00:00 -- warm up 06:57 -- Bach, English suite 3 31:01 -- Chopin Prelude Op. 45 38:29 -- Ravel, Gaspard de la nuit

Wow.. so unbelievably musical the way he plays bach every note has a different story to add and gives me chills every time! Only you, maestro pogorelich, my absolute hero.

@chopin4321

2 жыл бұрын

yes ... ivo warming up so beautifully.. similar to watching the colors of maria callas or rembrandt.. chills... he is one of the few geniuses that doesnt hide anything... he is the music and the muse... did you see pogorelichs liszt sonata.. gives me even more chills... kzread.info/dash/bejne/oJdro4-of5Tce8Y.html

Ivo made big steps into the music. What a great performance of "Gaspard de la nuit" ! Wow! Compared to the 1980 th , when people started paying much attention on his skills, the past now is nothing . Ivo Pogorelich is still alive. He's breathing and diving into to scores with decades of his experience. And that means his life. His biography. He's not looking for attraction anymore but moreover still creating his sound. What a great artist! What a beautiful concert after all his years of isolation, desperation and pain. Awesome! Thank you Maestro Ivo Pogorelich!

@orvillewrightjr9330

2 жыл бұрын

Regardless of what others say, Ivo Pogorelich still has the magic of his earlier years; I've never heard anyone who can make the piano resonate like he does; to wit, his superb performance here of diverse repertoire with such incredible results, very much a joy to listen to, especially Gaspard de la Nuit, Ravel's mind-bending masterpiece.

@null8295

Жыл бұрын

@@orvillewrightjr9330 I think only Horowitz is comparable to him

Ivo has always been independent from different opinions ( media, jurors) and very early he found his own pathway of "how to play". I only can show my total respect for what he knows about composers and music. This Gaspard is outstanding. More than he was young he brings out the very important voices of Ravel. I love his chosen speed nowadays. He is legendary. Since yesterday I was listening another ten times and he convinced my ears knowing that poems since a very long time. Thank you for the music Ivo! Go ahead!

Pogorelich is one of my all time heroes and one of the last great pianists... lovely to see this on here :)

Look at his bows at the end. This is a man of deep soul and character. What an artist he is...

@chopin4321

3 жыл бұрын

yes, deep soul.. such a noble character, he moves so slow and gallantly after he finishes playing... he is a gentleman.. a real artist reaching and taking us to higher spheres... the highest... he bows 4 times.. to the whole audience.. in 4 directions... so beautifully and respectfully... thankfully... he is the best pianist, ever, even greater to me now than the best ever horowitz.. just as great as maría callas.

In the 80ies and Early 90ies he was a rockstar in classical field. But he has superb recordings, he and he always will dazzle with a unique sound. And now in the days he is not that rockstar/ model anymore. But his playing is superb, amazing tremendous, like he always did!

I love the way he is playing the subtlety and texture and detail is like he is creating a sculpture from different angles

La version de Gaspard est absolument fantastique

I am very grateful for sharing this video. I was very curious how the musical idol of my youth is playing today. This is not only a top-class pianist anymore. It is pure metaphysics and transcendence. The highest level of musical message. I am deeply touched and thank you very much again.

Thanks for sharing! Absolutely brilliant, especially the Bach suite!

È sempre lui!!!💥❤il suono è magico, inarrivabile

He's not playing music. He IS music. thanks for sharing this great EXPERIENCE. Paolo from Italia

@chopin4321

3 жыл бұрын

yes paolo... he breathes, lives and dyes for music, resurrects every time he plays... dyes when the music ends... and then again... unique.. like maria callas... horowitz... they have the best muses

Ivo Pogorelich plays for me almost every evening! Never a dull moment.

What a beautiful performance of Bach!

@chopin4321

3 жыл бұрын

yes, one of the greatest, better than his own recording un gramophone, has such a rhythm... melody... harmony... cant think of anyone getting even close... maybe lippati... kempff... perahia...

Боже , как ему удаётся найти столько красок! Гениально!❤️❤️❤️👏👏👏🎹🎹🎹🙏🙏🙏🙏

@chopin4321

2 жыл бұрын

У него безграничная чувствительность к боли и радости, любви и сладости ... горячего и холодного ... для меня он ищет меня и находит своих отца и мать в музыке ... и Бог ... его гений прекрасен

I went to his concert in Paris when he was playing the same pieces and it was the most amazing concert ever...his sound is a mystery and it feels like magic when you hear this live. Too bad the video doesn't make justice to this miracle.

@chopin4321

3 жыл бұрын

yes ... most amazing...... he is playing better than ever... you can hear everything like in slow motion... i prefer virtue to virtuosity. the mystery is that he is a genius like rembrandt or mozart... we cant understand them, just enjoy and admire

@clintclint7673

3 жыл бұрын

@@chopin4321 i agree 200% :)

@Tamasan100

Жыл бұрын

Thank you very much for uploading this!!! Also his quotes and your comment are very inspiring. Most amazing artist ever. I am very much looking forward to listening him in Luik Belgium on 26 March 23💘He will play Chopin Prelude op. 45.

