And according to the current interview, I can reconfirm that Chopin op. 58 is a life long encounter and I agree that revolution comes not after decades but moreover by reading and reflecting the texture. I remember one important moment back in the 1990th, when I heard a very matured performance of the Chopin sonata op. 58. I thought "Wow. This is full of experience , worked out nearly in a perfect way - it could be Rubinstein!". Finally it was the young Yefgeni Kissin , aged nineteen years at that time. Knowing Chopin's understanding of how to play his works, it's very important to mention that he hated to perform one piece in a equal style. It should always sound like a brand new composition and it should moreover sound like a improvisation. I myself would describe it like the configuration of snow flakes: they all have the hexagonal structure but one looks never like one another...Meanwhile Ivo choses different tempi. Never to demonstrate his virtuosity or his technical piano skills. Since Einstein, velocity or speed ( or tempo) is a stretchy issue. In our times , we have more and more young pianists who can impress their audience because of using an incredible very fast speed of everything. This issue seems to be not discussed with teachers anymore. But what about the spirit of the immortal phenomena of great composers? Did they really want musicians to abuse their scores just to demonstrate that they're able to play "wrong notes"? I want to mention Miles Davis, who said " Wrong notes are not existing. Just regard the following tone and than you're right!".....That's why I feel bored following pianists like Lang Lang or Y. Wang. It may impress many people but that does not count, if the composition is not worked out. Music is something for your ears. Do you hear "tight skirts & high heels"?
@user-to8bw4gu8f2 жыл бұрын
Истинное искусство! ИВО художник фортепианного искусства! Мыслитель!!!
@prokastinatore2 жыл бұрын
I heard the maestro in Germany a few days ago Ivo played the Chopin f-minor concerto with the Basel chamber orchestra without a conductor. His performance was breathtaking and it doesn't matter that he always uses the score ( Svjatoslav Richter always played with a score). Ivo played that concert multiple times in his long lasting career and one sounds never equal to another. When Ivo is on stage, he's always reflecting what he does and it sounds like the composer is playing himself. No star allures. No wrong attitudes like ignorance in front auf the audience or arrogance. He even didn't try to conduct the overwhelming chamber orchestra. What he worked out was the architecture of this piece. Very clear harmonies and the themes were performed like singing. "Cantabile". I noticed nobody coughing. It was an atmosphere like mediation. It was very hard to hide my tears because I didn't wanna bother or disturb his encounter with Frederic Chopin. From my points of view Ivo is again and in these days (2021) a "game changer" . Even Martha Argerich playes Chopin more as the audience is used to know. When it came to the encore, Ivo still played the 2nd movement accompanied by the orchestra one more time and it's essence was different from his first approach. Brand new. Awesome. Visionary. Ivo is a world class musician who forces his audience always to listen to his interpretation. He want's you to use your ears active....When he finished his encore, I also left because I felt so rich and satisfied with his Chopin that I did not feel any desire to listen to the Mendelsohn symphony in the second part of this concert. I hope and I wish that Ivo will not be seen as the "enfant terrible" in the reviews of this all time selfish journalists. I also hope that Ivo will not be seen that underrated anymore. For me, Ivo and Martha Argerich are the last active performing artists like "grand children" of Arthur Rubinstein, Vladimir Horowitz, Arturo Benedetti Michelangeli and Alfred Cortot. This generation learned how to read scores and to work out its messages. At the moment I only could mention the "next generation" following Martha and Ivo. First of all Beatrice Rana and second Yulianna Avdeeva, who won the Chopin competition in Warsaw in 2010. I hope that people worldwide will listen to Ivo in the upcoming future less prejudiced and more open minded and open hearted! Thank you maestro Ivo! Go ahead!
@johnlackland8738
2 жыл бұрын
i completely agree ! , also having heard pogorelich a couple of days ago in freiburg, concert hall: a deeply moving experience, very intense. for me, the experience was like listening to improvised music, where nothing is "foreseeable" or expectable; this is very rare in my experience in classical concerts: a situation where you hear or experience the music as if you haven't heard the work before. perhaps the somehow worn out term is "immersion". i however disagree with "prokrastinatore today" (and with the journalist of the local newspaper) about the encore, the 2nd movement: i heard no difference in the interpretation/ phrasing/ tempo - one could learn (again) how meticulously the maestro is following a "concept". of course, the listener has changed in the meantime: and listening to the same piece of music is always a new experience. [a side note: i also thought of leaving the hall directly after this stellar performance, but stayed since I wanted to avoid bothering the neighboring listeners in my row: wrong decision]
@Alvianta2000
8 ай бұрын
Как удивительно точно и тонко Вы рассказали об исполнении фа минорного концерта! Я тоже была среди публики, это было в Германии , кажется в ноябре 2021. И мы не остались слушать Мендельсона, потому что после интерпретации Иво Погорелича это было просто невозможно.
