Yoav Levanon in the shadow of Liszt takes the Wigmore Hall by storm

23 September 2024

CHRISTOPHERAXWORTHY - MUSICCOMMENTARY

Yoav Levanon a charming well groomed young man took the Wigmore by storm this morning .Anyone who could preface the complete Liszt Transcendental studies with four Chopin studies op 25 played as four miniature tone poems showing a personality that we are not used to anymore is already audacious. Taking all the time needed as we awaited his arrival on stage and once there awaited that magic moment of the very first notes. In a sense old style playing breathing with timeless wonder and taking all the time needed to digest such discoveries. An Aeolian harp of ravishing beauty and even if he did take time onto the way it in no way impeded his musicianly architectural vision. The final chord and pulsating trill I have rarely heard played with such refined elegance.Op 25 n. 2 reminds me always of Rubinstein ,on this very stage , in the last public performance of a long and celebrated life. William Lyne had persuaded Rubinstein to give this final recital in an attempt to relaunch the hall and save it from the hands of voracious developers .A programme of Beethoven and Schumann in the first half and a second half dedicated to his beloved Chopin.

Yoav’s crystalline playing of an undulating stream of sounds with the final notes dying away allowing the ‘double thirds study to enter out of the magic created. The G sharp minor study was played with astonishing ease just as he was to do with Feux Follets where the notorious technical difficulties were absorbed into a tone poem of quite astonishing beauty and architectural shape.The fifth study,another particular favourite of Rubinstein, was played with an extraordinary sense of character the melodic central episode of sublime finesse and beauty as the melodic line was allowed to float on an accompaniment of gossamer lightness and beguiling style.The ending played with grandiose authority as it reached for the heights ending this quartet of studies conceived as a whole.

Returning with a microphone as with simple charm he outlined his conception of music that should be a discovery of beauty and musical meaning and that it was with this idea in mind that he had conceived his performance of the complete Transcendental Studies that he was about to play. Here was intelligence, artistic integrity and above all imaginative artistry. A sculptor of sounds introducing the Liszt ,strangely in a Texan accent ,with a simplicity and modesty that only the greatest artists can display .One is reminded of a shorter version of Van Cliburn! Mentored by Murray Perahia he is the best kept secret ever.
To say that anyone who could present such a programme in public is a supreme stylist is the greatest compliment one could offer to a young man who is obviously the reincarnation of Liszt.
A monumental ‘Paysage’ building to a passionate climax followed the astonishing clarity and mastery of the first two studies. ‘Feux Follets’ grew out of the final chord of ‘Paysage ‘ but what of ‘Mazeppa?! ‘ A secret revealed at the end and it was not clear if he had just forgotten to play it but more likely was intentional as it was an astonishing way to conclude these twelve Lisztian studies. The lightness and capricious character he brought to ‘Feux Follets ‘ is of a chosen few who can ignore the enormous technical challenges and just concentrate of the musical shape of a work like ‘Au Bord d’une source’ that is of infinite charm and jeux perlé beauty. A truly monumental performance of ‘Visions’ was played with incredible power and relentless passion. An orchestral opening to ‘Eroica’ as the octaves were thrown of with an ease where they became merely vibrations of the chords such was his remarkable use of the pedal. A ‘Wilde Jags ‘ that was a passionate outpouring of almost unbearable tension unleashed with oases of calm and menace. ‘Ricordanza’ is like looking at an old photo ,brown at the edges, of nostalgic magic atmosphere .A kaleidoscope of beauty and shimmering colours of beguiling half lights and style. The F minor study that from nothing built to a sumptuous climax of passionate agitation with a wonderful sense of rubato allied to a masterly control. There was the whispered chant of the opening of ‘Harmonies du soir’ as sounds filled the rarified air with the same magic of the harp and that built to a sumptuous climax of breathtaking voluptuous sounds. The whispered sounds of ‘Chasse-neige’ were barely audible as an extraordinary tone poem was constructed before out incredulous eyes. After such enormous sonorities dying away to a mere whisper it was here that Yoav allowed Mazeppa to enter the scene with its breathtaking fearless virtuosity and sumptuous romantic effusions. I am sure Liszt would have approved of changing the order to finish in a blaze of triumph and glory.

Yoav would have gladly played some more but he had overrun his time in a hall that is filled to the rafters two of three times a day. He was even reduced to greeting his enthusiastic fans in the hall itself as sherry was offered to the public on this Sunday morning start to a week long series of piano recitals .What a beginning this recital has truly been .

Overwhelming ,breathtaking ,heart rending seduction of all the senses .
In Liszt’s day the aristocratic audiences were reduced to a devouring mob as they tried to grab any souvenir of their idol.

The Wiggies are more restrained and offered a standing ovation with cat calls that are usually reserved for the football stadium.Not since Raymond Lewenthal ‘s historic Liszt/Alkan recitals has this hall witnessed such a reincarnation.