Taken from his legendary recital at Carnegie Hall in 1990. One of the best ever. Full recital here: • Ivo Pogorelich ..Recit... Stupendous clarity on every note. I love how Pogorelich does not pedal this piece too much!
What a fucking fantastic performance. Love how much he brings out the left hand - there are SO many details that get muddied in most other performances!! 0:25 A weirdly meditative/grounded F in the top of the bass clef (and the rest of the quarter notes like this are similarly grounded; provides some clarity in the madness above and below it). 0:55 Love how maestoso/marcato the LH chords are! The crescendo from 1:10 leading up to 1:14 is gorgeous omg. This part REALLY showcases how much personality has been injected into this performance. 1:34 Love that the bass notes don’t get neglected. 1:50 Love that these often neglected middle chords (shared between both hands) are actually brought out - and very neatly transition into the higher melody that comes right after. 2:07 omg and something similar happens here, except the LH carries the chords and passes them off to the RH! How cool!! 3:15 Love that these arpeggios are actually played in tempo (most pianists rush through them) and that the last chord is ACTUALLY staccatissimo. This is such a fun piece, but wow Pogorelich takes it to a whole new level.
Of course, the documentary of Ivo with his wife and teacher, Aliza, showcases a very interesting technique you hear at approx 1:04 with the chords interspersed between the arpeggios (it's a very trademark Pogo sound), they talk about Gaspard mainly and she focuses on "tearing" chords. By sort of 'grabbing' the keys and then leveraging the wrist to make a "tear" motion when you go to strike a chord. This effect is definitely here and showcases the truly unique physical conception Pogo had at the keyboard. Plus, you can hear just from the recording how high he lifts his arms and uses the pure weight of his arms to strike keys (2:19, where he really thunders the bottom F bass in each bar). I mean, look at his 1994 Italy recording of the Chopin Op. 39. He ends off the piece with a chord struck from the clouds where Zeus himself lay. And look what that did to the piano strings 😂
I love hearing his aggressive breathing around the minute-and-a-half mark, it adds to the intensity of the piece, whilst also reminding me of the fact that this is, in fact, being performed by a human.
Liszt wrote these as studies of course and made them extremely difficult to play. This is a remarkable technical performance which as a pianist I really appreciate, but personally listening to it purely as music I find it an incredibly annoying tune 🙂
He's handts are perfect, I listen to him in Brussels six years ago he Schumann fantaisie, Liszt Dante Brahms Paganini the two books and Petrouchka on one récital, incredible ❤
Incredible! You literally see them playing fools joking tricking jumping, you hear them laughing full throat with fresh voices, punching each other. Never heard something like that.
This is supposed to be sprites playing around. They must have some very heavy shoes. I played this 50 years ago. It is supposed to be very light and airy. Not heavy as he plays it.
@@pietrosawano arraus ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-eLpMxlXmrug.htmlsi=yU-iYSCfG2__m1Xi. slower but as intended as liszt said 120 to every eight note. its just more poetic that way. but if you have only heard fast perfomance you might be to used to the fast and non poetic playing of fuex follets to really enjoy a slower speed. but if you set yourself to it you can see that this piece isnt just a virtuoso fast piece to impress people. but a poetic piece with a unique sound revolutionary of its time. the independent pianist has a video about it where he says about the same things as me ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oeV-UOU5UrY.htmlsi=U8yOPRxXNBcAspaS
@@jackisinforthewin Oh yes, Arrau's version. It's controversial, but at the end, it was liszt's tempo marking so it must be correct. it all comes down to personnal preference, each one has its own charm to it!
