Customer Reviews

Chopin: Préludes, Op.28

5 star:		(14)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(4)

 

 

Those accustomed to the great traditional recordings of Chopin's preludes will possibly react very strongly to Pogorelich's version. I'm certainly no exception. Pogorelich will dazzle listeners with his inhuman, lightning-quick technique, only to later infuriate them with achingly slow tempi. Yet, I must admit that his impeccable, if not often pedantic and conceited, pianism never fails to fascinate me. It offers a new and refreshing perspective on Chopin's music and piano playing in general. Old-school fundamentalists have the right to hate this recording, but I encourage you to listen to it as you would embrace a new experience.

To make a minor opening point, Pogorelich seems to manage to have disks with less music on them than anyone else's -- this cd contains the 24 preludes from op. 28, and nothing else -- not even the op 45 or posthumous preludes! Be that as it may, these recordings are the work of an exceptionally thoughtful musician, and display a vast technical skill.

Pogorelich's Preludes are, in total, one of the slowest cycles ever recorded. Whereas Argerich rips through them in 33 minutes, Pogorelich lingers for 45. The only cycle I know of which is slower is Grigory Sokolov's recording on opus 111 (47'). For me, Sokolov is the benchmark in the Preludes. Like Pogorelich, Sokolov has a towering technique, intense concentration, and can be both dramatic and cerebral. My personal intuition is that Pogorelich just falls a little short of the Russian in the most red-blooded of the Preludes, particularly in no. 24, not technically, but in the spontaneity of emotional response.

That said, Pogorelich is a tremendously stimulating guide to these works. Hardly a prelude goes by without an illuminating touch -- often concerned with Chopin's unique way with counterpoint. Rhythms and textures are clarified with extraordinary vision, bringing up as fresh what is often hackneyed or ignored. The Raindrop prelude, no 15, demonstrates an extraordinary dynamic range from the merest whisper of a tone to a vastly sonorous fortissimo at the climax, over an exceptionally slow tempo (7'22"). The disk is well recorded, and the piano sounds very fine. This is a key set for all interested in this supreme musical cycle.

Where other reviewers hear only ponderous or unusual interpretations, I hear music that moves me. The stretched timings on many of the pieces are rather like significant pauses in memorable conversations: more is said in the slightly over-long silences than in all the glorious runs (and they are amazingly dextrous). I find this recording to be one I listen to over and over again.

~Matt

In the first half of the nineteenth century the classical tradition had tranformed itself with great shocks and upheaval (under the inspired wings of the likes of Beethoven and Schubert) into Romanticism.
The Focus now had shifted from formulaic consequence to emotional narration.

In 1838 Frederic Chopin found himself and his lover, the writer George Sand in frail health in a deserted monastery, on the storm-struck island of Mallorca - hoping the temperate climate would restore his vigour and perhaps the wild desolation would help him finish his preludes which was becoming increasingly difficult. So, the scene is set; prelude nr. 1 impatiently anticipating a universe of possible worlds exploring the whole gamut of romantic expression.

I could describe Pogorelich visionary playing in each and every prelude, but I won't... It suffices to say to noone has ever let me feel the lonely resignation of prelude nr. 2 with such intensity, followed by the tender extacy of Nr. 3 - the agonized remorse of nr. 4... Nr. 6 slowing down in an almost unbearable way to reveal something in the stillness which most interpreters fail to notice...Nr. 10's austere intiation into that which is still to come...Ahh, Nr. 11 and then nr. 12: Marvellous Audacity!

The whole recording breathes an atmosphere of fluid spontaneity and improvisation, which brings me to the critics of Pogorelich' version and the reason why you should buy this if you love Chopin:
Many things have been said about Ivo Pogorelich' playing, that he is too abstract for Chopin, that he exaggerates the contrast of slow and the fast tempi, that he is Audacious, arrogant, to individualistic...etc, that he is showcasing his technical virtuosity....

Wake up! This is Chopin, all these characteristics are applicable to the Romantic age and Chopin... Chopin hated composing, codifying his musings...he would improvise a melody, only to spend many hours of desperation writing it down... He would improvise over his own compositions while performing, as did Liszt and Schumann.

I would rather listen to someone attuned to the music, it's inner essence - this glorious, audacious, arrogant, self-centered over-exaggerated Music full of contrasts: fragile tenderness, torrents of dread and mayhem, rivers and oceans of exuberance, passionate whirlwinds of impossible things, and on and on... than to be subject listening to someone playing in the proper tempi and only using the pedal where it is supposed to be used, my God - what would Chopin say! I fear these people haven't got a clue what the Romantic Age expresses.

After reading the reviews I knew I had to get this version, someone dividing opinions in such an extreme way must have something major to say. Listening to other versions has become impossible, None can equal his power and insight, they are just too correct and polite; some are pretty, yet most of them too sentimental or just plain inapt compared to Pogorelich. In all honesty... before listening to Pogorelich, I never really "got" Chopin. It is as if Pogorelich unlocks another world within this music, something reminiscent of the poetry of Shelly and Byron. If there is anything that would summarize the effect of this recording: It unveils that which has been long shrouded in these mediocre times; a Spirit of freedom and nobility, of Royalty in Exile...

That this allready legendary interpretation will stand the test time in Ages to come, there is no doubt. I hope that pianists of tomorrow will heed the beckoning of their soul, while listening to this recording rather than the bleating of consensus - forget not, this is Chopin...
So buy it, together with the Scherzi and the rest of his Chopin...you will not regret it.