BRAVO..!!

@chopin4321

3 жыл бұрын

siiii... esa manera de ensayar antes del recital con el publico entrando en sala... alucinante... es pura esencia, atrae musas... es un genio de la escena ...como nadie.. tantos genios con panico escenico, gould, horowitz, callas... casi todos... ivo es tan natural como la vida misma

The best performer of Gaspard de la nuit who has ever lived!

@chopin4321

3 жыл бұрын

yes, magical, even better than ivo´s previous recordings, hypnotic.. pure music, no ego, just muses, highest spheres, more virtue than virtuosity like late horowitch recordings

@nuitNo.6

3 жыл бұрын

@@chopin4321 Okay fella, let's not get ahead of ourselves :D I said who has ever lived, but his 80's performances were much better than this. He doesn't have the same execution, but that is only to be expected with age, but it's still beautiful :)

@chopin4321

3 жыл бұрын

@@nuitNo.6 no fellow music lover, this late recordings are above all... have more wisdom, less ego and virtuosity..., more virtue..., much better now after covid... if i were to choose for my last seconds of life,,, something serene like le gibet... lent.. so beautifully played by pogorelich... ivo is now greater than horowitz and the rest... the greatest alive or in heaven.

@nuitNo.6

3 жыл бұрын

@@chopin4321 Alright. Beauty is in the eye of the beholder. I just feel much more taken away by this type of playing kzread.info/dash/bejne/kaR61a-qhtWZcps.html than this 1:10:12

@nuitNo.6

3 жыл бұрын

@@chopin4321 But the ending here at 1:11:32 is very beautiful.

Grazie per la condivisione 🙏❤️

Gracias Dios Os guarde..Tu Embajador d la Unesco..Capitán Javito..graxieee..!!!¡¡

@chopin4321

Жыл бұрын

jaaa siii embajador de la belleza..como encuentre tus grabaciones tocando las pongo publicas eh.. jaaa.. das mucho amor en tu musica.. todo

Well done Maestro I remember seeing you in Oxford playing the second Chopin Concerto it was amazing

@GallopPony

2 жыл бұрын

I was there too in Oxford, 2016!!! Couldn’t believe I was seeing him

" Fight and find the substance, then go to the higher spheres. Music takes you to another universe of eternity that remains with you after the concert is finished. Fight to achieve quality, go deeper... find the origin of the sound. Technique is not just fast and slow...is the sound, the long sound, the palette of colors, is entering a different space, reaching the diversity of sound. Rachmaninov had arthritis at the end of his life, he was so weak that his sound was very short, that is the reason he played fast, to fill the vacuum. If you have long sound you are in command to achieve clarity and the hypnotic sound between the notes. The problem was always the conflict and the difference between the absolute and the relative quality. Beauty in music is like in diamonds, the purest diamond in the world is the Koh-i-Noor, it is the absolute beauty to which others with relative beauty are compared. Most music I could hear was just an ostentatious circus act of virtuoso pieces for up-and-coming pianists, tests of finger dexterity, not art. You have to get into the phycological frame of mind in which composers wrote their works in order to discover its secrets. Work as hard as a galley slave. I do not practice excercises. When I practice a piece, I do a few variations around it, inventing my own excercises to help in that particular place. Technique is the art of variety, the art of knowing how to adjust your hand to a particular group of notes to produce a particular sound to fit the particular expectation of the ear. Sound becomes metaphysical only when you have completely explored all physical possibilities. You should explore until reaching the absurd. One should always try as much as possible to rediscover music as though one is hearing it for the first time, searching everywhere for new meanings and new depths. The highest function of the artist is to release the spirituality and the emotional immediacy that lie within the score. Be constantly engaged in research, I am not only looking at things the way they appear but also trying to find the labyrinths, the secrets of music. A composition can only be performed well if it is entirely yours, not only every note from memory, but the notes have become you, and you have become the notes. Nothing happens by chance. Call it a force that some people think controls what happens in the future, and is outside human control, call it preordination, but sometimes happens. After all, the human element brings total happiness." Ivo Pogorelich. ----- Ivo Pogorelich was born in Belgrade in 1958 as son of a musician. He received his first piano lessons at the age of seven and went to Moscow at the age of twelve to study at the Central Special Music School and then at the Tchaikowsky Conservatory. In 1976 he began intensive studies with the renowned pianist and teacher Aliza Kezeradze, with whom he was married from 1980 until her untimely death in 1996. Mme. Kezeradze was able to transmit the spirit and matter of the school of Beethoven and Liszt, the tradition of the Liszt-Siloti school, originated in Vienna and than carried through to the Conservatory of St. Petersburg, flourishing towards the end of the 19th and the beginning of the 20th. Century. Pogorelich´s sound, concerts and recordings pay homage to this exceptionally refined, visionary, and truly revolutionary woman, who so lovingly made Pogorelich a unique artist of genius. Ivo Pogorelich is not only an artist of the highest caliber, discipline and musicianship, but 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, love and compassion. ----- -- Sound and Silence, Life and Death, Time and Space; collapse into the Eternal moment of Infinity. -- ------

@ondrejzavadil244

3 жыл бұрын

Where do you have this quote from?

