Robert Levin is represented by Rayfield Allied worldwide (exc. North America & Italy).

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Robert Levin

Conductor / Piano

  • The Second Piano Concerto was also given a magnificent performance. Levin’s playing was a model of classicism for this early Beethoven work
    Jonathan Richmond, Boston Globe
  • Levin lives Mozart throughout his entire body, and for every second of the score...he plays the music as if he's writing it himself - for the first time
    Hilary Finch, The Times
  • Pianist and Conductor Robert Levin has been heard throughout the United States, Europe, Australia and Asia. His solo engagements include the orchestras of Atlanta, Berlin, Birmingham, Boston, Chicago, Cleveland, Detroit, Los Angeles, Montreal, Utah and Vienna on the Steinway with such conductors as Semyon Bychkov, James Conlon, Bernard Haitink, Sir Neville Marriner, Seiji Ozawa, Sir Simon Rattle and Esa-Pekka Salonen. On period pianos he has appeared with the Academy of Ancient Music, English Baroque Soloists, Handel & Haydn Society, Orchestra of the Age of Enlightenment and the Orchestre Révolutionnaire et Romantique, with Sir John Eliot Gardiner, Christopher Hogwood, Sir Charles Mackerras, Nicholas McGegan, and Sir Roger Norrington.

    Renowned for his improvised embellishments and cadenzas in Classical period repertoire, Robert Levin has made recordings for DG Archiv, CRI, Decca, Deutsche Grammophon, Deutsche Harmonia Mundi, ECM, New York Philomusica, Nonesuch, Philips and SONY Classical. These include a Mozart concerto cycle for Decca; a Beethoven concerto cycle for DG Archiv (including the world premiere recording of Beethoven’s arrangement of the Fourth Concerto for piano and string quintet); and the complete Bach harpsichord concertos with Helmuth Rilling, as well as the six English Suites (on piano) and both books of the Well-Tempered Clavier (on five keyboard instruments) as part of Hänssler’s 172-CD Edition Bachakademie. The first recording in a Mozart piano sonata cycle has also been released by Deutsche Harmonia Mundi.

    A passionate advocate of new music, Robert Levin has commissioned and premiered a large number of works.  He is a renowned chamber musician and a noted theorist and musicologist. His completions of Mozart fragments are published by Bärenreiter, Breitkopf & Härtel, Carus, Peters, and Wiener Urtext Edition, and recorded and performed throughout the world.

    • Hilary Hahn Recitals
      US Tour (October 2016)

      The Bach and the Mozart are true duets, in which the piano and violin have equal roles, and Levin made an arresting partner. Both players sounded so spontaneous that it seemed miraculous they were so perfectly coordinated. The Bach was as fluid and swift as rushing water, and the Mozart sounded as contemporary as the Abril.
      Anne Midgette, The Washington Post
      Levin was a consummate accompanist, never overwhelming Hahn’s solo lines or forcing her to make herself heard. She sounded, as a result, completely at ease throughout the evening.
      Charles T. Downey, Washington Classical Review
    • Beethoven Piano Concerto No. 3
      Philharmonia Baroque Orchestra (October 2016)

      Levin’s solo work in the concerto was marked not only by nimble technique and expressive clarity, but by the deep knowledge of the period that gives his every performance such a sense of linguistic mastery. At the most obvious level, that enables him to improvise his own cadenzas — the showy, unaccompanied flourishes that come right before the conclusion of nearly every movement — just as Beethoven and his contemporaries would have done, and to do so firmly within the bounds of Beethoven’s musical grammar and vocabulary.
      Joshua Kosman, San Francisco Gate
    • Stuttgart Radio Orchestra
      BBC Proms (July 2016)

      The really thrilling bit came in the cadenzas, the point where the soloist is supposed to show off. Most pianists make use of Beethoven’s written-out cadenzas; Levin made up his own, full of thunderous arpeggios and cliff-hanging high trills. Would Sir Roger and the orchestra know when they were coming to an end? Would Robert Levin himself know? Fortunately it all came out right in the end… this Prom was a lesson in how familiar things can be made exciting and risky, as if they were created yesterday… to witness it was riveting.
      Ivan Hewett, The Telegraph *****
    • Academy of Ancient Music
      Barbican Centre (February 2015)

