No. 1 in B minor, Op. 20 00:20 No. 2 in B-flat minor, Op. 31 09:50 No. 3 in C-sharp minor, Op. 39 21:06 No. 4 in E major, Op. 54 29:10 Great Pianist Pletnev Plays Chopin Scherzo (Complete)
This man is a genious. Hes uncomparable. Every note he playes is just perfect, he playes everything better tahn everyone else. his technic is absolutely perfect, everything seems so easy to him. And his musicality is soo unbeliebable, his playing touches my heart no matter what hes playing. he is more than a pianist, to me he is music.
I listen to Pletnev. Then I want to hear more of him. So I listen again. Then I want to hear everything he played. That is my definition of a great musician.
Astonishing, I am in awe. Holy Chopin is here. Finally a thorough experience of Chopin's oceanic rage and strength, ignored in the conventional image of Chopin. This is the deepest Chopin I love the way Pletnev's fortissimo bass passages rock the piano into a crashing dissonant blur -- pushing beyond the limit of strict tonality, taking the piano as an unpitched percussion effect. Such compelling dramatic personal original playing.
And where is chopins piano-pianissimo ?? : // yea most musical man ever lived as written in comments... now imma go check my entire history if i ever was that delusional anymore after recognizing lang lang as the best pianist of them all
To me the thing that sets Pletnev apart from many of living concert pianists, is his understanding of what is going on in the music far surpasses the simple memorization and execution of the notes and markings. He understands the orchestration and every nuance of the development of all the motifs, where they fit in the big picture, therefore when he's sitting at the piano, his hands are really the orchestra, and his mind is really the conductor, and the composer, in the moment, of the articulation of the musical events taking place. You can hear it in how he articulates the phrases, where he chooses to rush, where he chooses to hold back, what he chooses to play louder and softer... It not just monster technique and retention. How many classical pianists out there today play like a conductor of an orchestra? It requires such a tremendous amount of dedication, analysis, comprehension, discipline, love, patience, time and experience... Very difficult to fathom, let alone accept for people with chips on their shoulders from their own colored musical experiences. This man is absolutely one of the top classical pianists of our time, if not all time.
Agreed, for me personally he's the only living pianist to scale the heights of Gieseking, Michelangeli, Richter, Gilels, Rachmaninov, Gould... He's had his own style of playing already in his early 20s yet his his interpretations deepened with age. His debute recital for DG in the 90s is one of the greatest Chopin recordings of all time and he's only gotten better since
OpusTravels I like many recordings by Hamelin and admire his super human technique. Wouldn't say he's up there with Pletnev and the greats of the past. His tone is pretty pedestrian, his Chopin is bland and boring. But his 2nd Saens Sans concerto is a masterpiece and many of the explorations of little known composers are fascinating. I live in Montreal so have heard him live on numerous occasions
I think people would do well to stop focusing so much on his technique and try to listen to his sonic world. His control might take away the excitement and risk that people seem to enjoy from other pianists as you feel they are on the edge of their capabilities, but it also adds a subtlety and architecture to the dynamics that only Volodos seem able to match/exceed. Incidentally, Volodos seems a victim of the same technique focus, and - like Hamelin - he spent years trying to get away from it.
I love the idea that what people enjoy about Cortot or Gieseking is that they're playing "on the edge of their capabilities", and not their musical singularity. Literally the only way to dream up this kind of rhetoric is trying to explain to yourself why some people prefer other pianists to Hamelin. I don't recall ever getting the impression that, say, Michelangeli is playing "on the edge of his capabilities" and his capacity for nuance makes Hamelin sound extremely pedestrian by comparison. "Sonic world"? His tone is always that of the piano on which he's playing, as opposed to a Gilels or a Horowitz, whose sound is immediately recognizable. Volodos sure can play the piano like nobody's business, but the maudlin emotionalism he offsets the pyrotechnical displays with makes him, for me, a fundamentally uninteresting artist (as opposed to Hamelin, who I think is very interesting).
Idk bro first thing there is no best musicians they re all just different and we must be thankful of them all of showing us those pieces as they see it and feel it but imaginative and musical?? I didn't see chopin soul in platnevs this performance im new to platnev i got rlly excited and amazed listening him perform prokofiev sonatas or other stuff but listening this rn... have to play scherzo 2 in 1 week on stage and i can tell u listening to this performance got me pretty upset
ЗДРАВСТВУЙТЕ, Михаил Васильевич ! Спасибо, Мишенька , за "Скерцо" номер "1" , за напоминание РОДНОГО для Меня произведения ! ! ! Твоё выступление в Концертном зале Хабаровской филармонии Я ПОМНЮ ! ! ! КРЕПКОГО ЗДОРОВЬЯ Тебе и ДОЛГИХ ЛЕТ ЖИЗНИ ! ! !