@chopin4321

3 жыл бұрын

@@ondrejzavadil244 from 30 years of interwiews, i recommend to listen more to horowitz... his music is light like no other.. follow his advice... we need to have a good general culture... art.. painting..reading... poetry.. history... to really play with taste and feeling like mozart recomended....i also try to follow liszts advice... if you have technique of 8 out of 10... play works that are 7 or under... never at your highest technique level... pogorelich is way beyond ... but his advice is also pure gold

@ondrejzavadil244

3 жыл бұрын

@@chopin4321 Ah, I see, I thought he wrote a short book or something :D didn't realise it was multiple quotes. Yeah, Horowitz is great!

warm up fantastic this sound ipnotic big big Maestro

I wish I had Ivo’s golden touch.

@chopin4321

2 жыл бұрын

its alchemy... high science.. sound balance.. colors.. cosmic energy.. listen closely concentrated his nocturnes and brahms intermezzos the key to his balance of harmonics is there

@user-ry7ir8wt3w

5 күн бұрын

Прикосновение равно вашей Душе. Все что в ней, то и в Звуке

Bizarre, crazy, beautiful, magic, weird.....he is all that....

Inouï, le Ravel.... Bravo!

@rigel48

2 жыл бұрын

Il faut vraiment être un inconditionnel de Pogorelich pour apprécier cette caricature de Gaspard de la Nuit. On sait très bien ce que souhaitait Ravel pour l'interprétation de cette oeuvre avec Henriette Faure ou Vlado Perlemuter. Ce genre d'expérimentation avec ces tempi d'une extrême lenteur et ces recherches de sonorités en est bien éloignée.

One of the great Titans in the history of piano.

@chopin4321

10 ай бұрын

the greatest,, howowitz too

This is Heaven

Благодарю,Вас! Прозвучала Музыка- и такая разная! И.С.Бах внёс гармонию в мою душу и я размышляла вместе с ним.От звуков музыки Шопена,в душе моей распустился цветок. А вот «Ночного Гаспара» Равеля мне необходимо послушать ещё,-и возможно не один раз,- чтобы понять какой отзвук в моей душе вызывает эта музыка. Всего,Вам, доброго! 10.12.2020.

@chopin4321

3 жыл бұрын

да ... дружище ... иво - это гармония ... медитация ... цветы ... отголоски ... погорелич тоже русская душа ... как и испанцы ... родственные души ... магия Высоцкого для тебя. .. kzread.info/dash/bejne/eH-ukpaxoqTPZcY.html kzread.info/dash/bejne/dmeoq7x-crjVqZM.html yes ... my friend ... ivo is harmony ... meditation ... flowers ... echoes ... pogorelich is also a Russian soul .. like the Spanish one .. soul mates .. Visotsky's magic for you .. .

@user-sk4kd7ob2b

3 жыл бұрын

@@chopin4321 Благодарю за отзывчивость. А почему,вы, ответили мне сразу на двух языках?Английским я владею только чуть-чуть. Всего доброго! Не болейте! 10.12.2020

@chopin4321

3 жыл бұрын

@@user-sk4kd7ob2b для тех, кто не понимает русского языка, чтобы понять ... что сила и поэзия погорелича только в великих гениях, высоцких, мария каллас, хоровица .. я люблю его вагнер лист ... kzread.info/dash/bejne/mnWdmcanprGpp5M.html Всего доброго! Не болейте!

Grüße dem großen Maestro des Klaviers von einem Landsmann, einem Barocklautenisten und Gitarristen. Dem Familiennamen nach stammt er aus Nordwestkroatien, der große Künstler, unser kroatischer Stolz.

True musicality. Compare this to Andras Schiff or Brendel. Here is a true interpreter. Bravo maestro Pogorelich, always.

@chopin4321

Жыл бұрын

i heard schiff live.. perfect.. but very boring.. his bach is flaless but lacks the spirit of life, it is just academic, perfect mechanichs, virtuosity, but no virtue, brendel is more human.. i like him.. but still too boring compared to pogorelich.. horowitz.. the best ever.. no time to loose.. better listen to real artists like maria callas. la musica es la mas bella de las artes.. requiere una energia magica que muchos pierden en el camino .. se queman.. es un drama ver a un musico vacio y aburrido y aburridor, sin musa. antonio gala, el poeta, dice que la musica amansa a las fieras, a todas, menos a los musicos jaaaa.. que razon tiene..

