Recording Review #54: Laid-Back Levit

Brahms: Piano Concertos Nos. 1-2; Piano Pieces Opp. 116-119. Igor Levit, pianist; Christian Thielemann, conductor; Vienna Philharmonic. Sony 19658897652.

In light of my last write-up it's somewhat ironic that I'm now considering Igor Levit's latest work. Although I neglected to mention it in Recording Review #53, I consider his Hammerklavier Sonata (on Sony Classical 8883703872) to be the best I've heard during the past decade and change. Unfortunately I can't say the same for his new Brahms outing here. I find such a juxtaposition typical of my Levit experience: clear brilliance in everything he plays, but somehow hit-and-miss when it comes to preferring his interpretations or not. 

I have two big problems with this release. I'll get the simplest one out of the way first: the sound is poor. Both the orchestra and solo piano come off slightly muffled, as if someone threw a thin sheet of cloth over the recording microphone. Details sometimes blur, and masses of orchestral sound can seem to smudge. I found that this condition especially fails to accentuate Levit's sensitivity in the quieter/calmer parts, which is his best asset in this music. 

That leads to my second and rather bigger problem: these interpretations lack passion. The Piano Concertos in particular are virile works needing ample fortitude in addition to warmth. Levit, Thielemann, and the VP meekly finesse their way through them. While the finale of Op. 83 does call for a certain breeze (especially coming after the heavy opening movements), I've never heard a more docile performance than this one. For another example, those imperious trills in the opening movement of Op. 15 sound too limp in Levit's hands. Sometimes he doesn't even play them clearly enough. 

After I listened to the Concertos I thought, "okay...maybe this is partially a Thielemann problem (it wouldn't be the first time in this repertoire! – DG 477 9882), and the solo piano pieces will be better." Yes and no. The sound quality continues to be an issue, all the more in those poetic passages that Levit plays so well (i.e. in Op. 116/4, Op. 117/1, Op. 118/2, or Op. 119/1). But once again we need more than first-rate tenderness. When things are supposed to get exciting and tempestuous, Levit unaccountably holds back. Perhaps this shortcoming is most noticeable in the Op. 118 set. Rarely does one hear the intense resolve of No. 6 sound so enervating instead. Even more illustrative is No. 3, the middle section of which Levit plays as gorgeously as anyone...only to provide Allegro energico book-ends that are decidedly lacking in the energico department. 

I very much like Levit in other settings and wanted to recommend this recording. But apart from portions of the solo pieces, I just can't. You're better off opting for the numerous pianists who do all aspects of this music well rather than just some (and who are supported by recording sound that doesn't hamstring them). If you want a good starting place, try Gilels, Lupu, Katchen, or Kovacevich. There are just too many big fish in this sea. 

Verdict: Collectors Only