Without Words Bruce Levingston

• Felix Mendelssohn (1809 - 1847): Song without Words, Op. 102, No. 4 in G minor:
• 1 Mendelssohn: Song without Words, Op. 102, No. 4 in G minor 02:14
• Song without Words, Op. 67, No. 3 in B-flat major:
• 2 Mendelssohn: Song without Words, Op. 67, No. 3 in B-flat major 03:26
• Song without Words, Op. 38, No. 2 in C minor:
• 3 Mendelssohn: Song without Words, Op. 38, No. 2 in C minor 02:29
• Song without Words, Op. 38, No. 6 in A-flat major "Duetto":
• 4 Mendelssohn: Song without Words, Op. 38, No. 6 in A-flat major "Duetto" 04:35
• Song without Words, Op. 102, No. 3 in C major:
• 5 Mendelssohn: Song without Words, Op. 102, No. 3 in C major 01:40
• Song without Words, Op. 53, No. 1 in A-flat major:
• 6 Mendelssohn: Song without Words, Op. 53, No. 1 in A-flat major 03:56
• Song without Words, Op. 30, No. 6 in F-sharp minor "Venetianisches Gondellied":
• 7 Mendelssohn: Song without Words, Op. 30, No. 6 in F-sharp minor "Venetianisches Gondellied" 04:29
• Cecil Price Walden (b. 1991): Song without Words No.1 "Prelude":
• 8 Walden: Song without Words No.1 "Prelude" 03:37
• Song without Words No. 2 "for the left hand":
• 9 Walden: Song without Words No. 2 "for the left hand" 02:33
• Song without Words No. 3 "Love Song - Duet":
• 10 Walden: Song without Words No. 3 "Love Song - Duet" 04:03
• Song without Words No. 4 "Berceuse":
• 11 Walden: Song without Words No. 4 "Berceuse" 03:08
• Song without Words No. 5 "Elegy":
• 12 Walden: Song without Words No. 5 "Elegy" 04:47
• Song without Words No. 6 "Protest":
• 13 Walden: Song without Words No. 6 "Protest" 04:36
• Song without Words No. 7 "Lullaby":
• 14 Walden: Song without Words No. 7 "Lullaby" 03:21
• Felix Mendelssohn: Song without Words, Op.19, No. 2 in A minor:
• 15 Mendelssohn: Song without Words, Op.19, No. 2 in A minor 02:43
• Song without Words, Op.19, No.1 in E major:
• 16 Mendelssohn: Song without Words, Op.19, No.1 in E major 04:11
• Song without Words, Op. 19, No. 5 in F-sharp minor:
• 17 Mendelssohn: Song without Words, Op. 19, No. 5 in F-sharp minor 03:46
• Song without Words, Op. 19, No 6. in G minor "Venetianisches Gondellied":
• 18 Mendelssohn: Song without Words, Op. 19, No 6. in G minor "Venetianisches Gondellied" 02:41
• Song without Words, Op. 62, No. 1 in G major:
• 19 Mendelssohn: Song without Words, Op. 62, No. 1 in G major 03:39
• Song without Words, Op. 67, No. 5 in B minor:
• 20 Mendelssohn: Song without Words, Op. 67, No. 5 in B minor 03:03
• Song without Words, Op. 85, No. 4 in D major:
• 21 Mendelssohn: Song without Words, Op. 85, No. 4 in D major 03:30
• Total Runtime 01:12:27

Info zu Without Words

Mendelssohns Lieder ohne Worte entziehen sich einfach einer gewöhnlichen Beschreibung. Sie sind raffiniert und nuanciert und gehören zu den schönsten und bekanntesten Werken des Komponisten. Fast zweihundert Jahre lang galten sie als charmante Relikte, als erlesene romantische Kleinode, die in kleinen Konzertsälen und Salons aufgeführt wurden. Während ihre subtilen, ornamentalen Qualitäten in einem intimeren Rahmen sicherlich am besten zur Geltung kommen, offenbart sich bei näherer Betrachtung eine unerwartete Tiefe und Komplexität dieser Miniaturmeisterwerke. Ihre interpretatorischen und technischen Anforderungen sind beträchtlich und erfordern Sensibilität in Bezug auf Intonation, Pedalierung und dynamische Kontrolle. Sie sollen eher verzaubern als blenden und rufen unzählige Träume hervor, die einige der innersten Überlegungen des Komponisten offenbaren. Wie private Einträge in einem musikalischen Tagebuch bieten sie einen seltenen Einblick in die Gedankenwelt dieses zurückhaltenden, aber leidenschaftlichen Künstlers.

In den letzten Jahren habe ich Mendelssohns Lieder ohne Worte auf meinem Klavier gespielt. Inmitten des turbulenten gesellschaftlichen Wandels bleiben diese bewegenden Werke eine Quelle des Trostes und des Friedens. Auf dem Höhepunkt der Pandemie wandte sich Dr. Kirk Payne - ein alter Schulfreund, der Covid-Patienten behandelt - an mich. Er wollte eine schöne Gedenkstätte für die Toten und die Kämpfer gegen die Krankheit finanzieren. Mit seiner großzügigen Unterstützung beauftragte ich Price Walden, einen langjährigen Bewunderer von Mendelssohns Liedern ohne Worte, mit der Komposition eines neuen Werks, das unsere eigene Zeit widerspiegeln sollte. Nachdem ich Waldens sieben großartige Stücke gehört hatte, wählte ich vierzehn der schönsten Werke aus Mendelssohns Sammlung aus - sieben für den neuen Zyklus und sieben für die folgenden.