This needs to be heard on spot because he alters tempi and plays a rubato adapted to the reverberation of the hall. So it is easy to get a wrong impression from this video, even though some passages are clearly messed up, like those thirds in Ondine. Never heard him live.

critica de Francisco Zea Vaquero. ...presenciar la fastuosidad del sonido, la técnica inalcanzable, y el puro arte del Piano, aunque sea un reto «entender» en sus enfoques al genio de Belgrado. Ivo Pogorelich, personalísimo y excéntrico desde un punto de vista meramente musical, al que he tenido la suerte de escuchar desde su juventud, ha mantenido siempre una fascinante carrera de pianista de concierto. Tanto al principio cuando arrasaba en ventas de discos y agotaba el papel, como cuando sufrió las pleamares de la vida y le alcanzó la tristeza o la pesadumbre [nunca olvidaré una Suite Romeo y Julieta de lacerante belleza a fines de los noventa], o en estos momentos, cuando mantiene inasequible sus tempi extremos, sin importarle alejarse de la ortodoxia estilística, para alcanzar clímax y sonoridades reveladoras, siempre ha sido él mismo e insobornable, sigue su camino, como en su día lo hizo Glenn Gould, marchandose lejos del mundanal ruido. El caso es que el público que viene religiosamente a oírle sigue llenando, incluso en las penosas condiciones de pandemia. La sesión comenzó, como siempre, acompañado de su pasa páginas, entrando «el divino» con paso lento y dubitativo, como si no tuviese claro por dónde empezar [paseos alrededor, movimientos de mobiliario y partituras, consejos en voz baja, etc…]. siempre se comenta, que el que peor lo pasa en un concierto de Pogorelich es el que colabora con él. Nunca se sabe lo que va a pasar. A lo mejor eso mantiene la fe del público. Y comienza el concierto tras esta pequeña representación que ya forma parte del rito sacerdotal de entrada. Las obras en atril, tras tantos años de giras, forman parte de la vida del artista, y podría haber sido un recital del pasado siglo o del principio del milenio. El pianista, sin atisbo de duda, nos muestra su robusto sonido en una Suite Inglesa que se mueve lenta e inexorablemente ya desde su preludio. En plena Allemande se notaba ya adustez y casi gravedad, que anunciaba la trascendencia de la Sarabande, alma de la obra. Su intensa gradación dinámica para la Courante es pura marca de la casa, e impresiona especialmente en su repetición. Anchura dinámica oceánica, y discurso majestuoso y doliente como dice la tonalidad de sol menor, marcan el movimiento más reflexivo de la Suite. Por momentos, nos recuerda a la última época del mítico Richter, quien le iba a decir a aquel enfant terrible que iba a acabar pisando estos terrenos. Después, esperando recuperarnos en la ligera Gavotte, nos corta el aliento con las disonancias y su tratamiento: el enfoque es único y arriesgado, no hay humor o broma, sino sarcasmo. La Gigue fue una torrentera de sonido enorme, como un cierto cataclismo megalítico, que transforma el ejercicio técnico a una improvisación dramática. En este enfoque de Pogorelich los adornos a veces parecen improvisatorios y desgarbados, y otras son el propio mensaje pleno de emoción. Esta barbaridad, completamente fuera de tempo, se sostiene por la increíble independencia de manos, con el sincero legato y el fraseo inmaculado. El Bach canónico y clavecinístico está a muchas lunas de viaje, pero el pianístico, a veces incalificable, se alza con majestad ante nosotros. El rastro del que se va… y las huellas del legado que va dejando. El preludio de Chopin fue el comienzo del siguiente bloque, aunque se podría decir que el concierto se dividió en tres partes por su asombrosa diversidad entre los enfoques dados a los compositores elegidos. Desde las primeras notas ya lo envolvió con cierta niebla debbusysta, pero con tanto significado en cada valor como el de una comprimida pieza de Webern. El inmenso tempo y arco de respiración empleado (casi 10’) le permitió crear un cierto poema, o una suerte de sonata de los sentidos como las que componía Scriabin. Si bien es verdad, que este enfoque le ha acompañado durante toda su carrera, la escala es ahora mucho mayor, convirtiendo las ideas de antaño en gloria interpretativa inimitable hoy. Para este pepito grillo que les cuenta, fue la cima de la velada en términos absolutos. Tras este éxtasis sonoro, y a modo de ambigú, hay pequeños mundos de indecisión sobre el escenario, como ejemplo: búsqueda de partituras en el suelo, del movimiento inquieto