The Russian-born, German-based superstar pianist Igor Levit, 33, is renowned for the fearlessness and intensity of his playing, and for his zest for the monumental – as his complete set of Beethoven Piano Sonatas (Sony Classical) demonstrates. When Europe went into lockdown against Covid-19 in mid-March, Levit embarked on a series of 52 consecutive evening recitals on Twitter from his Berlin home. They became a global internet sensation.
How did the concerts happen? What was the trigger?
It was totally spontaneous. I’d played a concert in Hamburg on 10 March, my birthday. It was clear it would be the last such event for a time. The next night’s, in Cologne, was cancelled. We all thought, and the politicians assured us, this’ll take a couple of weeks then all will be OK. As the days passed I had a gut feeling things were very bad. Back in Berlin, I was a wreck. Walking home with my groceries, I thought: “Hey, wait a second…” Sharing what I do with an audience justifies my entire existence as a musician. Without it, literally, I fall sick. There and then, I stopped, put down my grocery bags in the street, and tweeted that I’d be performing a “house concert” at 7pm that night.
What happened next?
I panicked. Typical Igor – act first, think later. There was already an explosion on social media – people saying they’d tune in. I hadn’t the slightest clue how to go about it. I had no microphone, no proper equipment, no idea whether you could even livestream a long piece of music on Twitter. I messaged friends, saying: “How do I do this?” I rushed out and grabbed a cheap €25 camera stand. I got home, then realised I needed a stand for the phone too, so I had to go back again. I made a friend come and literally sit behind the phone while I was playing, to make sure the live stream was working.
Did you plan ahead: what to play, where to sit, what to wear? People live-tweeting got quite obsessed, even about your leather slippers.
I absolutely didn’t think about what I wore, and whether I had on boots or socks or slippers (bought in London at Sabah, by the way)! At one point I moved the piano from one wall to the other, only because my bicycle needed space. As for repertoire, I decided around lunchtime on the day, and played whatever felt right, from Nina Simone to Scott Joplin, to Schubert to Bach to Billy Joel. I only did a couple of things more than once…
Including Beethoven’s Appassionata sonata. The second time [concert 41, 22 April], it was cataclysmic, as if the world were ending. Were you angry?
There were days I felt – and feel – very sad and dark, between anger and despair. I’ve never experienced a time in my life, since I started playing at three years old, when I could not be who I am. I’m not calling for rebellion – we must follow rules. There’s no war, no enemy. Of course it would be insane to have concerts for 2,000 people right now. That’s my despair. On the other hand, I get angry when people think I was just being opportunistic. No. It’s far more serious. It’s life, not livelihood. A few people have asked me how I am. They think I am doing my house concerts and all is fine. I say, “I am not well.” I have a very thin skin right now. I am seeing the world I dearly love, concert life, die. If it’s not dead already, it’s in extremely grave danger.
I feel as if I’m speaking like a crazy person, but for a long time, years and years, I’ve been saying: “You have to understand and adapt to the digital world. We must use it properly, and with respect. It’s not enough for performers to use it to just advertise the next gig. There are real people behind these Facebook, Twitter and Instagram accounts – some bad, but many, many are good, open – willing to trust if you communicate with them. If I’ve learned anything from doing these house concerts, from the extraordinary warmth of response, it’s this.
I can’t say whether the people who listened – at least 20,000 every night – will ever go to concerts. Concert halls are closed, so that’s a conversation for another time. The most touching, open-hearted comments I got were about one of the least well-known pieces – Palais de Mari by Morton Feldman, which is very important to me. What I saw, night after night, is that if you win people’s trust they will go with you.
You had death threats last year. [Levit received a threatening, antisemitic email before a concert in Germany.] Life must feel ever more circumscribed?
For a time I had to be careful. I played a couple of concerts with security measures. I was unbelievably furious, but not surprised – these were basically racist, antisemitic attacks, call them what you like. But seriously, this was last November. We all know extremists, people full of hatred, are out there. I’m able now to see the bigger picture.
How has lockdown been in Berlin?
I cook madly. I read. I exercise. I miss certain cafes and restaurants, but things are OK. We haven’t had such a radical stay-at-home warning here, or strict lockdown rules, as in France or Italy. If you didn’t know our world was on the edge of collapse you would think it was quite nice: quiet, fewer cars; you can always go out, go for a run. As you know, Germany is divided into federal states. In Berlin we have a fantastic senator of culture, Klaus Lederer. He can’t open halls – no one is asking for that yet – but emotionally he loves music, he loves art. There are a few very good people in Hamburg too.
I don’t know what the situation is in the UK, but generally, the guaranteed way to put artists in despair and depression is non-communication. Politicians give press conferences and talk about everything and everyone but not us. This is very painful. It’s not about me, I’m lucky in so many ways. But I am profoundly worried about friends and colleagues running festivals and ensembles who are on the brink of disaster. I don’t know what the future holds. We are stepping into unknown territory. The novelty is over. Now the serious time begins.
You stopped after 52 Twitter concerts. Will you start again?
For sure. I needed a pause, time off, silence. These concerts were, literally, and from the bottom of my heart, life-saving – mentally, physically, emotionally. So my gratitude to every single person who listened is infinite, immeasurable. I was able to be who I am. I just played the music I wanted, crazy stuff, without borders. Soon enough, I’ll be back.
Igor Levit played live on Sunday 24 May, 6pm UK time @igorpianist
