S. Rachmaninov: Moment musicaux in E minor, Op. 16 no. 4 Ivo Pogorelich, piano Live recording from a recital at the Rector's Palace Atrium in Dubrovnik, as a part of Dubrovnik Summer Festival August 9, 2016
Rachmaninoff played his compositions as if he were improvising and composing them in performance, this is how his work should be played. Ivo is definitely performing in the true spirt of Rachmaninoff, that expressive fluidity and powerful intensity. No two performances should ever be the same.
@@ciararespect4296 I prefer Lugansky too but I like Pogorelich's style. He is original, you can like it or not, but he delivers an original performance like an original artist should. At least thats my ho.
Ivo has and will always be polarising, but I quite like this. There's hundreds of the same-old run of the mill interpretations out there, I've listened to them all and remember none of them (Lugansky excepted). He knows how to stand out.
Bro Lugansky is an actual god when it comes to Rachmaninov. Op. 33 no 4, op 39 no 5, and op 16 no 4 will always be known as luganksy’s pieces in my mind
Porgorelich tiene un aire y un fraseo muy distinto al resto de pianistas que toca Rachmaninoff. El sonido que logra, la sutileza con que toca en algunas notas y pasajes no las he escuchado en otras interpretacines, es simplemente fantástico!!
@@elegachi i wouldn’t call it brilliant, it’s kinda eh. Takes away a lot of the drama and terror this piece invokes when played by someone like Lugansky
It's the kind of playing and acoustic that works ONLY if you already know the music. The sound levels between the hands are not regulated well. And it's obviously overpedaled. If you're a first time listener you won't hear the piece properly and probably won't get it. Lazar Berman sort of introduced this music in the late 1950's and his is still the standard as far as I can see.
yeah, its way over pedaled. im shocked because one of my favorite parts of pogorelich is his dry and articulate sound, which this is the complete opposite spectrum of.
Very impressive rendition! Don't think he played from the score. That's almost impossible. He just played it from memory. He just had the score in front of him to prevent a memory lap.
How can he not be playing this from muscle memory... a level of virtuosity where a score seems out-of-place. If he is reading it real-time, it is truly remarkable.
Of course he's not reading it. Each piece he's playing nowadays live, he's probably performed it at least tens of times if not hundred, not to mention how many times he read it and played in detail while practicing. As any concert pianist as a matter of fact. Sheet music is there just in case he needs a reminder.
"Chopin´s playing evoked all the sweet and sorrowful voices of the past. Chopin sang the tears of music...in a whole gamut of different forms and voices, from that of the warrior to those of children and angels..." Bohdan Zaleski, polish poet, personal diary 2 feb 1844. "Under the fingers of Chopins´s hand the piano became the voice of an archangel, an orchestra, an army, a raging ocean, a creation of the universe, the end of the world." Solange Clesinger. Ivo is the archetype of the modern artist, the isolated and courageous master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquisite and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotized by his new and radical naturalness, by his nobility, dignity, severity and sobriety; transporting us to states of wonder, ecstasy, meditation, redemption, love and compassion. Sound and Silence, Life and Death, Time and Space; collapse into the Eternal moment of Infinity. - THE KING OF CHESS - You are the protégé of Death contemplating nailed in your Grave the game of Life. You're the one with the eyes on the nails of a Cross. Your hands caress tenderly the blind backs of your soldiers. Your armed and soulless guardians they ask you kneeling that you nail a cross to their chests because they are afraid of not being crucified at the desired time. Loyal painters advance drawing you the secret roads of Death. Your steel tears destroy when they fall the bare toes of your feet. Over the Earth keyboard the rain unearths the thousand hands of war. ! Oh King of Chess living pain of your childhood! ! You die for not winning and you also die to win! Alvaro Serralta - EL REY DEL AJEDREZ - Tu eres el protegido de la Muerte que contemplas clavado en tu Tumba el Juego de la Vida. Eres el que lleva los ojos en los clavos de una Cruz. Tus manos acarician con ternura las espaldas ciegas de tus soldados. Tus guardianes armados y desalmados te piden de rodillas que claves una cruz en sus pechos porque tienen miedo de no ser crucificados en el momento deseado. Leales pintores avanzan dibujándote los secretos caminos de la Muerte. Tus lágrimas de acero destrozan al caer los desnudos dedos de tus pies. Sobre el teclado de Tierra la lluvia desentierra las mil manos de la Guerra. ! Oh Rey del Ajedrez dolor vivo de tu niñez ! ! Tu mueres por no Vencer y también mueres por Vencer ! Alvaro Serralta
Brilliant! I have always loved his playing especially Scriabin. I love that he is using music a la Richter. There is no need to memorize music, as Gould thought the piano recital was like a circus act, just waiting for the performer to slip off the high wire. With music we can hear more performances of great music. Why don't orchestras memorize their parts? Is it really distracting to see them turn pages? I can't figure what Ivo is doing here, there are no markings on the score so I would assume at some point he worked out all the fingerings and is just using a clean score to jog the memory once in a while. I see nothing wrong with this at all especially if we can see more of him without the added burden of memorization.
