Mikhail Pletnev plays Rachmaninoff - Preludes, Morceaux, Etudes-Tableaux (Warsaw, 2017) 

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Thank you Russia for you genius . I love you !!! Fron italy . Como lake..

Да, гениальный!

ПОЛНОСТЬЮ СОГЛАСНА! Потрясающие образы, это целые спектакли, поставленные гениальным режиссёром, мастером звукоизвлечения.

@@user-ph3vn6ze7o , я что-то опять плачу, никто другой так...

Вот правда,очень тонкий,необыкновенный,не каждому технарь такой талант даруется

Да,и не только Рахманинов!

Не знаю, прочитаете ли Вы мой ответ, но так хотелось! Вы написали "человек - оркестр". Я же хотела сказать: Плетнёв текст для фоно рассматриваете партитуру оркестра. У него нет правой - левой руки! Каждый палец, кисть , ладонь обретают свою партию. Поэтому музыкальный текст воспринимается, как полотно, а Плетнёв как дирижёр собирает каждую ноту, встраивает ее в пространство. Как он заканчивает игру!!!! Своим кулачком смахивает с клавиатуры все звуки как карты, зажимает их и поднимает вверх, ставит точку. Как я рада Вашему комментарию. Я не одна!!!! А перед Плетневым все расступаться должны. Герой!!!!

Love comments from you both ❤

I wouldn't exaggerate saying, that by Pletnev's playing we learn Rakhmaninov from the point ,almost none of us thought before. Suddenly you start to get, that all that was written by musicologists about him ( devotion to homeland , he had to part with when Bolsheviks came , bell - ringing in his music, etc. ) doesn't really touch the main theme of his life - and that's relationship with the Death. It sounds strange at first glance , but his happy childhood , followed by world fame both as a composer and a pianist, was a big contrast to what was probably his inner world. By friends we know , Rakhmaninov was a kind of person , who was very easily depressed. Any light disease made him think he would never recover , and any slight misfortune in work made him feel he would never write anything anymore. And probably at these moments the bells of happy childhood ( the time he spent with grandma in Novgorod ) suddenly became those of Dies irae. Being very honest and morally pure man (sometimes too much ) he believed the bell would toll one day and he would get punished for all the bad things he made. I won't exaggerate if I say that all of this we hear in playing of neither of pianists , but Pletnev.....

Dear Vova Hrenov, Rachmaninov's friend, wonderful musicologist Leonid Sabaneev writes (I translate from Russian, do not blame me for the translation): www.e-reading.club/chapter.php/93162/22/Sabaneev_-_Vospominanie_o_Rossii.html "Rachmaninov lived a brilliant life, substantial, long and happy. Very few musicians can boast of such luck, accompanying Rachmaninoff from his youth to the grave. Still a young man, before he could get off the conservatory bench, he was already known, popular, and kindly treated by Tchaikovsky himself. His first works were greeted enthusiastically, and by the time he was twenty years old he had become a favorite of the public and criticism - he saw the successor of Tchaikovsky, who had just left. Soon he added to this the laurels of a first-class pianist and a remarkable conductor. By the time of his departure from Russia, he was, in fact, the most beloved and popular composer of his own, then the younger generation and the most popular pianist. And ahead of him still waited world glory, triumphs and honor. He was rich and family happy ... And yet, with all this, Rachmaninoff is a tragic figure. Exactly some constant gloomy shadow overshadowed this brilliant, successful life. He was in the depths of his completed type of pessimist - another trait that related him to Tchaikovsky, who in his life still had more grounds for pessimism. Taciturn and reserved, not that secretive, but never saying what could not be said, he seemed to be possessing some sort of psychic drama. And his music is one of the most sincere music in all musical literature, the only area where he "let out" - this music is perhaps the most gloomy in the world. Above his work hung a color of some gloomy splendor, as if he constantly performs some solemn funeral rites. Let us recall a series of his main creations, the milestones of his creative path: Prelude cis-moll, Second Concerto, where funeral rhythms sound from the very beginning. Third Concerto, Tchaikovsky's Trio (there is already a funeral in the title), "The Island of the Dead", "The Bells" is his favorite work, where the funeral outcome of the world outlook is already clear. In his creations, the funeral melody "Dies irae" occurs five times - this did not happen to any composer. In his works, not a single smile, not one real moment of merriment - there is neither irony nor humor, which illuminated Mussorgsky's intrinsically gloomy work". I believe that the current structure of Pletnev's inner universe is close to that described above ...

