At three Beth Levin fell in love with her first piano, an old Lester upright in the basement. She would go down for hours and create a little world for herself. Made her debut with the Philadelphia Orchestra at age 12, and performed with them again at 16. (Her teacher was the great Chopin interpreter, Maryan Filar.) On her first day as a pupil of Rudolf Serkin at the Curtis Institute, she roamed the halls of practice rooms wondering how anyone could practice for six hours. Her best moments have been as soloist with orchestras in Boston, New York, Philadelphia and Seattle, touring in Music From Marlboro and with chamber groups she has founded, most recently the American Arts Trio. She writes: “I live with my family in Brooklyn. I very much wanted children and was eager for the challenge of balancing a musical life with a home life. One of my favorite tasks is to pop a lasagna into the oven while doing some intense practicing, thereby fulfilling two roles at once — mother and musician.”
Coffee unites practice through rehearsal to performance. It promises lucidity. It delivers the imagination to unexplored regions.
The brilliant young group counter)induction performed a concert of Lachenmann, Nono and Schoenberg at the Italian Academy at Columbia University last night (March 4).
Opening to the first page of the Henle edition of Sonata Op. 111. I realize how eager I am to get started, to crack the code and get inside.
Rehearsing and performing are different animals. Confidence comes easy in a warm living room, coffee and snacks on the table, humor abounding.
Perhaps Beethoven is suggesting that Diabelli stole his theme from Mozart or is simply being a scamp.
The triplet as upbeat, reiterated in the middle voice and the bass, has a pulling effect to the downbeat made more powerful by each repetition.