For those at home counting that 75% of the reviews think its either incredible or completely terrible. Lets sort this out a little bit. I am not one of those dweebs that wants every performer to make no artistic inferences that are outside the bounds of the composers written notes, therefore I appreciate Ivo. I think this is the main reason he is such a polarizing character. I have heard absolutely no one that is critical of his work, say he is unskilled or not technically proficient. He has the finger strength to tear phone books in half and tremendous dynamic and tonal control. However it is his interpretations of works that seems to drive previous said dweeb crazy. I often find he sees an alternate layer or possibility within the compositions framework and exposes it to the horror of archival music skeletons everywhere. Its not like hes playing different notes for crying out loud! Its often just simple stuff like playing a little more staccato to emphasis the rhythm or something. It's amazing that a genre that has as many so called sophisticated listeners just ends up being filled with cavemen that are afraid of fire. Chopin's Preludes are really technically demanding and cover an enormous range of emotions, so finding one pianist that contains the ability, creativity, emotional discipline, and general insight to perfectly balance all of these qualities is a tall order. Thats what makes them incredible, it finds the pianists weakness' and exposes them for all that they are and aren't. Pogorelich's weakness in my opinion is playing morose pieces like prelude no. 2. However, the other types of preludes are exceptional. The structure of compositions really show off his strengths which are named above. He is able to separate the lead melodies and backing harmonies better than any pianist I have ever heard. So in a certain way, you have to just pick what you are willing to put up with in Chopin Preludes. For me, Pogorelich has the best set that I have heard.

These preludes are all too familiar to those of us who love the piano. But, Mr. Pogorelich's playing lights all corners and will make you feel as though you have never really heard or understood the preludes before. I've always thought Rubinstein's interpretations to be the best. I now believe Mr. Pogorelich to be a notch above. I totally agree with Marta Argarich, he is a genius.

Ivo Pogorelich is that rarity today--a real pianistic personality in an age that thinks Murray Perahia has something to say. Pogo unifies these works by connecting them as well as finding individuality in each one, and his recording is one of my two highest recommendations for these works. (The other is Claudio Arrau's original 1952 recording for Columbia that has never been reissued legitimately on CD, sadly. His widely-available 1973 Philips set is far inferior.) As another reviewer here has stated, Pogo abstracts many of the Preludes--just listen to how he hears No, 14 in E-Flat minor, and how he relates it to the last movement of the second piano sonata, another piece he has made a stunningly original recording of. Here No. 14 is a stormy whisp that leads into and anticipates No. 15, the famous "Raindrop." Apocalypse would be a better title for it in Pogorelich's hands. The repeated figure can take on a monotony, but here the tension is almost unbearable, with a slow building from some very very subtle shading. Every pianist who wants to perform this work should hear his recording.

Other moments are also magnificent. In short Pogorelich isn't afraid to go after the poetry, the *dark* poetry (I'm tired of pianists who polish and buff their Chopin to a gloss), the moodiness, the neurosis. I mean, read about this guy--he was effed up, and Pogo knows that. Yet Chopin the man-woman has been romanticized easily as much as the man-child Mozart. Not by this pianst, who gives us all a new way to look at the composer. When you hear an intellectual conception this great and this complete, from work to work and uniting all the works under one dome, you understand why Martha Argerich walked out of the International Chopin Piano Competition in disgust when Pogo was eliminated in the third round.

Listening to these performances, you will understand *why* Chopin was really an avant-garde artist in the 19th century--and in some ways still is. He took chances and pushed the boundaries of his art, and Pogorelich isn't afraid to highlight that. Time and repetition (or familiarity) have homogenized these works, but every so often an artist comes along and shakes all the accumulated varnish off the artwork and makes us see it anew again. Interestingly, those who actually do this often aren't the ones who are hyped for doing it. If you like your Chopin purdy, with sprinkles and a cherry on top, don't buy this set; there are plenty of easier performances out there. If you want interpretations that will make you think, or rethink the familiar, then dive in.

(Post Script: Someone reminded me, I neglected another major favorite in my Great Chopin Preludes list--Shura Cherkassky, who does a magnificent job. Shame on me.)

Here is an example of a creative pianist that can substantiate his creativity with technical elegance. Some of Ivo's ideas here are fresh and interesting. His playing of the first prelude is ingenius - what he is trying (and succeeding) to do here is create a real build up to the final climax by making the first -passage a hybrid of legato and staccato.



Ivo is well recognized in the piano world as a master at creating fresh pianistic effects and ideas. This is great imaginitive playing with very interesting perspectives on mixing legato/staccat/legatoish staccato and staccatoish legato. Ivo never plays the same thing twice in a row which makes this fun.

Ivo Pogorelich demonstrates astounding technique and virtuosity in this interpretation of the preludes. But it is the emotional depth that truly grabs me. Much is made of the tempo of the performances. In my view the tempo is perfect, effortlessly drawing out the beauty and the emotion of these wonderful pieces. In my view every one is very well done. Highlights include the effortless, floating brilliance of the G major, the sad magesty of the F sharp minor, the stentorian E Major, the sharp and brisk G sharp minor, the sounds of crisis in the G minor, the beautiful F major confection. His playing is crisp, clear, exhilarating and lovely. I quite love this work.

Ah, this man is the master. No one realizes that he is the master. His interpretation of the music is so utterly incredible that I just can't hear this CD enough. Anyone who is a fan of the f# minor prelude has to hear this CD because it is just plain breathtaking. The recording is something to marvel over also. The bass notes are exceptionally clear. Ivo's technique is wonderful and is excuted almost mechanically. Thumbs up.