“BCMS Opens 2020 Somberly”
“Dimitri Murrath and Max Levinson, by now old friends of the Boston audience, presented a narratively compelling Arpeggione Sonata. The intimate and colorful silences of Levinson’s opening extinguished the hubbub that precedes every concert. Immediately the room seemed to shrink as the performers, with muted dynamics, expanded on the sonatas’s inner landscape.”
BCMS returns with verve and charm, season opener in Sanders Theatre
“The Boston Chamber Music Society returned to Sanders Theater on Sunday night with a concert of classics that encouraged its listeners to reserve their tickets early for its next performance.”
“With all the freshness of a bursting grape violinist Alexi Kenney, cellist Edward Arron, and pianist Max Levinson rolled the opening chords of Haydn’s Piano Trio in C Major Hob XV: 27.”
“Whether intentionally or not, the attention Levinson brought to these grace notes in the dominant harmony preparation of the (false) recap, delivered Haydn’s two-note, half-step motif as a cheeky motivic development of the grace notes heard throughout.”
“Where style is but a dialect”, Eliot Fisk’s recital
“Above all a concert is a sonic event and in the variations of Op. 9, Fisk showed that his imagination and control of sound has no limits. Fisk combined articulation, resonance, and timbre to such spell binding effect that this virtuoso piece came off as a gracious offering.”
“A grand journey followed wherein the various styles appeared as regional dialects of a greater language of expression.”
Boston Guitar Fest hosts dazzling keyboardist, Robert Levin’s recital
“In J.S. Bach’s fraught and searching A Minor Partita BWV 827, Levin met the fact that it is the only partita comprising seven movements with an energized grand sweep that carried both pianist and audience through the entire suite. This thrust could sometimes verge on urgency that we noticed even in the page turns as well as a grandiose gesture on the piece’s final note.”
“In J.S. Bach’s fraught and searching A Minor Partita BWV 827, Levin met the fact that it is the only partita comprising seven movements with an energized grand sweep that carried both pianist and audience through the entire suite. This thrust could sometimes verge on urgency that we noticed even in the page turns as well as a grandiose gesture on the piece’s final note.”