      He managed the piano’s light exchanges with the orchestra beautifully, and found the all the depth and emotion of this, the longest of Mozart’s concertos [Piano Concerto No. 25 in C major]. This performance became not about the period instruments themselves, but about what the instruments revealed in the music.
      John Allison, The Telegraph ****
    • Beethoven Cello Sonatas with fortepiano (Isserlis)
      Hyperion (CDA67981/2)

      Levin supplies his own muscular music-making. The fortepiano’s sound may lack depth but it certainly boasts sharp teeth. There’s hushed delicacy too… Chandos’s sound, as usual, is immaculate. More Beethoven, please.
      Geoff Brown, The Times ****
      This set contains some of the finest Beethoven performances you are likely to hear... The ensemble with Robert Levin is dynamic, intimate, often electric. There’s a sense of two powerful minds intensely engaged in Beethoven’s dialogue. At best it’s unbeatable... The fortepiano comes into its own in the delightful sets of Magic Flute Variations... There isn’t a better version with fortepiano.
      Helen Wallace, BBC Music Magazine *****
      Isserlis had the theme but Levin is no mere accompanist, fastidious in his role as a partner yet one who never overwhelms the cello... Theirs is a shared experience of audacity and spirituality. Small changes in recorded levels plus a few sniffs are insignificant. They don’t retract from the riches born of scant regard for the superficiality of toeing conventional lines or selecting safe options, shared with listeners in even the less mighty works, the variations and Horn Sonata. This is Beethoven fleshed out by Levin and Isserlis – and anodyne he ain’t here. Please click here for the full review.
      Nalen Anthony, Gramophone Mazine – Recording of the Month
      Levin’s pianoforte is an ideal match, with a sinuous, intimate sound well captured by Hyperion’s microphones. Recommended.
      Guy Weatherall, Classical Music Magazine *****
    • Orchestra of the Age of Enlightenment
      Queen Elizabeth Hall (November 2013)

      He (Levin) provided the electric charge, ensuring that even subsidiary ideas never lost their shine in the glorious garrulousness of the 15-year-old Mendelssohn’s miracle of invention.
      Hilary Finch, The Times ****
      All these distractions were banished in Schubert’s great F minor Fantasy for piano duet, where both pianists were seated at the same piano. In the mysterious dusky colours of the first movement’s central section, and the tender give and take of the slow movement, they were absolutely as one. Sound and sense came satisfyingly together.
      Ivan Hewett, The Telegraph ****
      We got a fine sense of complicity between soloists and orchestra, because their respective timbres were so evenly balanced. The pair then returned to give a beautifully-calibrated account of Schubert’s majestic “Fantasy in F minor”.
      Michael Church, The Independent ****
      Levin and Chuang brought an admirable sense of cohesion to Schubert's Fantasy in F minor, joining the disparate sections skilfully.
      George Hall, The Guardian ***
    • Reicha / Mozart / Schubert
      Scottish Chamber Orchestra (May 2013)

      Visceral insight and energy lit every inch of Schubert’s Symphony No 2, and with it a flamboyant end to a boisterous concert and the main SCO season
      Kenneth Walton, The Scotsman * * * *
      Levin is an astounding communicator. Sometimes he says a lot; sometimes very little. But what he does and says is gold dust. Bluntly, what he and the SCO did on Friday night was staggering in its revelatory qualities. He interrupted his blinding performance of Mozart's D major piano concerto, K 451, one of the lesser-known concertos, by announcing that the showcase cadenzas, which he improvised, were not so much a display of how fast the soloist could play, as how fast he could think: an immensely interesting comment, reflecting clearly Levin's philosophy, attitude and, indeed, the amazing rapport between him and the SCO, as evidenced in the heart-stopping performance of the concerto.
      Michael Tumelty, The Herald *****
  • Robert Levin’s Repertoire

  • Photos

    • Photographer Credit: Clive Barda
      Photographer Credit: Clive Barda
    • Photographer Credit: Clive Barda
      Photographer Credit: Clive Barda
    • Photographer Credit: Clive Barda
      Photographer Credit: Clive Barda
    • Photographer Credit: Clive Barda
      Photographer Credit: Clive Barda
    • Photographer Credit: Clive Barda
      Photographer Credit: Clive Barda
    • Photographer Credit: Ascherman
      Photographer Credit: Ascherman