Пікірлер: 8
And according to the current interview, I can reconfirm that Chopin op. 58 is a life long encounter and I agree that revolution comes not after decades but moreover by reading and reflecting the texture. I remember one important moment back in the 1990th, when I heard a very matured performance of the Chopin sonata op. 58. I thought "Wow. This is full of experience , worked out nearly in a perfect way - it could be Rubinstein!". Finally it was the young Yefgeni Kissin , aged nineteen years at that time. Knowing Chopin's understanding of how to play his works, it's very important to mention that he hated to perform one piece in a equal style. It should always sound like a brand new composition and it should moreover sound like a improvisation. I myself would describe it like the configuration of snow flakes: they all have the hexagonal structure but one looks never like one another...Meanwhile Ivo choses different tempi. Never to demonstrate his virtuosity or his technical piano skills. Since Einstein, velocity or speed ( or tempo) is a stretchy issue. In our times , we have more and more young pianists who can impress their audience because of using an incredible very fast speed of everything. This issue seems to be not discussed with teachers anymore. But what about the spirit of the immortal phenomena of great composers? Did they really want musicians to abuse their scores just to demonstrate that they're able to play "wrong notes"? I want to mention Miles Davis, who said " Wrong notes are not existing. Just regard the following tone and than you're right!".....That's why I feel bored following pianists like Lang Lang or Y. Wang. It may impress many people but that does not count, if the composition is not worked out. Music is something for your ears. Do you hear "tight skirts & high heels"?
Истинное искусство! ИВО художник фортепианного искусства! Мыслитель!!!
I heard the maestro in Germany a few days ago Ivo played the Chopin f-minor concerto with the Basel chamber orchestra without a conductor. His performance was breathtaking and it doesn't matter that he always uses the score ( Svjatoslav Richter always played with a score). Ivo played that concert multiple times in his long lasting career and one sounds never equal to another. When Ivo is on stage, he's always reflecting what he does and it sounds like the composer is playing himself. No star allures. No wrong attitudes like ignorance in front auf the audience or arrogance. He even didn't try to conduct the overwhelming chamber orchestra. What he worked out was the architecture of this piece. Very clear harmonies and the themes were performed like singing. "Cantabile". I noticed nobody coughing. It was an atmosphere like mediation. It was very hard to hide my tears because I didn't wanna bother or disturb his encounter with Frederic Chopin. From my points of view Ivo is again and in these days (2021) a "game changer" . Even Martha Argerich playes Chopin more as the audience is used to know. When it came to the encore, Ivo still played the 2nd movement accompanied by the orchestra one more time and it's essence was different from his first approach. Brand new. Awesome. Visionary. Ivo is a world class musician who forces his audience always to listen to his interpretation. He want's you to use your ears active....When he finished his encore, I also left because I felt so rich and satisfied with his Chopin that I did not feel any desire to listen to the Mendelsohn symphony in the second part of this concert. I hope and I wish that Ivo will not be seen as the "enfant terrible" in the reviews of this all time selfish journalists. I also hope that Ivo will not be seen that underrated anymore. For me, Ivo and Martha Argerich are the last active performing artists like "grand children" of Arthur Rubinstein, Vladimir Horowitz, Arturo Benedetti Michelangeli and Alfred Cortot. This generation learned how to read scores and to work out its messages. At the moment I only could mention the "next generation" following Martha and Ivo. First of all Beatrice Rana and second Yulianna Avdeeva, who won the Chopin competition in Warsaw in 2010. I hope that people worldwide will listen to Ivo in the upcoming future less prejudiced and more open minded and open hearted! Thank you maestro Ivo! Go ahead!
@johnlackland8738
2 жыл бұрын
i completely agree ! , also having heard pogorelich a couple of days ago in freiburg, concert hall: a deeply moving experience, very intense. for me, the experience was like listening to improvised music, where nothing is "foreseeable" or expectable; this is very rare in my experience in classical concerts: a situation where you hear or experience the music as if you haven't heard the work before. perhaps the somehow worn out term is "immersion". i however disagree with "prokrastinatore today" (and with the journalist of the local newspaper) about the encore, the 2nd movement: i heard no difference in the interpretation/ phrasing/ tempo - one could learn (again) how meticulously the maestro is following a "concept". of course, the listener has changed in the meantime: and listening to the same piece of music is always a new experience. [a side note: i also thought of leaving the hall directly after this stellar performance, but stayed since I wanted to avoid bothering the neighboring listeners in my row: wrong decision]
@Alvianta2000
8 ай бұрын
Как удивительно точно и тонко Вы рассказали об исполнении фа минорного концерта! Я тоже была среди публики, это было в Германии , кажется в ноябре 2021. И мы не остались слушать Мендельсона, потому что после интерпретации Иво Погорелича это было просто невозможно.
Thank you for sharing this!
Fuck i don't understand 😂