potion to Tristan rather than to the man who was supposed to receive it? The point is: T & I became lovers despite King Mark’s commitment and T’s loyalty. Was it a potion for eternal love or did it have a three year use-by date? Let’s go back: they loved each other but should not. There are, of course, variations across many centuries of how they die.

Both of these pieces have great drama. Liszt’s Sonata is noted among his repertory as one of the most unusual, maybe one of the most outstanding of his works. It is specifically a piece for the piano, composed and performed by Franz Liszt, recognized as the most famous pianist of the era and perhaps beyond. How do these two pieces end and begin? Very low chords with silence between. The listener anticipates but must wait before another low chord sounds. And the end – beginning is a quiet sound like “bump.”

In 1867, only two years after the premiere of the opera, Tristan und Isolde, Lizst transcribed for piano Islode’s final aria. The transcription became famous across Europe before the opera had been heard in most places. Putting forward another variation, Liszt, only two years older than Wagner, was Wagner’s father-in-law.

The Sonata in B minor could have four movements. For the performance by Igor Levit, this program shows six: Lento assai- Allegro energico -Andante sostenuto -Allegro energico -Stretta quasi presto -Allegro moderato. It propels itself as one breath, thought, and energy. There were listeners who did not realize the Prelude and Sonata had been played together without a recognizable break for applause. The playing throughout was magnificent and revealing of what might be behind the powerful sounds. Mr. Levit Schubert’s Six Moments Musicaux, No. 3 in F minor (ending in F major), arranged by Leopold Godowsky as his encore. Franz Schubert belongs in this company of great composers who were also very great pianists. No one in the cheering, roaring audience wanted to leave.

*quotations from igor Levit from Corinna da Fornseca-Wolheim interview in SF Symphony program book, June, 2023. Quote from Fred Hersch provided by Mr Hersch in SF Symphony program book, June, 2023.

IGOR LEVIT IGNITES DAVIES HALL: Part II, BUSONI

The virtuoso pianist and composer, Ferruccio Busoni (1866-1924), created the mysterious Piano Concerto in C major, Opus 39 (1904). It is an enormous work. It runs for 75 minutes. It is fabulously difficult for the piano soloist, but it is right up Igor Levit’s alley. Levit expressed his affinity for Busoni, pianist, composer, editor, writer, philosopher, analyst, transcriber of music: Busoni’s “idea of empowering individuality is something that strongly resonates with me.”* The musician-composer was more than a performer. He was recognized in his lifetime as more than a virtuoso who toured Europe and the US. He was looking into music through the eyes of a free thinker approaching atonal, microtonal and the future of electronic music.

Ferruccio Busoni, composer, pianist, transcriber, theorist (1866-1924). This picture is from 1913.

There is no argument about the difficulty of this concerto. In a string of comments I found online I read this: “it is difficult even to play badly.” And this: Only a master pianist can handle it “in a convincing way.” Igor Levit was certainly convincing. He performed it as though he not only knew the Concerto in C major, but had listened to Busoni’s thoughts while the Concerto in C major was being discovered by its composer. Levit, however, does not try to imitate any composer. He knows that he is the one playing it which means, in the moment, he is recreating it.

The SFS was totally up to this challenge. Esa-Pekka Salonen showed no shyness in approaching the grand and strange music. He was at ease, in control, and the orchestra played as though empowered and revved up for the experience. The musicians were totally in place and correct while sky diving into the music.

There is no program, narrative, or message. It is difficult to describe what happens. I have now read a lot of writing about it, but no one has given me a statement of what this concerto does.

it is written in five movements. So much music happens in each one; the third movement alone has four movements. The sound is huge, the design is gigantic, and yet Busoni demonstrates his respect for traditions on which the world of music plays. The movements are:

Prologo e Introito, Allegro, dolce e solenne- / Pezzo giocoso. Vivacemente, ma senza fretta-/ Pezzo serioso- Introductio. Andante sostenuto/Prima pars. Andante, quasi dadagio/Altera pars. sommesamente/Ultima pars. a tempo/ All’Italiana,. Tarantella. Vivace, in un tempo-/ Cantico: Largamente

The fifth movement, Cantico: Largamente, is written for a male chorus, a “choir invisible.” The SFS Chorus members were in the loft but hidden by a curtain that looked like an off-white muslin drape hanging from the ceiling and reaching out like a concave sail. Their song comes from Adam Oehlenschlager (1779-1850), a Danish poet and playwright. He wrote his “dramatic fairy tale,” Aladdin, in 1805 and translated it into German, in 1808. Busoni knew this work and for a while considered making it into an opera. In the end, he kept this song, although he also prepared a version of the Concerto in C major without it. The concerto is seldom performed, but new productions keep the choir. It begins: “Raise up your hearts to the eternal force;/sense the closeness of Allah, behold his deeds!” The male chorus, directed by Guest Director, Jenny Wong, performed beautifully. It was a great achievement.