Fantastic interpretation. Also I don't know if anyone else noticed how big his hands are. They are so big that he looks like he needs a somewhat larger keyboard. Rachmaninoff had such large hands and that is the reason why his works are very difficult to be played by those with smaller hands.
this one is my favorite: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kQD8IpWShKM.html I'm particularly impressed with her crescendo on the descending chromatics and passionate delivery of the melody. Would love to hear your comments on this.
@@exegetor absolutely excellent. If I were to nitpick I prefer Lugansky interpretation over it but they're virtually the same and different piano tone/action. Hall acoustics etc
I just listened to both and though there's something very clean about the Lugansky I don't know doesn't feel like it's played by human being and he's not the only great pianist I feel that way about sometimes this one whether there's too much damper pedal or not it's so human I definitely prefer this one and I've never heard this piece before this is a first time listening and I'm not really particularly familiar I mean I know who ivo p is but I've not heard much of him
После такого прочтения этого "Момента"-другие интерпритации меркнут как-то. Такое исполнение -открытая боль... Оттого трудно слушать. Нужны силы сопереживать.
I guess this is what you can do when you at “that level”; where people praise you for whatever you even though it’s not even that good. Sadly for most of us pianists, we may have even better ideas than but must conform to the “standard” way of playing because, let’s face it, playing like this will get you kicked out of the competition or the conservatory.
Yeah, if people seriously think this interpretation is any good then they're either not pianists and have no clue about classical music or they're deaf.
@@spicy7302 Don't be offensive like that. Ivo Pogorelich is a guy who decided to take risks by delivering highly atypical interpretations. So yes, it is polarizing and many do not like. But it's no reasons to insult him. We need people to take risks.
@@victorngrt8800 We need people to take risks and deliver quality in those risks, what he does is nothing short of low quality. If you even tried to listen to this interpretation, you'd not only notice that you can barely hear the melody (he covers it up with the difficult part) but he also just straight up doesn't sound the notes leading into those thirds at the start. They are pretty much inexistent. Also, the thirds are very badly voiced. You can barely tell they are thirds. There are also parts where he introduces random accents for no reason and it makes no sense. If Rachmaninoff wanted the notes leading into the thirds to be barely hearable, he wouldn't note an ACCENT on both the note and the third. If he didn't want thirds, he wouldn't write thirds. If he wanted the accents he introduced, he'd write them. But he didn't. This isn't revolutionising, this is taking something and ruining it and having people applaud you. Another terrible mistake he does is that he messes with the tempo. Yes, tempo fluctuations are okay in Rachmaninoff, but he SLOWS down before most culminations. That makes absolutely no sense.
@@spicy7302 I agree with most of your points but i think that the greatest performances stem from trying things out and seeing if they will work out. I think you will agree with me on that, although what we are both thinking is probably that those weird interpretations should be made when one is studying the piece and not when performing it, where the audience should hear a balanced and tasteful culmination of the ideas that came up in the process.
@@ApostolosK06 Yes, I 100% agree. There is no other way to find out if an idea works. You just try it out, listen and then decide if you keep it or throw it. But you need to keep only the good ideas, not just mix in random thoughts into a piece and call it a day, which is what Pogorelich seems to be doing here sadly.
Eh si, geniale perché è Pogorelich....se foste dei pianisti o meglio ancora dei validi insegnanti di pianoforte e aveste un allievo che suona così, e per quarant' anni si ostinasse a suonare in modo tutto scombiccherato, vedreste cosa gli direste... ( Attacchi indecisi e sporchi della melodia declamata, articolazione confusa e armonie distrutte dall'uso del pedale indiscriminato, andamento da ubriachi circa il tactus, etc.etc....) Il popolo dei Divi, come Pogorelich, quelli che si pavoneggiavano perché avevano un bel visino, con i guanti bianchi a suonare con Karajan giovanissimo, adesso assomigliante fisicamente a Putin, invece, capaci persino di dire cose poco gentili a chi ha creato loro una carriera con le polemiche, ringrazia il popolo degli ascoltatori, che quando ascoltano hanno le orecchie al vento...
Music is the art of sound. No idea how having the score present distracts from the audiences experience. It gives the performer some security and guards against the dreaded memory lapse. If sheet music helps you need to think of the performer not the audience !
@@marksmith3947 What do you mean ? Sources ? Also I don't get the problem with sheet music. Music is about music. People listen to the produced music. Nobody care if there is a sheet, or idk what on the stage
Are you joking about the sheet music I could care less I mean I listen with my ears not my eyes I wouldn't even notice at a concert if he had sheet music I mean I'd notice but it wouldn't affect me
@@spicy7302 He was one of the greatest when young so he kept many things from, there is a lot of dramatic power then sudden accelerations, the sound is powerful, technically not that bad. Is he near any of his peers at same age? No. Usually great pianists get better with age, he only gets worse, similar to Gavrilov. Interesting fact, both quit public performances for many years, before coming back. Burnt too fast.
