On DSCH

Igor Levit’s daring, epic programme starts with Shostakovich’s 24 Preludes and Fugues, a homage to J.S. Bach and a study of expression within strict formal limits. The German pianist is an ideal guide to this colossal cycle, with a razor-sharp, rhythmic approach that gives shape to the Russian composer’s compelling counterpoint (“Fugue No. 9”) while shedding light on his anguish and rage at Soviet censorship ("Prelude No. 6”). But Levit uncovers the poetry and beauty of this music, too, with a subtlety of touch that probes the darkest and tenderest emotional depths (“Prelude No. 20”). The pianist then turns to another huge, ambitious work, this time by the neglected 20th-century Scottish composer Ronald Stevenson. In it, Stevenson pays homage to Shostakovich in 300 micro-variations on his initials DSCH (D, E-flat, C, B). It’s a kaleidoscopic, far-reaching work of imagination and musical variety that Levit drives forward with riveting drama.