Igor Levit, pianist

What was it like to hear the Concerto in C major? It was the musical equivalent of the Yosemite Falls at the height of the water’s power. It was strange, inclusive of many different styles and techniques of playing the piano as well as the other instruments. The concerto quotes or alludes to the styles of other classical composers: Brahms, Wagner, Berlioz, Liszt. In the third movement, Busoni offers an homage to Chopin, also a famed pianist who composed his jewels for the piano. The Concerto in C major was wacko and a Wonder. There was a moment when I saw Levit playing so fast that both hands playing at the same time created a blur. His technical prowess allowed him to create and communicate what was going on in this uplifting, crushing, celebratory dynamo of a concerto. When can I see and hear it again?

*Levit quotes appear in “Limitless Perspectives: Pianist Igor Levit,” by Corinna Da Fonseca-Wollheim, in the SF Symphony program book.

The Lively Reading: A HUGE Success

Sunday afternoon, June 25, 68 people gathered over Zoom to hear five writers read from their works. The audience represented every US time zone and many different states. The event also attracted one friend vacationing on an island in the Baltic Sea. Jimmy Kolker, a distinguished US foreign service office called in over Zoom to let everyone know that he was watching, too. This writer will not take a bet on what time zone that was.

The authors were Randall Nicholas, poet, Ogden Dunes, Indiana; Judith Offer, playwright and poet, Oakland, California; Joy Passanante, Univ. of Idaho professor emerita, Creative Writing, author of creative non-fiction, poetry, fiction, Moscow, Idaho; David Shepard, poet, musician, and psychiatrist, Denver, Colorado; Leslie Friedman, dancer-choreographer, historian, author, Mountain View, California.

Dr. Leslie Friedman, Artistic Director of The Lively Foundation, observed that bookstores and venues that supported live readings had gone out of business during the height of the pandemic. “I realized that there could be a reading over Zoom which would reach those interested in poetry and literature in many areas. It took a little while to line up the writers and get a date set. Then, we were ready to take off. I knew the writers were terrific. Turns out they were TERRIFIC.”

The program offered a wide variety of styles and subjects. The audience was truly appreciative. Emails with words like “stunning,” “brilliant,” “gorgeous,” “touching,” came from everywhere.

Lively has sent a recording of the readings to 17 more individuals who were not able to attend due to prior commitments. The recording will remain available to those who did not know about the event or who attended and want to hear it again. Interested in the recording? Email livelyfoundation@sbcglobal.net and let us know you would like to receive it.

“As The Lively Foundation’s activities had to be slowed or disappeared in the past 3 years, we are delighted by the great response to the Lively Reading,” says Dr. Friedman, “There have been requests for more such programs. ‘Watch this space’ to find out about exciting new events.”

IGOR LEVIT IGNITES DAVIES HALL; Part I, Beethoven

Igor Levit, the astonishing, internationally celebrated pianist, came to San Francisco for a two week residency with the San Francisco Symphony. He performed four different programs plus an open rehearsal. The last of the four was a recital with surprises throughout. It added up to eight performances. Each one was remarkable for Levit’s brilliance as a pianist, his deep knowledge of the repertoire, and his musical choices. The Hedgehogs attended three of the four: all Beethoven, June 17; Busoni’s immense piano concerto, June 22; a recital with works by Brahms, Fred Hersch, Wagner, and Liszt, June 27. We were unable to hear the chamber music concert with members of the SFS. It must have been very fine, but our three musical banquets were quite filling for hearing, seeing, and thinking. In fact, they were also entertaining. This is the first of three articles about Igor Levit’s performances.

Igor Levit describes himself as “Citizen. European. Pianist.”

The first concert series offered two of the most well known Beethoven masterpieces: the Piano Concerto No. 5 in E-flat major, Opus 73, called Emperor (1809), and the Symphony No. 3 in E-flat major, Opus 55, Eroica (1803). It was good to start our experience with Levit with music that is grand, complex, inventive and which we have heard before. I am not suggesting one could hum along, only that a listener’s memory might be able to imagine what Levit was doing with these landmarks of Western civilization.

