Beth Levin

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.”

Beethoven’s Diabelli Variations, Op. 120, Part 2.

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.

Beethoven’s Diabelli Variations, Op. 120, Part 2.

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.

Beethoven’s Diabelli Variations, Op. 120, Part 1.

The music expands quickly from piano to forte with pointed bass notes and a dashing sforzando at the second beat of measure 3.

Beethoven’s Diabelli Variations, Op. 120, Part 1.

The music expands quickly from piano to forte with pointed bass notes and a dashing sforzando at the second beat of measure 3.

Advice to a Pianist Performing Brahms’ B-Major Trio, Op. 8

Try not to sulk. Remember, you have a trio to perform!

Advice to a Pianist Performing Brahms’ B-Major Trio, Op. 8

Try not to sulk. Remember, you have a trio to perform!

Brahms’ Variations and Fugue on a Theme by Handel, Op. 24

An elegant Baroque theme eight measures long, proper, structured, lovingly ornamented. A string of 16th notes in the opening measure lends itself to an articulation of slurs and dots, reminiscent of a harpsichordist’s performance practice.

Brahms’ Variations and Fugue on a Theme by Handel, Op. 24

An elegant Baroque theme eight measures long, proper, structured, lovingly ornamented. A string of 16th notes in the opening measure lends itself to an articulation of slurs and dots, reminiscent of a harpsichordist’s performance practice.

Practicing Ravel

I have an instrument at home, of course, but there’s something pleasurable in sneaking out of the house for a tryst with Brahms and Ravel.

Practicing Ravel

I have an instrument at home, of course, but there’s something pleasurable in sneaking out of the house for a tryst with Brahms and Ravel.

Tribute to a Passionate Man

Richard Talkowsky was a rare human being: a man of grace, warmth, humor, talent and the ability to make others blossom.

Tribute to a Passionate Man

Richard Talkowsky was a rare human being: a man of grace, warmth, humor, talent and the ability to make others blossom.

A Performer’s Survey of Bach’s Goldberg Variations, Part 3

Coming as it does after a virtuoso variation, XXI feels doubly poignant.

A Performer’s Survey of Bach’s Goldberg Variations, Part 3

Coming as it does after a virtuoso variation, XXI feels doubly poignant.

Goldberg Variations at Steinway Hall, Saturday, April 28, 2007

The smell of flowers filled the room. I quickly tried out the American Steinway that would see me through the Goldbergs.

Goldberg Variations at Steinway Hall, Saturday, April 28, 2007

The smell of flowers filled the room. I quickly tried out the American Steinway that would see me through the Goldbergs.

A Performer’s Survey of Bach’s Goldberg Variations, Part 2

Closer to my performance date and under a heightened sense of purpose, I offer a few ideas on Variations 11-20.

A Performer’s Survey of Bach’s Goldberg Variations, Part 2

Closer to my performance date and under a heightened sense of purpose, I offer a few ideas on Variations 11-20.

A Performer’s Survey of Bach’s Goldberg Variations, Part 1

I am emerging slowly from a state of suspended disbelief concerning my performance of the Bach Goldberg Variations.

A Performer’s Survey of Bach’s Goldberg Variations, Part 1

I am emerging slowly from a state of suspended disbelief concerning my performance of the Bach Goldberg Variations.