{"title":"Ivo Pogorelich","description":"\u003cp\u003eb. 1958. Croatian pianist.\u003c\/p\u003e\n\u003cp\u003eCroatian pianist known for highly individualistic, sometimes controversial interpretations; notable for 1980 Chopin Competition; primarily records core Romantic repertoire.\u003c\/p\u003e","products":[{"product_id":"beethoven-chopin-scriabin-ivo-pogorelich-87573","title":"Beethoven, Chopin, Scriabin \/ Ivo Pogorelich","description":"Shot in various venues in Vincenca, Vienna, Turin, Padua between 1986 and 1987.\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 4:3 \u003cbr\u003e  Sound format: PCM Stereo \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Running time: 101 mins \u003cbr\u003e  No. of DVDs: 1 (DVD 9)\u003cbr\u003e  \u003cbr\u003e ---------------------------------------------------------------------------------------\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3364420.zz4_CHOPIN_Piano_Sonata_2.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003e CHOPIN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePiano Sonata No. 2, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e“Funeral March.” \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePolonaise in f?, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 44. \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePrelude in B?, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 28\/21. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eBEETHOVEN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePiano Sonatas: No. 27; No. 32. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eSCRIABIN \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eEtude, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 8\/2. \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e2 Poems, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 32 \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Ivo Pogorelich (pn) \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e C MAJOR 701308 (DVD: 101:00) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis video was filmed in 1987, when Pogorelich was in his late-20s. The locale is an ornate Italian villa with excellent acoustics. The sound engineering has held up very well, and the camerawork is unobtrusive. There is no showmanship. Pogorelich simply plays the music, without jumping about or making faces. He has one of the most compulsively watchable pairs of hands I’ve ever seen. I haven’t been this taken with the physical act of a pianist’s playing since I saw Earl Wild play the Gershwin Concerto in 1986. There is a balance of form and function in Pogorelich’s hands that is just enthralling. Pogorelich performs the Chopin and the Scriabin in a black tunic, switching to a plain blue shirt for the Beethoven. Perhaps there’s something revealing in that. The video footage was originally divided into five separate television programs, which simply are played here in succession. I didn’t find this distracting. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI believe Chopin’s Second Piano Sonata was one of the works Pogorelich performed in the 1980 International Chopin Competition in Warsaw. That was where Martha Argerich resigned from the jury after Pogorelich’s elimination, calling him “a genius.” This video contains a great rendition of the sonata. Even the brief introductory chords are dramatic and arresting. In the first movement, Pogorelich has a beautiful response to the second subject, varying it with richness and nobility on each of its appearances, the third time giving it beautiful tone coloring. The scherzo features a dynamic left hand, while its second subject is highly rhapsodic. The opening of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarche funèbre\u003c\/span\u003e \u003cspan\u003e is grand, even triumphant, whereas its second subject is shaded nocturnally. The return of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMarche\u003c\/span\u003e \u003cspan\u003e is terrifying, leading to the finale’s splendid virtuosic chaos. Throughout the sonata Pogorelich’s conception is bold, dynamic, and vivid. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe remaining Chopin works are equally impressive. The polonaise is freely shaped, colorful, and propulsive. The return of its main theme at the end is immense and thrilling. Pogorelich’s interpretation of the prelude is slow and stately. He brings the same ingratiating talents as a miniaturist to the short works by Scriabin. They highlight his craftsmanship as a subtle colorist and superb technician. The étude is languorous. As for the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eTwo Poems\u003c\/span\u003e \u003cspan\u003e, the first is dreamy, while the second is torrential. