There have been some tremendous versions of the Études-tableaux in the past few decades but I would place Levanon’s recording near to the top
Jonathan Dobson
Friday, March 8, 2024
The Op 39 Études-tableaux mark the end of Rachmaninov’s settled, secure life and career in pre-Revolutionary Russia and the start of his 24 years of exile as a touring virtuoso in America. These works contain some of the most turbulent and dissolutely personal music Rachmaninov composed, and whatever sunlight occasionally breaks through is loaded with wistful sadness. He clearly had a programme in mind for each Étude, which regretfully he didn’t share – with the exception of the A minor, which he told Respighi was a depiction of Red Riding Hood and the Wolf. The Op 39 set is extremely difficult to pull off technically and emotionally.
I listened to Yoav Levanon’s new recording before reading his biography, and was astonished to find that he is still only 19. There is not a note out of place and his sweep, grandeur, power, technical command, clarity and emotional understanding of this music are extraordinary. Perhaps one or two moments need a little more space, but Levanon is a born Rachmaninov player – he has all the emotional heart-on-sleeve ardour and fire of youth to bring these complex works to life. There have been some tremendous versions of the Études-tableaux in the past few decades but I would place Levanon’s recording near to the top. I look forward to hearing Levanon in the Op 33 set.
