Customer Reviews

Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini

5 star:		(25)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Pollini's performance of these three movements from Stravinsky's Petrouchka and Prokofiev's Piano Sonata no.7 were recorded in 1971, and his performance of Webern's Piano Variations and Boulez's Piano Sonata were recorded in 1976. These recordings were originally released by Deutsche Grammophon on two separate LP records; the first in 1972 (Stravinsky/Prokofiev,) and the second in 1978 (Webern/Pollini.) They have now been refurbished and combined on this 68+ minute disc. One does not have to be familiar with the sound of the original recordings to appreciate Deutsche Grammophon's restoration job; the sound is clear and should be satisfactory to any listener.
I love Stravinsky's own reading of Petrouchka (CSO, 1960) - it was my first introduction to his music, and it is still the recording of the ballet which, for me, is closest to heart, but Pollini's performance on this disc is indeed in an impressive class of its own, and I therefore suggest for people who like Petrouchka to listen to this performance of it, as it will allow new comprehensions of melodic lines that earlier might not have appeared as tangible. Pollini performs approximately half of the original piece (15 minutes,) and I believe that no more than this has been transcribed for solo piano.
The main reason for my having listened to this disc at least 20 times during the last few weeks is the Prokofiev tracks; both music and performance are beyond my vocabulary, but I suppose are describable as stunning and skillful.
This has been my first introduction to both Prokofiev's and Boulez's music, and I must say that of the two I favor the music of Prokofiev - it is more easily digested in comparison to Webern's and Boulez's music, although all the performances here are impressive; they will not allow you to listen with anything but a keen ear. This has to be one of the most tasteful and thrilling solo piano albums of modern classical music. 10/10.

I think it is fair to say that this recording is a classic by any standard. It shows one of the world's greatest - some say *the* greatest - living pianists at the peak of his powers, in repertoire that only the most assured musicians would even dream of playing.

Pollini here tackles four formidable examples of 20th-century music, including what is arguably the disc's showpiece, Stravinsky's "Three Movements from Petrouchka." This CD is worth acquiring for this alone. If you enjoy the orchestral version, hearing it for "just piano" may not initially seem as satisfying, but Pollini's cool brilliance will quickly change your mind. The Prokofiev Seventh Sonata is also a slightly terrifying piece (at least, to those of us who are non-pianists), but again, Pollini races through its difficulties with an almost scary nonchalance. To some pianists I know, this is the finest version of this sonata ever recorded.

The two remaining pieces will be the most daunting for some listeners, but Pollini is as good a salesman as you'll ever hear. The dense, complex Boulez - what an amazing piece! - may seem formidable at first, but becomes clearer with each hearing. If nothing else, it's just so astonishingly difficult that you can't help but be impressed, that any human being could learn to play it at all. And the elegant Webern "Variations," in Pollini's hands, is as glistening as a waterfall.

Highly recommended for devotees of some of the 20th century's most arresting music for the piano, or fans of outstanding piano playing in general. The sound, on DG's "Originals" series, is much closer to the original LP this time around.

This is one amazing disc of piano-playing, one that never ceases to leave my mouth hanging open every time I listen to it. Do yourself a favor if you read music and find a score of the Stravinsky. Follow along as Pollini plays and be amazed, truly amazed.

Amazed not just at the virtuosity, but at how *easy* and effortless he makes it sound. In his hands, it's hard to believe this is *difficult* music, yet the score tells otherwise. This work is so formidable that only a few other pianists have dared tackle it--Gilels, and Horowitz in the first movement only. (A pity, since I would have loved to hear him play the whole thing.) Pollini leaves them all in the dust, with clarity and a directness that's perfect for the work. (Many people say Pollini is a cold and distant interpretor, and I tend to agree, but this apporach served Stravinsky--a man who kept his emotional states out of his music--well.

But Petrushka is just the beginning. The Prokofiev is a stunner. (And listen to how different his color palette is from that of Petrushka!) If it doesn't have quite as much character as Richter, well, that's still a pretty high standard. Once again Pollini rips through it as though it were child's play. I'd maybe prefer a little more of the composer's trademark sardonicism. But the complaint is slight. Kudos also just for the programming on this disc. The Sonata follows Stravinsky perfectly, yet it's of a completely different character. I wonder if Pollini programmed them together in live recitals.

The Webern is an ideal piece for people who say they don't like atonal music. It's a great introduction--short, succinct and relatively easy to follow. Pollini actually finds what to me sounds like lyricism in a place you wouldn't necessarily expect lyricism. The performance builds with great, though subtle, tension, and again Pollini's clarity is ideal for delineating the piece. This is a great way to be introduced to The Second Viennese School, and to Webern.

Finally comes one of the most famous, or infamous, of 20th century piano works, Boulez's Second Sonata. I can't speak knowledgeably about this piece, as I'm still discovering it. But Idil Biret's recording strikes me as "warmer," if you can call something atonal by Boulez warm. And the recent Paavali Jumppanen recording seems to connect the dots better. But such observations should be taken as a grain of salt, for I am, as I said, still learning this strange and extremely complex work.

It's interesting how the works become more abstract and dissonant as the disc goes on. This is not just a terrifically-played piano recording; it's also a study of the decay of Western tonality and the rise of a new music system. It's also one of the most thrilling and unique piano records in DG's entire catalog. Snap it up!

The adjectives to describe musicianship of this rank have yet to be invented. From beginning to end, this is one of the best classical music discs you can buy. Pollini's Petrushka is thrilling beyond compare, and the Prokofiev sonato is a powerhouse performance, sure to quiet the chatter of any party with its stunning emotional weight and flawless timing. Every classical music review source has duly acknowledged this masterpiece. Your money will be well spent. Your soul will be moved. No home is complete without it.