Прекрасный перевод и прекрасно сказано........

For me Michail Pletnev's interpretations are underdone. His music, when listening to Rachmaninov or Saint-Saens, is erratic, without any concept.

my favorite too...

@@yelenaburchill6500 Rachmaninoff was a great melody writer and composer!

I've never heard it like he played it. The ending with the descending thirds is supposed to be played fortissimo, but he does mezzo-forte into fortissimo. I kind of like it! It gives the piece a sense of being incomplete. It is the first piece of a collection, so it makes sense!

That swell at 48:00 ... man I can't stop listening to it.

Wait til you hear his Tschaikowsky SECOND!

Just because all that you listened to by now wasn't Rachmaninov. Only Pletnev and Horowitz know how to play this music.

Indeed. Most are either unable due to lack of tasteful musicality, or they only dare to do middle of the road interpretations. It's boring. After Pletnev not much compares.

Unfortunately his 39/7 goes in much contra the score. Some of his 'innovations' are rather interesting, but the most actually not. They just don't make sense. Especially the treatment of tempo which is oscillating half the time. I cannot follow his thought there, it isn't logical to me.

Есть ли смысл в обсуждении гениального пианиста.❤

Как тонко передал все чувства тоски по Родине...

пишите грамотно

Thank you!

Thank you Polina! (I knew what the Preludes were, but not the rest, so very useful!)

Причём с конца 80х годов 20го века.

Grigory Sokolov has More colorful beautiful piano sound than Pletnev! Grigory Sokolov is the Giant of Piano! The Titan of Piano! Pletnev is the King Haydn concerto no 11 and Prokofiev concerto 1 and Saint-Saens no 2! Sokolov is the King of Chopin concerto no 2 and Brahms no 2 and Mozart no 24! Dimitri Bashkirov her teacher Anastasia Virsaladze teach saying to Bashkirov the most important lesson is the love of beautiful colorful piano sound! This was already in 1930s! Really Shocking!

послушайте в исполнении Сергея Рахманинова

Лучшее все же, на мой взгляд, у самого Рахманинова. Но Михаил Васильевич тоже глубоко затронул. Хорошая у него "Элегия"

@@mityai1983 Абы што.

This is called Compressor. You're right, it's stupid

@@tobiaskahl6610 неправильно

@@tobiaskahl6610 -- But without it some passages are INAUDIBLE, right?

@@steveegallo3384 You may be right. So go to live concerts when you can. Use 33rpm records when that fails. Only rely on You Tube type playbacks to find out what the notes may have been.

@@christopherjohns9631 -- Your gift for sarcastic wit precedes you....Sure beats plain speaking!

Check your speakers

Yeah, although I miss the raw emotion in some players, pletnev definitely isn't one of them, so the issue might be in the recording or as Igor suggested in your audio system

No...You're absolutely right! It's like he's playing "salon." Now, Richter, Weissenberg = Grand Sound! Although that having been said, Pletnev's Tschaikowsky SECOND is the GREATEST!

This is not a music of brutal passion , but tragedy , going throughout his (Rachmaninov's) life

Никакой " зверской страсти " тут не было никогда и быть не может. Это вам не балет "Корсар"

Чем богаты, тем и рады!

From what I've heard so far, I completely disagree. For 'distorted' read 'interpreted'.