He was and still is one of my favorite artists. Aside from the sheer beauty of his playing, he is not afraid to take risks, to try and reach beyond his grasp to find a deeper, richer and more profound beauty. He makes sound a living, breathing being.
I cannot forget one of his concerts many years ago, Friday 21 May 1993, here in Rome; a large number of encores, we remained in a small group, about twenty people under the stage burning with passion and peeling their hands from the applause, and he continued to come out and play wonderfully, he came back and then managed to play again. A magical evening. Regal, charismatic, luminous, never seen so much generosity in a great soloist like him. Thanks Ivo! Stefano Non posso dimenticare un suo concerto di molti anni fa, venerdì 21 maggio 1993, qui a Roma; un gran numero di bis, eravamo rimasti in un piccolo gruppo, una ventina di persone sotto al palco che bruciavano di passione e si spellavano le mani dagli applausi, e lui continuava ad uscire e a suonare meravigliosamente, rientrava e poi riusciva, di nuovo a suonare. Una serata magica. Regale, carismatico, luminoso, mai vista tanta generosità in un grande solista come lui. Grazie Ivo! Stefano
I love this documentary and it is good to see Ivo enjoying his time in the magical city of Nara. His interview is so insightful just like his performances.
Total genius ! and the greatest and most interesting of musical interpreters . What a joy to see this artist explain something of his process of musical presentation.
Je le réécoute ce soir et suis séduite par sa passion contrôlée, son détachement et sa grande sensibilité après la fougue des jeunes années !...la sagesse du maître
Именно!... Очень точно сказали-,,мудрость мастера,,! Иво-уникальный музыкант кто бы и как не относился к его экспериментам и, безусловно, один из самых интересных в исполнительском плане музыкант!
It was a special event to have seen him perform live once, and even briefly speaking to him. His interpretations are razor sharp and so deep. E.g. in his interpretation of the Chopin concertos he revealed layers to me that I never knew where present in them - which I did not hear in other interpretations even from the most well-known pianists... (And I even doubt Chopin knew they were in there... :-) )
HVALA, Ivo za Vas intervju i interpretacije kompozicija iz Vaseg bogatog repertoara; secamo se kad ste davnih godina gostovali u Ambassador Auditorium, Pasadena, Calif. Bravo, Milos & Zorana Ercegovac.
2:17 -- Haydn: Sonata in D major, Hob. XVI:37, 2nd Movement 7:14 -- Clementi: Sonatina in F major, op. 36 no. 4, 2nd Movement 16:57 -- F. Chopin : Polonaise op. 40 no. 2 in C minor 24:06 -- Chopin Nocturne Op.62 No.2 38:04 -- Rachmaninoff Moment Musicaux, Op. 16 No. 5 in D-flat major 46:20 -- Jean Sibelius - Valse triste (Sad Waltz)
What a wonderful surprise to come upon this. Ivo is such an incredible pianist, and the English interview is so appreciated.....and of course his playing!
I was so excited when Sony made public that Ivo Pogorelich would make recordings for them again after years of silence. But after the first cd on this label came out it's once again silent! How sad. Because Pogorelich is one of the great pianists of today. What is going on?
He is a truly great and very serious musician whose performances are intellectually and spiritually engaging in a perfect location for his gentle but powerful artistry. At the Nara Hotel in Nara (one of the worlds most beautiful places) there is a photograph of Einstein who travelled on his Nobel Prize money in the 1920's to visit the Japanese physicists at the University who had been early champions of his ideas. He is energetically playing Mozart (we are told) on an upright piano in the bar. I do hope the Maestro saw it.
As a pianist. Am enjoying so much all, with interview included. Big Brother! Even if my ego would prefer this or that in any musical space, realize this is irrelevant. This is a truly gift and inspiration. Oh bro! You are samurai survivor of the perfect demonic ideal established by the standards. Go on!
I love and agree with Pogorelich's idea of tempo as an elastic dimension constantly deformed by subjective/psychological/emotional "gravity", against the idea of tempo like a Cartesian "tactus" or a beat. This is obviously possible almost only in solo-performances, and that represents IMO the fundamental difference between solo-music vs ensamble-music. I can't see solo-music simply like "music with a single instrument". Solo-music (hence solo-interpretation) lives on a subjective level, whilst ensamble-music lives on a more objective level.
It is very interesting when he speaks about the intellectuality of Chopin's music. I love the way how he doesn't look like a pianist at all. But he should have kept his hair.
I am 10 years younger than he, and I kept my hair. I support making it frazzle out like youthful genius perm. Because when the gut protrudes with age and lack of exercise / hormones, it is the HAIR which can restore youthful looks. I know he can still do it. Maybe one day. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xrfvEs9l4mA.html
In the 2018/2019 season, in which virtuoso Pogorelich celebrated both his 60th birthday and 40 years of his career, the Japanese state broadcaster NHK completed a feature-length documentary dedicated to the cult pianist, filmed at the historic sites of the town of Nara, which that year celebrated 20 years on UNESCO’s World Heritage List.
@@jfpary7336 Il maestro Pogorelich esprime suoni molto belli. Secondo me la musica di chopin non è intelettuale è musica sentimentale. Chopin, in una lettera al padre, dice:"la mano sinistra accompagna, segna il tempo; la mano destra insegue la felicità (la libido)". Con Pogorelich non riesco a percepire la felicità.
He has a very strange style; very exaggerated. I really do not like this much. He is trying to get blood out of a stone and failing. Personally, I think that this attitude of always trying to go deeper and more intense just leads to a quagmire. He should go back to being simple. Then he might do better. For example, in the Polonaise, the exaggeration is exaggerated. If you really listen and know the work, you can hear that the balance is bad in the second part. Why does he not bring out the inner tenor melody? His right hand is too dominant here. He says that Chopin's music is intellectual, but then he does not play it in that way at all!
I think it is a path of revolution of his music. He is much simplified in expression of sense of music during decades. He might lead to the maximum harmony in decades in the future.
Sadly, I have to agree. We don’t need Chopin in the style of Mussorgsky! I heard him in the late 1980s on several occasions, mostly in London. Even then he overdid things, but his sheer sound was amazing. And his presence was something special. Musically he now seems less relevant than ever, though the piano world would be the poorer without him.
He is one of the most daring risk takers in music, so yes, he will fail, and in big ways, in some performances. But he will also succeed in others, and get to a place where very few pianists can reach. I'll take the failures because they are part of the path to his great successes. I might also make an observation as a painter- a musician's mistakes are all onstage, for the public to hear. Thus the vulnerability is great. For a painter, we are much more protected. All my mistakes occur in the studio. No one sees them, and I can sneak them out and bury them at midnight and no one is the wiser!
I like his Chopin. Exaggerated? Maybe. But as a person gets older and starts to see what really is important, he/ she will drop what is excess and keep only what’s left to make life worth living. He has to exaggerate what is really important and the rest is going to be there of course but in the background. Just like great paintings. Life itself and It’s beautiful.
I like the japanese tradition. But I never be good in performing the japanese tradition. The same with playing piano, ko aying Chopin. You will never understand the european culture. Let's stick to our own traditions.