Als hervorragender Aquarellist zeigt Mendelssohn in diesen exquisiten Tondichtungen seine meisterhafte Beherrschung von Linie und Farbe. Der Walden-Zyklus, in dem viele Anspielungen auf Mendelssohns Lieder ohne Worte enthalten sind, geht über die Quelle hinaus und entwirft ein neues, inspiriertes Klangbild. Durch ihre Musik erforschen beide Komponisten - im Gespräch über die Jahrhunderte hinweg - die Bereiche der Erinnerung, der Natur, der Freude, der Angst, des Verlusts, der Dankbarkeit und der Liebe - und kommunizieren beredt in einer gemeinsamen Sprache, die zu eindeutig für Worte ist. (Bruce Levingston)

Bruce Levingston, Klavier

Bruce Levingston
is one of today's leading figures in contemporary music. Many of the world's most important composers have written works for him and his Carnegie Hall and Lincoln Center world premiere performances of their works have won notable critical acclaim. The New York Times has called him 'one of today's most adventurous musicians' and praises his performances as 'graceful', 'dreamy, and 'hauntingly serene.' The New Yorker has described him as 'elegant and engaging... a poetic pianist who has a gift for glamorous programming,' while The Washington Post has lauded his 'wonderfully even touch' and 'timeless reverie, which Levingston projected beautifully.'

Mr. Levingston has appeared as a soloist and chamber musician in many international music festivals and his recordings have received high critical acclaim. His CD Still Sound was named 'Record of the Month' by MusicWeb International which praised his 'extraordinary gifts as a colorist and a performer who can hold attention rapt with the softest of playing.' In a glowing review of his recent CD Nightbreak, The American Record Guide wrote 'Levingston is a pianist's pianist' and praised his 'stunning and highly illuminating performances', Gramophone called his playing 'masterly'. Levingston's CD Heart Shadow, also received notable praise and was named 'Album of the Week' by New York City's WQXR. The Cleveland Plain Dealer called Levingston's recording 'vivid and richly expressive...a gripping, dynamic performance' and Classics Today lauded his CD Portraits for its 'transcendent virtuosity and huge arsenal of tone color.'

Noted for his innovative and thoughtful programming, Mr. Levingston has performed and collaborated with some of the most interesting artists of our time including painter Chuck Close, actor/author Ethan Hawke, authors Michael Cunningham, Nick McDonell, and George Plimpton, composer/performers Lisa Bielawa and Philip Glass, violinist Colin Jacobsen, and choreographers Jorma Elo and Peter Quanz. His repertoire spans from the Baroque works of Bach and Scarlatti to the Classical and Romantic masterpieces of Mozart, Beethoven, Schubert, and Brahms to the most avant-garde works of today. His programs often feature and highlight many of the twentieth century's most influential composers including Satie, Debussy, Bartok, Webern, and Messiaen. In 2007, Mr. Levingston played a critically acclaimed sold-out concert devoted to the music of Erik Satie at New York's French Institute/Alliance Française.

Long interested in human rights, Mr. Levingston gave performances to assist emerging 'refusniks' from the Soviet Union, served as a U.S. delegate to the American Council on Germany in Berlin and Hamburg, and performed at the United Nations in honor of the people of Denmark for their heroism during World War II. He is founding chair and artistic director of Premiere Commission, Inc., a non-profit foundation that has commissioned and premiered over forty new works.

In 2007, Mr. Levingston appeared as special guest artist at New York's City Center for the world premiere of American Ballet Theatre's production of a new ballet inspired by Chuck Close's life with music by Philip Glass. In 2008, Mr. Levingston performed a critically acclaimed sold-out solo concert at Carnegie Hall premiering works by Grawemeyer Award-winner Sebastian Currier, Germany's celebrated Wolfgang Rihm and Pulitzer Prize-winner Charles Wuorinen. In 2009, Mr. Levingston gave the world premiere of Rome Prize-winner Lisa Bielawa's 'Elegy-Portrait'; in 2010, he performed another all-French program for the Alliance Française in New York and, in 2011, performed premieres by David Bruce, Sebastian Currier and Dmitri Yanov-Yanovsky with the brilliant violinist Colin Jacobsen at Library of Congress in Washington, D.C. and Carnegie Hall in New York City. The New York Times reported that 'Mr. Levingston has found a soul mate in Colin Jacobsen... they joined forces in the kind of recital for which each has become known: driven by ideas and filled with music old, new and well worth hearing.' In 2012, Mr. Levingston celebrated the Tenth Anniversary of Premiere Commission in a special sold-out gala concert with Brooklyn Rider and Lisa Bielawa at the Poisson Rouge. Mr. Levingston records for Orange Mountain Music and Dorian Sono Luminus.

Booklet für Without Words