“My parents simply wanted a better life—a better education for my sister and for myself, a better perspective for themselves,” Levit told me. “Was I afraid?” he wrote. On March 10th, the German pianist Igor Levit played Beethoven’s Third and Fifth Piano Concertos at the Elbphilharmonie, the hulking concert complex in Hamburg. And he spoke with DW after a recital at the city's Church of the Holy Cross. Shortly afterward, he offered a suite of pieces on hard-left themes: Paul Dessau’s “Guernica” (1938), inspired by Picasso’s anti-Fascist painting of the previous year; Rzewski’s “Which Side Are You On?,” based on the mine workers’ song made famous by Pete Seeger; and Cornelius Cardew’s “Thälmann Variations” (1974), named for Ernst Thälmann, a German Communist leader who was murdered by the Nazis. “I am one of the few of my age who still buys newspapers and magazines – the physical, paper thing. He arrived on the bench twenty or so seconds before the piano’s stealthy, pensive entrance. Wasn’t the tweet itself dehumanizing? Everything is getting reduced to the essential thing of being there and playing.” ♦. Levit is emphatically not a loner. – crazy and asked my father how he coped with all this music around him. The piece gets wilder and wilder, but also easier, more pianistic. An Italian who settled in Berlin, an archetype of German cosmopolitanism, Busoni played many roles in the culture of his time: as a composer of multiple styles and selves; as a pianist of mesmerizing powers; as a visionary theoretician; as a polemicist against reactionary trends; and as the guru for a circle of pupils that included Kurt Weill and Edgard Varèse. Why can’t you look on the other side and see all of those not voting for the AFD? Deine E-Mail-Adresse wird nicht veröffentlicht. “Hard rock fan from Düsseldorf is thrilled,” one commenter said. “He leaned in to hug me and rasped in my ear, ‘You’re a real motherfucker,’ ” Levit recalled. When Levit was sixteen, he came across Hamelin’s recording of “The People United Will Never Be Defeated!,” an hour-long work from 1975 by the radical-minded American composer Frederic Rzewski. Let’s bring the house concert into the twenty-first century.” He then tore into Beethoven’s “Waldstein” Sonata, in a fashion typical of him—precipitate, purposeful, intricately nuanced. Mauro doesn’t understand why Levit has to do this and how it connected to his art. Music allows us to feel this kind of freedom. The family is Jewish, though not particularly religious. Igor Levit review – this pianist has got it all Read more At 28, Levit’s career has not been impeded by his childhood habit – nor, it seems, by anything else. “I’ll play on anything. His manner was uncharacteristically furtive. If they ask me what I want, I don’t know what to answer. Langsam und sehnsuchtsvoll (Adagio, ma non troppo, con affetto) piano: Igor Levit: 3:28: 2013-01-02 – 2013-01-05: Sonata no. “It kills me not to be playing it,” he said. When I asked Steinmeier’s office for a comment about Levit, I received a statement extolling the pianist’s “acute sense of the power of public life, community and solidarity.” At a recent press conference, Steffen Seibert, the chief spokesperson for the Merkel government, made mention of “a pianist’s famous house concerts”—undoubtedly meaning Levit, even if the name went unsaid. Levit shook his head in awe as light from the computer danced against the lenses of his glasses. And, lo and behold, people are interested.” He checked the archived video. “Yes, but not for myself.” He linked his experiences to more serious instances of physical and verbal violence in Germany: a 2017 knife attack on Andreas Hollstein, the mayor of Altena; the 2019 assassination of the Hessian politician Walter Lübcke, who supported Merkel’s open-door policy toward refugees; the 2019 resignation of Martina Angermann, the mayor of Arnsdorf, in the wake of incessant online harassment. Early on, he favored familiar fare, particularly Beethoven, but as the weeks went by he grew more adventurous. Give me a break! He likes to quote James Baldwin: “I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually.” For Levit, America is Germany. It is my reason for being.”, Amid the agony of waiting, Levit ponders how he might apply his recent experiences to normal musical life, if and when such a thing resumes.