de la banqueta, o de las miradas de suspense al acompañante colaborador. Pero la simpática disyuntiva se resuelve, y se aborda por fin la Barcarola op. 60. Otro universo sonoro propio, no en el estilo de Chopin, pues más parecía una balada o una fantasía, que rompe la forma descaradamente. Esta interpretación procede de quien está tocando solo en su estudio, en actitud privada, pero suceden cosas tan maravillosas, tan dramáticas desde el punto de vista sonoro que uno dejaría la puerta furtivamente entreabierta para escuchar al que se cree en soledad. Nos desafió con un tempo lento hasta el abandono, transiciones desasosegantes desde la sección central, y acordes megalíticos de extrema y cruda belleza. La coda es enérgica y torturada hasta exprimir todo un gemido del piano en los dos acordes conclusivos, todo ello sin romper una sola nota, naturalmente. Siento repetirme, pero estas cosas sólo pasan en el concierto: la Música es cuando estás. El Gaspard de la nuit de Maurice Ravel es una de las obras esenciales del piano del Siglo XX, con algunas de sus compatriotas Debussy o Messiaen, o algunas Albéniz o Bartok, germen de las venideras. Un poema sonoro, cuajado de belleza y hedonismo cromático. En este tríptico pianístico, poco programado en nuestras salas, por su ingente dificultad, el compositor francés justifica todo el despliegue técnico para alcanzar sin paliativos la condición de obra maestra. Y como como se esperaba Pogorelich recoge el guante durante casi treinta y cinco inacabables minutos, poniéndose a la altura creativa esperada. En la Ondine las turbadoras bases rítmicas y los sensuales sonidos llegaron por fin sin otros condicionantes personales. Hubo transparencia absoluta y arrobamiento sonoro, con tensiones perfectas en la respiración, envueltas en la conveniente bruma de los grandes arpegios sin principio ni fin. Cuando es necesario el fortissimo, no importa si la sala está vacía, o llena, pues el maestro conoce la sala y el sonido es siempre perfecto. La Verdad es que se estiraron las líneas del legato hasta casi disolverlo en el lento de la reexposición y coda final, que fue como una oración a la sirena ascendida a deidad en este poema instrumental. Le Gibet, a modo de movimiento lento, tuvo, en el laboratorio de ralentizaciones del pianista, el sello de la supresión temporal, de la estampa que permanece quieta en la memoria, como la Puerta del Vino, o aquellos misteriosos pasos en la nieve, que tan próximos están tonalmente a esta imagen raveliana. Este increíble pasaje se sostiene simplemente por los acordes arracimados en torno al continuo de la fúnebre nota repetida. Una alquimia, un experimento de oscuros pensamientos en la contemplación de algo oneroso, pero atractivo e irresistible ante la mirada. Pogorelich se olvida de si mismo... y de nosotros, claro! El tiempo, como dije, no transcurre, y la tensión no se disipa en momento alguno. Uno trata de respirar despacio para salir de este coma sonoro que nos hechizó. Pasar página y entrar en el virtuosismo de Scarbo equilibraría la obra con el staccato del martilleante bajo y un cambio de clima general. Pero entonces Pogorelich se obstina en su propio tempo, alejado del de la partitura, los valores son demasiado largos y no es suficiente para mantener la tensión; esta vez el experimento falla. El Maestro está decidido a seguir su doctrina porque nos quiere enseñar multitud de cristales de coloridos misteriosos, y catedrales sonoras en la culminación. Gaspard es y será siempre una obra virtuosa, y ahí no puede haber desmayo y pesantez. Tras el réquiem que convoca en la sección central parece que coge fuerzas y recupera el tempo, organizando de nuevo un brutal magma de sonidos en torno al tema central. Las dinámicas inaudibles, y los sonidos líquidos cierran la retadora interpretación de este clásico del piano de siempre. El público fue cariñoso y aplaudió durante casi 15 minutos, y hasta se gritaron esos bravos de reconocimiento que ahora nos piden evitar, pero tras una cima artística de esta categoría Pogorelich no consideró añadir nada más. Hace muchos años, en uno de sus conciertos, hubo un chascarrillo de aficionados que rezaba así: «Toca a Brahms como Scarlatti y a Scarlatti como Brahms, pero a la gente le da igual, siempre triunfa». La afición de Madrid siempre le ha consentido mucho, y puede que con motivo. Por otro lado, los entendidos del Piano dirán que no hubo mucho Bach, ni Chopin en sus interpretaciones, pero si hubo mucho piano, de eso estoy seguro.

