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Release Date: January 8, 2016

Catalog #: NV6016

 

 

TRACK TITLES

 

Beth Levin, piano

 

DavidsbÜndlertÄnze, Op. 6  Robert Schumann

1  I. Lebhaft

2  II. Innig

3  III. Mit Humor

4  IV. Ungeduldig

5  V. Einfach

6  VI. Sehr rasch

7  VII. Nicht schnell

8  VIII. Frisch

9  IX. Lebhaft

10  X. Balladenmäßig - Sehr rasch

11  XI. Einfach

12  XII. Mit Humor

13  XIII. Wild und lustig

14  XIV. Zart und singend

15  XV. Frisch

16  XVI. Mit gutem Humor

17  XVII. Wie aus der Ferne

18  XVIII. Nicht schnell

 

19  Disegno 2 for piano   Anders Eliasson

 

Sonata No. 2 in B-flat minor, OP. 35   Frédéric Chopin

20  I. Grave – Doppio movimento

21  II. Scherzo

22  III. Marche funèbre: Lento

23  IV. Finale: Presto

 

 

 

 

ALSO ON NAVONA RECORDS

 

A SINGLE BREATH (NV5908)

 

PERSONAE

Beth Levin

 

OVERVIEW

On her Navona Records release PERSONAE, pianist Beth Levin presents works from Frédéric Chopin (1810-1849), Anders Eliasson (1947-2013), and Robert Schumann (1810-1856) that highlight each composer’s unique voice and style. Praised by Jeremy Eichler of the New York Times for her “boldly inflected readings and impressive ability to convey emotion without exhibition,” Levin animates the personalities of each composer with aplomb, passion, and elegance.

 

Chopin’s Sonata No. 2 in B-flat Minor, Op. 35 (1839), featuring the well-known funeral march of the third movement, opens with stormy arpeggiations and moves into calmer and lyrical moments, closing with the unremitting whirlwind of unison notes during the finale. Eliasson, considered one of the great twentieth-century composers, heavily influenced by jazz, Bach, and the legacy of Western music culture, creates an unpredictable organic unity in his Disegno No. 2 (1987). The piece is characterized by self-organized harmonic mobility, rhythmic vitality, and the complete absence of schematic development, emblematic of Eliasson’s writing. Schumann’s Davidsbündlertänze, Op. 6 (1837) is one of his most personal works, in which the composer incorporates his passionate love for Clara Wieck, anxieties, longings, visions, dreams, and fantasies. This intimate character piece progresses with sudden changes in mood and Schumann’s unconventional approach to tonality and rhythm.

 

Levin’s performances refreshingly showcase three unique yet relatable figures in the Western music tradition, three voices which have shaped our understanding of the piano repertoire, humanity, and art. Her warm technique and “rare percussive audacity” (Richard Brody, The New Yorker) allows each note and phrase to stand out as a deep expression of each composer’s experience.

 

 

HIGHLIGHTS

Levin has appeared as a concerto soloist with numerous symphony orchestras, including the Philadelphia Orchestra, the Boston Pops Orchestra, the Boston Civic Symphony, and the Seattle Symphony Orchestra. She has worked with noted conductors such as Arthur Fiedler, Tonu Kalam, Milton Katims, Joseph Silverstein, and Benjamin Zander

 

Levin’s performances have been broadcast on National Public Radio, WGBH (Boston), WFMT (Chicago), and WNYC, WNYE and WQXR (New York)

 

Chamber music festival collaborations have brought Levin to the Marlboro Festival, Casals Festival, Harvard, the Edinburgh Fringe Festival, the Ankara Music Festival, and the Blue Hill Festival, collaborating with such groups such as the Gramercy Trio (founding member), the Audubon Quartet, the Vermeer Quartet, and Trio Borealis

 

Levin remains committed to the performance of the music of our time, interpreting composers such as Henryk Gorecki, Scott Wheeler, Roger Stubblefield, Frank Warren, Mohammed Farouz, and Michael Rose, among many others. Her closest collaborators have been the composers David Del Tredici and Andrew Rudin, both of whom have written works for her

 

Levin made her debut with the Philadelphia Orchestra at age 12. She was subsequently taught and guided by legendary pianists such as Rudolf Serkin, Leonard Shure, Dorothy Taubman, and Paul Badura-Skoda (who praised her as “a pianist of rare qualities and the highest professional caliber”)

 

Levin’s recordings of Beethoven’s last three sonatas is available on A SINGLE BREATH (NV5908) on Navona Records

 

BIOGRAPHY

Beth Levin’s artistry invokes an uncanny sense of hearing for the first time works long thought familiar, as though the pianist herself were discovering a piece in the playing of it. Such a style of refreshment and renewal can be traced back to Levin’s unique artistic lineage. As a child prodigy, she made her debut with the Philadelphia Orchestra at age 12. She was subsequently taught and guided by legendary pianists such as Rudolf Serkin, Leonard Shure, Dorothy Taubman, and Paul Badura-Skoda (who praised her as “a pianist of rare qualities and the highest professional caliber”). Her deep well of experience allows Levin to reach back through the golden age of the Romantic composers and connect to the sources of the great pianistic traditions, to Bach, to Mozart, to Beethoven.

 

Levin has appeared as a concerto soloist with numerous symphony orchestras, including the Philadelphia Orchestra, the Boston Pops Orchestra, the Boston Civic Symphony, and the Seattle Symphony Orchestra. Levin has worked with noted conductors such as Arthur Fiedler, Tonu Kalam, Milton Katims, Joseph Silverstein, and Benjamin Zander. Chamber music festival collaborations have brought her to the Marlboro Festival, Casals Festival, Harvard, the Edinburgh Fringe Festival, the Ankara Music Festival, and the Blue Hill Festival, collaborating with groups such as the Gramercy Trio (founding member), the Audubon Quartet, the Vermeer Quartet, and the Trio Borealis, with which she has toured extensively.

 

Among Levin’s recordings are live performances of Bach’s Goldberg Variations (Centaur Records, 2008), and Beethoven’s Diabelli Variations (Centaur Records, 2011). Her interpretation of the Diabelli Variations has been described as “consistently fascinating” (Steve Smith, NY Times) and simply “stunning” (Robert Levine, Stereophile Magazine). Of Levin’s Goldberg Variations, Peter Burwasser of Fanfare Magazine stated that she plays “as if she is in love with the notes...with always the sense that she is exploring Bach’s genius.” Her performances have been broadcast on National Public Radio, WGBH (Boston), WFMT (Chicago) and WNYC, WNYE, and WQXR (New York).

 

For all her devotion to the Romantic canon, Levin remains committed to the performance of the music of our time, interpreting composers such as Henryk Gorecki, Scott Wheeler, Roger Stubblefield, Frank Warren, Mohammed Farouz, and Michael Rose, among many others. Her closest collaborators have been the composers David Del Tredici and Andrew Rudin, both of whom have written works for her.

 

www.bethlevinpiano.com

 

  

 

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