Maurizio Pollini sparkles here with four very different piano fantasies -- Stravinsky's light and carefree "Petrouchka" and Prokofiev's ominous "7th Sonata" (each 15 to 17 minutes long), Webern's enigmatic "Variations," (only 6 minutes long), and finally Boulez's 30-minute "2nd Sonata," a tortured serialist exercise. (Stravinsky + Prokofiev), originally a 1972 LP, and (Webern + Boulez), a 1978 LP, are now combined to create a tour de force of 20th century piano.

Stravinsky's piano arrangement seems to have attracted the most positive comment thus far, and while not disparaging the piece or Pollini's performance in the slightest, I feel I must speak up for the Prokofiev, a modernist masterpiece! The first movement has an ominous mechanical relentlessness, the second movement is deeply sad and introspective, and the third movement is manic and jazzy, superficially quite outgoing and upbeat, yet once again with a mechanical edge. Having heard Richter play the "7th," I'd say Pollini's is at least as good, but don't miss Richter's "8th," paired with Prokofiev's "5th Piano Concerto" on DG.

While the Webern is sublime, the Boulez I cannot love, but only respect. It's an important piece in the development of serialism, so I'm happy to have it, but it's not something I listen to often. Apparently Pollini likes to play the Boulez live back to back with Beethoven's "Hammerklavier" sonata, which the Boulez piece makes reference to -- try it at home with Pollini's legendary Beethoven recording...

This is one of the best performance by any pianist ever! Pollini is simply incredible. His fingerwork is near perfect and his dynamics are hair raising. I would rank this as one of the ten best classical cd's of all-time.

This disc, while not for the faint of heart or the hesitant in the world of 20th century music, will reward the listener almost instantly with its visceral excitment and raw energy. Pollini, notorious for playing accurately but without passion or emotion, plays in a perhaps similar vein here, but it works in this repertoire. He executes Boulez's fiendish Second Sonata as though the piano had insulted his mother. This work is decidedly difficult to listen to unless one knows it very well and has an understanding of and sympathy for Boulez's methods. Yet there are moments of beauty in the work, and Pollini maintains a delicate touch and attention to phrasing in the slower sections. His Webern Variations are played with a clear understanding of the structural techniques the composer is using as made evident by Pollini's use of rubato and his highlighting of different voices. Finally, his Petrouchka and Prokofiev Seventh have both achieved legendary status since their initial release. There may be little in the way of Mozartian delicacy, but this is brutal music, and it is given the correct treatment by this most excellent Italian pianist. His sound is full and rarely harsh, sections of fast figures feel like a shower of bullets at times, yet it all contributes to the highest level of raw emotion and excitement. Selections from this disc could easily be used to convert a non-believer into a fan of 20th century classical music.

Q: What does Mr. Pollini do with a piano? A: Anything he wants. If we're honest, Pollini is the pianist all of us "serious" musicians would kill to be. This landmark recording, besides its blazing clarity and technical command, gives the most coherent picture of some of the hardest piano music ever written--it sounds like something other than a person playing it. The Boulez Sonata even sounds logical, if not moving...but so what? Pollini's performance is the best that that piece can ever hope to receive. What makes Pollini's CDs special is precisely what some critics find fault with--unexaggerated, almost textbook interpretations. It is this quality that makes the recordings stand up to frequent hearings, which it ought to have. I myself am forcing myself to wait until he passes away before even thinking about playing this or almost any music Pollini has recorded.

Simply put, the instrument we know of as the "piano" cannot be played any better. For any young pianist, Pollini here will either inspire you to practice that extra hour every day, or he will inspire you to find another line of work. This is perhaps the most completely satisfying, perfectly conceived and executed piano recital disc ever recorded. And above and beyond the playing itself, which is absolutely perfect, (yes, 100% perfect--it defies the old saying that man cannot reach perfection, he can only hope to come close), there is the fact the he is playing the music of Webern and Boulez, two visionary composers whose music is so often relegated to small, specialist labels for new-music frieks. What we have here is a major artist on a major label recording and championing truly great contemporary music. And that gets 5 stars any day.

What an interesting disk! This is playing of a very high order by Pollini at the very top of his peak of his powers. The "Three Movements from Petruska" is a wonderful virtuoso piece that every pianist dreams of playing. Pollini makes every note clear, pulls of amazing orchestral effects, and plays with a brilliance that almost no one else can duplicate.

The Sonata number 7 by Prokofiev is also a wonderful piece. Pollini plays it with intelligence and insight. The last movement is amazing for its energy and ferocious inevitability.

The last two pieces require a different kind of listening that your experience with tonal music will not prepare you. Webern's "Variations" opus 27 is really an interesting work. Give it several listens and you will be surprised how it grows on you.

For me, the Boulez second piano sonata is a different issue. It is immensely complicated and impossible to play (but Pollini pulls it off), but its purpose and beauty eludes me. However, I admit that it just might be a limitation on my part. However, let me point out that one of the problems with the moderns of the mid-twentieth century serialist movement is that the music is not only beyond the understanding of its audiences, it is beyond the playing ability of all but the greatest virtuosi.

Is it mundane to point out that music, in order to be a living part of its culture, has to have an audience that not only listens to it, but learns to play it? Brahms made a tidy living writing very sophisticated music that skilled amateurs could play in addition to his pieces for virtuosi. That these largely academic composers wrote only for each other and actually scorned those who could not understand their works set the stage for their music to fade to the dusty shelf of music libraries at university music schools. And there they will likely remain.

The audience has become important to present day modern composers and notice how the stuff actually gets listened to and appreciated. Now, composers, please write music that amateurs and play and enjoy and you will see how your fame and the appreciation for your work soars!

But that is beside the point of this disk. This is a disk of music for the supreme virtuoso and Pollini makes this disk important and memorable.