"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."
A sharply intellectual set
Michael Whincop | GRIFFITH UNIVERSITY, QLD AUSTRALIA | 03/07/2001
(4 out of 5 stars)
"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."
Ponderous yes, but so potent
Matthew B. Doar | San Jose, CA USA | 06/14/2004
(5 out of 5 stars)
"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"
Royalty in exile
Orpheus | on the road | 07/12/2007
(5 out of 5 stars)
"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.
"
Of the 12 reviews, 9 of them gave it either 1 or 5 stars.
A. K. Montrone | 05/04/2008
(5 out of 5 stars)
"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."
Track Listings (24) - Disc #1