At least, this no more "music". It is something between sound, poetry and paranormal activity.

Ravel , Gaspard de la nuit The name "Gaspard" is derived from its original Persian form, denoting "the man in charge of the royal treasures": "Gaspard of the Night" or the treasurer of the night thus creates allusions to someone in charge of all that is jewel-like, dark, mysterious, perhaps even morose. Of the work, Ravel himself said: "Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words." Aloysius Bertrand, author of Gaspard de la Nuit (1842), introduces his collection by attributing them to a mysterious old man met in a park in Dijon, who lent him the book. When he goes in search of M. Gaspard to return the volume, he asks, 'Tell me where M. Gaspard de la Nuit may be found.' 'He is in hell, provided that he isn't somewhere else,' comes the reply. 'Ah! I am beginning to understand! What! Gaspard de la Nuit must be...?' the poet continues. 'Ah! Yes... the devil!' his informant responds. 'Thank you, mon brave!... If Gaspard de la Nuit is in hell, may he roast there. I shall publish his book.' --------- Ondine --------- . . . . . . . . Je croyais entendre Une vague harmonie enchanter mon sommeil, Et près de moi s'épandre un murmure pareil Aux chants entrecoupés d'une voix triste et tendre. Ch. Brugnot. - Les deux Génies » Écoute ! - Écoute ! - C'est moi, c'est Ondine qui frôle de ces gouttes d'eau les losanges sonores de ta fenêtre illuminée par les mornes rayons de la lune; et voici, en robe de moire, la dame châtelaine qui contemple à son balcon la belle nuit étoilée et le beau lac endormi. » Chaque flot est un ondin qui nage dans le courant, chaque courant est un sentier qui serpente vers mon palais, et mon palais est bâti fluide, au fond du lac, dans le triangle du feu, de la terre et de l'air. » Écoute ! - Écoute ! - Mon père bat l'eau coassante d'une branche d'aulne verte, et mes sœurs caressent de leurs bras d'écume les fraîches îles d'herbes, de nénuphars et de glaîeuls, ou se moquent du saule caduc et barbu qui pêche à la ligne. » Sa chanson murmurée, elle me supplia de recevoir son anneau à mon doigt, pour être l'époux d'une Ondine, et de visiter avec elle son palais, pour être le roi des lacs. Et comme je lui répondais que j'aimais une mortelle, boudeuse et dépitée, elle pleura quelques larmes, poussa un éclat de rire, et s'évanouit en giboulées qui ruisselèrent blanches le long de mes vitraux bleus. --- english -- . . . . . . . . I thought I heard A faint harmony that enchants my sleep. And close to me radiates an identical murmur Of songs interrupted by a sad and tender voice. Ch. Brugnot - The two Spirits "Listen! - Listen! - It is I, it is Ondine who brushes drops of water on the resonant panes of your windows lit by the gloomy rays of the moon; and here in gown of watered silk, the mistress of the chateau gazes from her balcony on the beautiful starry night and the beautiful sleeping lake. "Each wave is a water sprite who swims in the stream, each stream is a footpath that winds towards my palace, and my palace is a fluid structure, at the bottom of the lake, in a triangle of fire, of earth and of air. "Listen! - Listen! - My father whips the croaking water with a branch of a green alder tree, and my sisters caress with their arms of foam the cool islands of herbs, of water lilies, and of corn flowers, or laugh at the decrepit and bearded willow who fishes at the line." Her song murmured, she beseeched me to accept her ring on my finger, to be the husband of an Ondine, and to visit her in her palace and be king of the lakes. And as I was replying to her that I loved a mortal, sullen and spiteful, she wept some tears, uttered a burst of laughter, and vanished in a shower that streamed white down the length of my blue stained glass windows. ---- ------------ Le Gibet ---------- Que vois-je remuer autour de ce Gibet? - Faust. Ah! ce que j'entends, serait-ce la bise nocturne qui glapit, ou le pendu qui pousse un soupir sur la fourche patibulaire? Serait-ce quelque grillon qui chante tapi dans la mousse et le lierre stérile dont par pitié se chausse le bois? Serait-ce quelque mouche en chasse sonnant du cor autour de ces oreilles sourdes à la fanfare des hallali? Serait-ce quelque escarbot qui cueille en son vol inégal un cheveu sanglant à son crâne chauve? Ou bien serait-ce quelque araignée qui brode une demi-aune de mousseline pour cravate à ce col étranglé? C'est la cloche qui tinte aux murs d'une ville sous l'horizon, et la carcasse d'un pendu que rougit le soleil couchant. -- english -- What do I see stirring around that gibbet? - Faust. Ah! that which I hear, was it the north wind that screeches in the night, or the hanged one who utters a sigh on the fork of the gibbet? Was it some cricket who sings lurking in the moss and the sterile ivy, which out of pity covers the floor of the forest? Was it some fly in chase sounding the horn around those ears deaf to the fanfare of the halloos? Was it some scarab beetle who gathers in his uneven flight a bloody hair from his bald skull? Or then, was it some spider who embroiders a half-measure of muslin for a tie on this strangled neck? It is the bell that tolls from the walls of a city, under the horizon, and the corpse of the hanged one that is reddened by the setting sun. ---------- Scarbo --------- Il regarda sous le lit, dans la cheminée, dans le bahut; - personne. Il ne put comprendre par où il s'était introduit, par où il s'était évadé. Hoffmann. - Contes nocturnes Oh! que de fois je l'ai entendu et vu, Scarbo, lorsqu'à minuit la lune brille dans le ciel comme un écu d'argent sur une bannière d'azur semée d'abeilles d'or! Que de fois j'ai entendu bourdonner son rire dans l'ombre de mon alcôve, et grincer son ongle sur la soie des courtines de mon lit! Que de fois je l'ai vu descendre du plancher, pirouetter sur un pied et rouler par la chambre comme le fuseau tombé de la quenouille d'une sorcière! Le croyais-je alors évanoui? le nain grandissait entre la lune et moi comme le clocher d'une cathédrale gothique, un grelot d'or en branle à son bonnet pointu! Mais bientôt son corps bleuissait, diaphane comme la cire d'une bougie, son visage blêmissait comme la cire d'un lumignon, - et soudain il s'éteignait. -- english -- He looked under the bed, in the chimney, in the cupboard; - nobody. He could not understand how he got in, or how he escaped. Hoffmann. - Nocturnal Tales Oh! how often have I heard and seen him, Scarbo, when at midnight the moon glitters in the sky like a silver shield on an azure banner strewn with golden bees. How often have I heard his laughter buzz in the shadow of my alcove, and his fingernail grate on the silk of the curtains of my bed! How often have I seen him alight on the floor, pirouette on a foot and roll through the room like the spindle fallen from the wand of a sorceress! Do I think him vanished then? the dwarf grows between the moon and me like the belfry of a gothic cathedral, a golden bell shakes on his pointed cap! But soon his body becomes blue, translucent like the wax of a candle, his face pales like the wax of a candle end - and suddenly he is extinguished. --