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003ePogorelich’s Beethoven is more provocative, owing to his preference for slow tempos. In the first movement of Sonata No. 27, I prefer to think of his tempo not as slow but as spacious. The music’s structure always is apparent. In the final movement, Pogorelich offers a truthful representation of Beethoven’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ecantabile\u003c\/span\u003e \u003cspan\u003e marking. This issue, however, bedevils the last sonata. In its first movement, Pogorelich’s concept of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003emaestoso\u003c\/span\u003e \u003cspan\u003e is assisted by his ability to clarify voices. This movement’s contrast of virtuosity and repose seems here to prefigure Liszt. Things bog down, unfortunately, in the last movement. There Pogorelich takes the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eadagio molto\u003c\/span\u003e \u003cspan\u003e marking too literally, interfering in his slowness with the other instruction for \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ecantabile\u003c\/span\u003e \u003cspan\u003e playing. His phrasing becomes choppy. Beethoven did offer the instruction \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003esemplice\u003c\/span\u003e \u003cspan\u003e, but that doesn’t mean to proceed so slowly as to be simple-minded. I watched this DVD four times before writing this review, and the last movement of Sonata No. 32 was the only performance I grew weary of. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIf you are collecting these works on CD, I can make some recommendations. In the Chopin sonata, I like Cécile Ousset (whose muscularity recalls Pogorelich), Leif Ove Andsnes, and Idil Biret. Richard Goode and Bernard Roberts are interesting in both of the Beethoven sonatas. For No. 32, there also are fine recordings by Bruce Hungerford, Jerome Rose, and, on a Graf fortepiano, Peter Serkin. Scriabin’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eTwo Poems\u003c\/span\u003e \u003cspan\u003e appears in a lyrical presentation by the Russian-American pianist Dmitry Paperno, on a lovely collection of shorter works titled \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThrough the Years\u003c\/span\u003e \u003cspan\u003e. As for Pogorelich’s DVD, it is fascinating and compulsively watchable almost all the way through. If you can overlook some rather zany Beethoven, it might be for you. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Dave Saemann \u003c\/span\u003e\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":46025391210730,"sku":"814337010133","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1600238.jpg?v=1778254525"},{"product_id":"ivo-pogorelich","title":"Chopin \/ Ivo Pogorelich","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIvo Pogorelich\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ehas a special relationship with the piano music of the Polish Romantic composer \u003cstrong data-mce-fragment=\"1\"\u003eFrédéric Chopin\u003c\/strong\u003e\u003cem data-mce-fragment=\"1\"\u003e.\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/em\u003eIt is Chopin, after all, whom he has to thank for his international breakthrough. When, at the age of 22, Pogorelich took part in the 1980 Chopin Piano Competition in Warsaw, his exceptional playing caused an immediate sensation. Martha Argerich, who was on the jury, described him as a “genius”.  Since that time, Pogorelich has been increasingly committed, on recording and in concert, to an image of Chopin that is far from the commonplace cliché of the brilliant and pleasing composer of salon music. Now Pogorelich once again offers completely new insights into Chopin’s world and the soul within the sound in what is in fact his fifth Chopin album, but the first for more than twenty years. He has selected works from the 1840s, the last decade of the Polish master’s life. These include the Nocturnes op. 48 no. 1 and op. 62 no. 2, the Fantasy op. 49 and Chopin’s third and last Piano Sonata, op. 58.\u003c\/p\u003e\n\u003cp\u003eWhat Pogorelich admires in these works is Chopin’s ability to make the piano a gateway to the soul: “Chopin delivers an open invitation to penetrate human psychology. It’s a specific invitation to continually seek out and explore every possibility that the piano has to offer. That’s a never-ending process, and it will continue to challenge new generations of artists in the future too.”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe Croatian-born pianist traces a path in this recital that starts with the small form, continues by way of the brilliant Fantasy and finally reaches the large-scale, four-movement sonata form. In Pogorelich’s hands, despite their magical lyricism, the two Nocturnes have a  gripping sense of tension and drama. The Fantasy in F minor, op. 49 is marked by a sombre mood of conflict, yet at the same time it reflects the improvisational skill for which Chopin was celebrated. With the Piano Sonata No. 3 in B minor, op. 58, the composer not merely bids farewell to this genre, with all its rich tradition. The work also demonstrates his efforts to create a new kind of sonata. And with Ivo Pogorelich this much-performed and popular piano work is transformed into an exciting new encounter with Frédéric Chopin.