There's little I could add to this comment by "Rua" (below). "This performance is world class and defies criticism. I even prefer it to the Carnegie hall recording. Pletnev is in absolute top form seeming to be in a sphere with the composer himself. I never heard the four Scherzi played with such intensity, profound understanding, and incomparable sound." Pletnev is not only a consummate master of the keyboard, more importantly his powerful passion and penetrating insight makes him one of the most brilliantly creative artists who ever lived.
Pletnev é daquele seleto grupo de concertistas que sabe o que está fazendo, compreende perfeitamente a execução requerida. Tudo no tempo acertado e nas pontuações devidas. Harmonia perfeita entre os momentos fortes e o momentos de graça e leveza. Uma obra prima da beleza pianística. Parabéns por compartilhar o maravilhoso vídeo.
Absolutely. This performance is world class and defies criticism. I even prefer it to the Carnegie hall recording. Pletnev is in absolute top form seeming to be in a sphere with the composer himself. I never heard the four Scherzi played with such intensity, profound understanding, and incomparable sound.
A great pianist...I always enjoy his playing. Above all his interpretations of Tchaikovsky...A real musician...Bravo! (applause!) klap klap klap....ect....
Запредельно! Это прекрасно! Возбуждает желание бежать к роялю и заниматься до упаду, учить все четыре скерцо. Всё, что играет Плетнев, начинаю любить и хотеть немедленно играть, особенно то, что раньше не нравилось или бесило.
Михаил Плетнёв обладает феноменальной техникой.Особенно мне понравилось 1 Скерцо Шопена. Яркие пассажи чередуются с выразительной кантиленой в средней части. В этом произведении пианист не просто блеснул техникой, но и заставил слушателей проникнуться внутренним миром композитора.Внешне пианист ведёт себя сосредоточенно,а играет просто гениально!!!
this is the first time i heard him to play and i can´t explain whata i feel, he takes me away with his way to play, i just love the piano but i Just love more the feelings behind of it and of course we have a soul, the music is
Здравствуй, Мишенька ! У Тебя, у Твоего ИСПОЛНИТЕЛЬСКОГО ОПЫТА можно многому УЧИТЬСЯ ! Я точно слушала это "Скерцо номер 1" в ИСПОЛНЕНИИ Владимира Софроницкого ( есть Его Альбом пластинок, у Меня дома). Очень мощное, глубоко драматичное произведение и Твоё ИСПОЛНЕНИЕ ! Огромное СПАСИБО, КРЕПКОГО ЗДОРОВЬЯ Тебе, Мишенька ! ! !
Fantastic every note. The touch is wonderful; what a magician. Pity these days it just has to be videos as we cannot go to a live performance any more. He must have good reasons for not playing but for me it is so, so sad.
Brilliant. Pletnev played the four Chopin scherzos at his Carnegie Hall debut recital, in November 2000. Reviewing the CD of that performance, for Barnes and Noble, E J Johnson wrote:"There is an orchestral sensibility to these performances, a timbral and dynamic breadth that seems to strive beyond the piano's limits...Chopin's four Scherzos are simply dazzling ..."
Umi Garret is a young lady for whom I have great respect. She is now twelve and proving herself to be one of the world's great musicians. She has the technique to play anything. But it will take a bit longer for her to build a repertoire. Please take the time to listen to and see Umi, I am sure there are many places in music for us to find agreement. Chopin was not the dreamer that people take him for, he did not like sentimentality. As Rubinstein said: "Chopin was strong - in his heart!"
Полностью согласна с Вами в том, что Плетнев великий музыкант, как пианист, так и дирижер.Во всяком случае мы, слушатели, или совпадаем мироощущением и чувствованием с каким то музыкантом, или не совпадаем. Отсюда столь разные мнения...
Very intelligent observation! Severity is the right word. Mr. Pletnev reveals to us so much more of Chopin's character than these so called "passionate performances" (a cliche) do. Nor does the insincere "perfection" of a Zimerman. Uneducated listeners can't hear this, which is pitiful, but understandable.