Well, I'm happy for you who enjoyed this. I, for my sake, am glad that I have the old Pogorelich recordings from the 80's to cling to. Young Ivo's stellar performance of the G minor suite from 1986 is all that I need, thank you. I highly recommend it for those who want to listen to Pogorelich in his prime. To me, he was the greatest pianist of his era.

@chopin4321

3 жыл бұрын

yes he was the best... and still is.. for what he was and for what he does

@shizukayamamoto2977

3 жыл бұрын

Totally agree with you. Listening to this made me sad. What happened to him?

@chopin4321

3 жыл бұрын

@@shizukayamamoto2977 he just has less virtuosity... but equal virtue and muse... infinite... no problem if virtuosity diminishes a bit... he gave it all.. thousands of concerts giving it all... his wife passed away,, he was left all by himself.. even martha argerich his once mentor left him alone in hard times... public too... same with maria callas.. cruel world... thanks god a few of us in the world are still by his side cause we are grateful

@marksmith3947

8 ай бұрын

@@shizukayamamoto2977 The three theories I have seen are 1) that he deteriorated after his wife's death and lost his ability to play as before, 2) arthritis 3) drugs, meaning psychotropic drugs I suppose. I've only seen a reference to arthritis once. That could be, but that wouldn't explain how his musicality went out the door. I think a combination of 1) and 3) fits what we see. There are unfortunately a few cases of pianists whose playing suffered a marked decline after psychiatric treatment with drugs or shock therapy. John Ogdon and Horowitz are two examples which come to mind

@marksmith3947

8 ай бұрын

Ivo in his prime was elite, and offered something unique. His playing was not excellent in everything; I for one think Chopin was not his forte, while his Bach, Haydn, Ravel and Rachmaninoff were stellar. One thing that can be said of his playing today is that he plays all repertoire with equal skill and musicality . His playing is from another planet indeed, but not one I care to visit.

Ivo is a libra like me. I hear his ( changing mind) Glenn Gould was also a libra....

Thanks you so much ! I feel a bit like we're stealing something from the artist. But so great !

@chopin4321

3 жыл бұрын

yes... we are kind of stealing his secrets... but he likes sharing them, he is so generous, he shows his art and artistry everywhere..., shows and shares his wisdom and virtues, everything, he is transparent like pure water... he an invisible saint like brahms, time will tell, best pianist ever, he has a bit of character but just to defend himself... look at the purity and innocence of maria callas, destroyed by cruel life and critics and european public... only japan knew how to treat a genius specially when getting old.

59:54 ohhh ... this silence ....

I can hardly believe what I just heard. I never much cared for "Gaspar de la Nuit" until I heard Ivo Pogorelich play it. Is it possible that he is the only person alive who knows how to play it? Maybe it takes a Wonderfully Strange Man to play the music of a Wonderfully Strange Man - but then they would have to be Wonderfully Strange in the same sort of way, wouldn't they? What are the odds?

Para ser grande, sê inteiro: nada Teu exagera ou exclui. Sê todo em cada coisa. Põe quanto és No mínimo que fazes. Assim em cada lago a lua toda Brilha, porque alta vive. To be great, be whole; Exclude nothing, exaggerate nothing that is not you. Be whole in everything. Put all you are Into the smallest thing you do. So, in each lake, the moon shines with splendor Because it blooms up above Para ser grande, sé entero: nadaTuyo exageres o excluyas. Sé todo en cada cosa. Pon cuanto eres En lo mínimo que hagas, Por eso la luna brilla toda En cada lago, porque alta vive. Fernando Pessoa. --Odes de Ricardo Reis.

awesome : 59:19

Mich würde schon interessieren, was Ivo Pogorelich von dieser Art von Raubaufnahmen hält.

@chopin4321

2 жыл бұрын

Es ist kein Raub, es teilt Kunst, Spiritualität und Weisheit mit denen, die nicht auf pogorelich hören können. ivo ist nicht so gemein und unhöflich wie du, er gibt seine kunst der welt, der geschichte. wenn pogorelich gewollt hätte, hätte er die Live-Aufnahmen schon abgesagt. Da es in Deutschland weh tut, dass Ausländer Bach, Beethoven, Brams, Schuman besser spielen als die deutschen Pianisten selbst, lernen Sie, dem Genie Pogorelichs mit Respekt und Bewunderung zuzuhören.

portrait video - what people are thinking

So rare to see a pianist of his calibre use the score.

