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The A flat work, Op 110, breathed even clearer air at first, though its middle movement was every bit as irascible as Beethoven demands. Even here, though, Levit never produced ugly tone: he approaches Beethoven’s soundworld as if from the composer’s own time rather than from a late- or post-Romantic perspective. After the finale’s desolate “aria”, Levit spun a serene fugue that – when eventually inverted – placed Beethoven squarely between Bach and Schoenberg.
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