Fantástico!!! Cuando era una niña amaba tanto la música de Chopin que fantaseaba con volver al pasado con la vacuna de la Tuberculosis , B C G. Y salvarlo de esa muerte tan prematura, entonces pensaba cuántas obras más hubiese podido componer. Hoy tengo 62 años y sonrío con ese recuerdo que nunca se lo conté ni a mis amigas porque ellas estaban en otra y se hubieran reído. Lo cierto que estaba enamorada de la música de Chopin. Desde Argentina: La abuela Marisa.
Truly extraordinary. This is artistry at its finest. Thank you for sharing. A side note: I found the high pitched F-sharp of the video a bit distracting but somehow it harmonized with the music in places!
соревнования,кто быстрей придет к финишу???Кому то в голову пришло сравнить этот бег по пересеченной местности с великим Горовицем. Люди, опомнитесь, где ваши уши? чтобы так расстрелять МУЗЫКУ! Не играть, а плеваться звуками в публику?Это просто оскорбительно...
Yes, I am agree with the Sheepfarmer01 and with the hotbebimauz "Fantastic every note. The touch is wonderful. what a magician. This man is a genious. Every note he playes is perfect...."
Не соглашусь с господином Стравинским, хоть и сложно априори спорить с человеком такой фамилии)) Плетнев равновелик и Рихтеру, и Гилельсу, и Горовицу...С неповторимой колористикой, звуко-техникой, исполнительским временем, которое хоть и импровизационно по своей природе, но абсолютно уместно и убедительно и не вычурно. Гениально! Браво
It shows great musical ignorance to compare Pletnev's performances to those of an eleven year old kid. Pletnev's art is mysterious and in a class for itself. His Chopin has unreachable depth and naturalness, it sounds almost like he was in a sphere with the composer himself. He is a genius and comparable only to very few Chopin players.
Can someone PLEASE explain why *so many* RU-vid piano performances are affected by a background "ringing"? In this case, it sounds like someone backstage using a Sawzall to cut a brake rotor in half -- but only when the piano is being played. It's silent during the caesuras. I've heard this on *numerous* RU-vid videos of piano recordings and it's beginning to make me a little crazy.
I am not sure if you actually listened to Pletnev of to someone else because the word "sentimentality" is a total joke here. Pletnev is the last pianist who adds sentimentality. To the contrary he plays straightforward and naturally as Chopin intended. Pletnev is convinced that Chopin is a realist, not a romantic. There are eccentricities here and I don't agree with all of them but they are well thought out and in service to the composer.
His imagination is the overriding factor. The NOpedal in Chopin(difficult passages) we should call him. Often it's not what we think we see on the page he organizes it all and comes up with his own reasons based on harmony,architecture, rhythm. A deservedly famous and sometimes controversial musician . Noone plays Chopin like he does .As much fun as listening to Shura Cherkassky ! Its as if he is concentrating on carving sound. This is the least lyrical or romanticized Chopin you will find anywaywhere .Hardedged for the 20th century bled out of all innuendo , hidden voices . Pletnev is an intellectual .He was kind of new he didn't bring the russian school with him in that sense .Itisn't the old manner but it has the technical perfection .
Fourteen year old Amadeus Mozart performed at the Bibiena theater for theater, academia, and Scientific discourse architectural hall of wonders by architect Antonio Bibiena.
Amusing comments from Geert Dehoux. Losing gamblers always complain about bad luck. So the reason why Geert is not as famous as Pletnev is - no doubt - that the audience does not understand the depth of Geert's interpretations.
He kinda looks like a guy who's just reading a book. Incredible. (reading is easy, playing choppie's scherzos; not so much!) I came from the Volodin Tchaikovsky Nutcracker video - Pletnev transcribed it? I love that video.
pletnev plays this music so different. noone would dare play mozart the way he does . strange colors strange pedls. i cant believe he is serious ut his chopin is great and he can do anything.
Much of the customary spun sugar one gets with someone like Michelangeli is gone in these interpretations, and the cold geometrical severity Mr. Pletnev serves up maybe forces the listener to worry ever more seriously about the mysteries behind Chopin's text. The coldness here forces into the awareness more than before the personality of the composer.
Exactly, we get a thorough experience of Chopin's oceanic rage and strength, ignored in the conventional image of Chopin. This is the deepest Chopin I love the way Pletnev's fortissimo bass passages rock the piano into a crashing dissonant blur -- pushing beyond the limit of strict tonality, taking the piano as an unpitched percussion effect. Such compelling dramatic playing.