@chopin4321

3 жыл бұрын

he must be tired i guess... memory problems cause of age... better with score than not playing at all.. he is so free, a genius, can afford it

@jimkost2002

2 жыл бұрын

@@chopin4321 Richter also played from the score in later years.

@scottmakeig4021

2 жыл бұрын

I saw Glenn Gould play from scores (microprinted across the keyboard tray) in Chicago about 1963.

@dgollaher

Жыл бұрын

Sviatoslav Richter played from scores the last dozen years of his life. He was pretty good.

@excelsior999

Жыл бұрын

@@chopin4321 Ivo plays from memory. I believe that having the score in front him is simply his "just in case" Security Blanket. Sir Andras plays this Bach Suite superbly, but I don'tthink that it would even cross his mind to play this gem at such wonderfully unconventional slow tempi. To these old ears, Pogo is walking a musical tightrope, but without a net. Bravi to two Grandmasters.

The Ravel wtf...

Sounds like he's practicing

@Fritz_Maisenbacher

3 жыл бұрын

He is practicing. So what ?

@luc3753

3 жыл бұрын

Well, aren't pianists supposed to practice at home and perform in public?

@Fritz_Maisenbacher

3 жыл бұрын

@@luc3753 At the beginning, only "warm up", after, it is the concert, ok.

@luc3753

3 жыл бұрын

It sounds the same all the way.

@Fritz_Maisenbacher

3 жыл бұрын

@@luc3753 Yes, you are right, but his "music" is so strange ..so beautifully boring ...

Big big fan here. But Ravel is not at the level it was before.

@chopin4321

11 ай бұрын

but still is higher level than the rest

Why does he insist on playing gaspard if he can't pull it off anymore? Sad to hear...

@chopin4321

3 жыл бұрын

i´m thankful... he is 62... 62 is time for virtue... and less virtuosity.... no problem... at least he didnt dye like maria callas at 52... depressed...alone... some cruel critics and public hurt her... horowitz gave no public concerts in 10 years... ivo is stronger, he knows he is a genius, and knows cruel human nature, but answers with truth and beauty and eternity.

@clintclint7673

3 жыл бұрын

He can pull it i was in paris for one of his concerts and it was amazing , you gotta hear the real sound not on video like this

@chopin4321

3 жыл бұрын

@@clintclint7673 yes he can pull it... slower... with less virtuosity... but with more virtue... poetry... sound is poor because i used an iphone for this recording but listen to the recording with good micros... is so much closer to the real sound... beautiful bass... ivo played in an old beautiful steinway this time with a marvelous timbre kzread.info/dash/bejne/qGGLpaNtgqa1drw.html kzread.info/dash/bejne/dXWMs8Wgncien8Y.html kzread.info/dash/bejne/nmuTo5Zyh5XFdtI.html

@luc3753

3 жыл бұрын

Sounds like he's having a bad practicing day. Do people actually buy tickets to watch that?

@chopin4321

3 жыл бұрын

@@luc3753 not to me... he has been practicing for half a century, 50 years of good practicing days... respect luc... he is in total control of technique and inspiration, like no one ever, not glen gould.. so afraid of audiences,,, or poor callas... so sensitive critics killed her, or horowitz 10 years and no public concerts... all had weaknesses, not ivo, the only one, that is why you get irritated, but so many admire him

As usual, embarrassing beyond almost anything ever heard on the concert stage. I know he won't stop but people don't have to book him

@chopin4321

8 ай бұрын

flowers to pigs.. waste of time.. listen to lang lang dont worry be happy

@marksmith3947

8 ай бұрын

@@chopin4321 Ivo is awful in so many ways now that have nothing to do with speed. A comparison with Lang Lang misses the point. But yes, his Ravel is way. too slow. Pogorelich used to be a superb pianist ; now he has deteriorated like the elderly Nyiregihazi whose recordings charm certain listeners today. Literally nobody with taste can listen to Ivo now and not cringe in horror at the sideshow a once capable pianist has become. It's grotesque, and frankly I resent that people post clips of his unmusical contemporary playing, playing which mocks the memory of the fine pianist he once was. It's not sad. It's cruel

@chopin4321

8 ай бұрын

@@marksmith3947 people like you killed geniuses like maria callas when she was weak and fragile.. you cant kill ivo, sorry, eternity will reign, you are a resented nobody, up and coming nothingness, listen to academic richter or richyard clayderman and be calm.. live real geniuses alone, you ashame yourself, inferiority complex and envy is destructive, go get other genius down, cant with pogorelich

Really weird playing...

@chopin4321

3 жыл бұрын

not really... take it as a whole pack... a genius is a genius even when virtuosity turned into virtue... like maria callas when 50... cruel critics took the necessary love for life she deserved.. see ivo younger... total genius kzread.info/dash/bejne/oZyakqutqrWdgs4.html