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eAfter a 20-year hiatus from the recording studio as regards Chopin, Croatian pianist Ivo Pogorelich (b. 1958) returns with an hour of deeply-thought, if eternally controversial, interpretations of some standard, late-Chopin repertory.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePogorelich claims that “art is cruel,” that it often violently confronts our conventions and our complacency. Even if one does not subscribe to Antonin Artaud’s credo of art’s “theater of cruelty,” we must acknowledge that Pogorelich softens the blows with a wonderfully warm sonority and clarity of line.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eIf one is willing to concede that “depth of expression” compensates for or justifies hyperbolic slowness, then Pogorelich’s \u003cem\u003eFantasy in F Minor \u003c\/em\u003e(1841) will appear a miracle of sustained intimacy, given its full three-minutes’ length beyond that of Claudio Arrau. The grim, martial opening will soon cede to national, Polish impulses in aristocratic contours, in mazurka and polonaise rhythms. Pogorelich becomes mesmerized by his own poetic filigree, so the musical thread loses a sense of dramatic continuity. Again, the luxury of the arpeggios and runs, high and low, mixed together with declamatory bass chords, proves haunting. In the middle section, \u003cem\u003eLento sostenuto\u003c\/em\u003e, Pogorelich finds a drawn-out, poetic balance of improvisatory and ballade-like narrative. The last pages become a postlude or epilogue, very slow and deliberate, strumming their way into a vaporous coda.\u003c\/p\u003e\n\u003cp\u003ePogorelich’s way with Chopin last, published \u003cem\u003eNocturne in E\u003c\/em\u003e (1846) feels better suited to his grand leisure: marked \u003cem\u003eLento, dolce sostenuto\u003c\/em\u003e, the melodic line can bear the stretched, serpentine extension it receives, more like Berlioz than Chopin. The secondary theme in ascending, bass runs achieves C-sharp Minor and a series of syncopations that articulate Chopin’s advanced sense of polyphony. Pogorelich makes these rhythmic impulses more lyrical than their accustomed wont. We feel significantly alerted to Chopin’s trills and moving bass line, as the piece eventually assumes a modified rondo format. The music ends, or rather collapses, into the tonic and evaporates.\u003c\/p\u003e\n\u003cp\u003eThe last of Chopin’s three piano sonatas, this in B Minor (1844), receives the most improvisatory treatment in the program. The opening, \u003cem\u003eAllegro maestoso,\u003c\/em\u003e acquires a searching gravitas, alternately martial and nostalgic. Pogorelich milks the secondary theme in D, breaking its dreamy phrases to contrast with the quicksilver runs that provide a coda to the disparate fragments. That the movement ends in the tonic major seems artificial here, another spliced-on, poetic shard.\u003c\/p\u003e\n\u003cp\u003eSo far as improvisation occurs, the \u003cem\u003eScherzo: Molto vivace\u003c\/em\u003e in E-flat Major from Pogorelich really proves the berries. He invests a liquid urgency into its eighth-note runs, while the chordal, B Major section projects reflective poise. Doubtless, all of Pogorelich’s slow tempos have been awaiting the B Major \u003cem\u003eLargo\u003c\/em\u003e movement, which now drags out a long, chain-link series of nocturnal thoughts in E Major. If the playing were not so intrinsically lyric, the progress would resemble a sweet dirge with tolling bells. The last movement, \u003cem\u003eFinale: Presto non tanto\u003c\/em\u003e, assuming the listener’s patience has endured, moves with a hard-won (after a lingering, high dominant 7th chord) gallop, a bit \u003cem\u003emarcato\u003c\/em\u003e for my taste, but at least moving with decisiveness, especially in the brilliant runs. The secondary theme in the relative B Major, hurls a sense of national pride at us, its left hand’s singing in the manner of a liberated etude. Pogorelich’s sonority gains the heroic high ground at last, thundering to a firm, B Major coda.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e-- Audaud.com (Gary Lemco)\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46039740449002,"sku":"194399120521","price":11.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4041866-2793552.jpg?v=1778807024"}],"url":"https:\/\/arkivmusic.com\/collections\/ivo-pogorelich.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}