He climbed inside the music. His partnership with the SF Symphony was a great match. The SFS, conducted by Music Director Esa-Pekka Salonen, played with strength and truth. It was not backing up the Visiting Artist; they were partners in creating their understanding of Beethoven’s music. As Levit stated in an interview with Corinna da Fonseca-Wolfheim in the SFS program book, “my goal is not to sound like Beethoven. What I do all day long is try to understand, why did Beethoven decide to write a piece this way and not the other way? But at the end of the day, I’m the one who plays it, not him. So, the goal is kind of to have it both ways.”

The “Emperor” concerto premiered, in 1809. Musicologists have considered it the apex or fulfillment of Beethoven’s “heroic era,” though this concerto came a year after the 1802-1808 noted as an era of prodigious creativity. Beethoven found a totally original way to open the concerto. The stunning beginning would awaken the audience to the realization that they were experiencing music presented in a new way, and they would need to listen in a new way, too.

Ludwig Van Beethoven, Composer (1770-1827)

The first movement is the longest Beethoven wrote. It is inventive in every facet. Curiously, it is the increasing presence of dissonance that serves as an audio seasoning and builds excitement. Beethoven then brings in quiet moments which stand out even more in contrast with the vigorous new movement. Levit let the Adagio un poco mosso run right into the final movement, Rondo: Allegro ma non troppo which became a frequent way to perform this concerto. The first movement is very long; this combination balances the music in real time. It spurs the music audibly onward and upward. The slower movement presents two chorales; first one for the piano, and then one in the orchestra. There is just a slight change of rhythm in the piano’s accompaniment. Being slightly off of the orchestra’s rhythm focuses the piano carrying the melody.

As Beethoven rounds the course he created for himself and the “Emperor,” he allows a breath of silence and lowers the pitch of the music. The finale allows a new theme to take a powerful bow in the appropriate tempo. Now, a Beethoven special: a romping German folk dance. The timpani takes over in another quiet moment, and there is an enormous burst of bright stars at the end.

Watching Levit perform is nearly so interesting as hearing him play. Fortunately, his quirks do not go on long enough to take attention away from the glorious music he makes. His first gesture was to hold up his left arm high and a little to the left with palm up but not flatly up. It seemed to express “there we are,” or maybe “this is the music right here.” His gestures and looks were often related to the music and his partners, Conductor Salonen and the SFS. He looked at the orchestra players either to acknowledge their playing or perhaps to send a mental message. He turned his head to see Salonen. Occasionally, he looked out to the audience and up to the audience in the choir loft as well. He leaned back to stretch his legs under the piano. Although one Bay Area writer observed that Levit was doing these motions because he felt so good about being in San Francisco, I saw him do the same exercises/expressions/quirks in a video of him performing the “Emperor” at the 2020 Nobel prize concert. It is him. Why would he pretend?

After many, many curtain calls, Igor Levit played one of Felix Mendelssohn’s Songs Without Words, Opus 30, “Consolation.” It was calming, quiet, heartfelt, beautiful. The audience, gasping, cheering, and applauding kept clapping, but he was gone for now. Mr. Levit’s residency was off to a tremendous start

Esa-Pekka Salonen, Music Director, San Francisco Symphony.

The San Francisco Symphony was stellar and brilliant performing the “Eroica.” Music Director/Conductor Salonen kept the orchestra in carefully ordered form. This symphony is written so that the audience cannot anticipate what will happen next in the music. Even though the “Eroica” keeps the classical form of four movements, what Beethoven does within the form is new. The second movement, “Marcia funebre: Adagio assai,” has the funereal feeling and pace. While this Symphony No. 3 was composed, Europe was on fire with revolutions and imperial wars. There would be many military burials and also soldiers with dire injuries visible in all towns. Conductor Salonen did not let the music sit in sadness. He kept it active and alive, as much the march, not only a funeral. That approach meant that it was not a huge departure when the third movement, Scherzo: Allegro vivace, rushes on the scene. The music propels itself as though on quickly moving feet. At the final movement, the theme splits itself in two directions which grow into twelve variations. Multiple layers of music and multiple actions make an amazingly full, lively world. This is where Beethoven meant to go. The audience was treated to a fresh, exciting, Symphony No. 3. Salonen and the SFS made it new.