Search - Franz Liszt, Alexander Scriabin, Ivo Pogorelich :: Liszt: Sonata in B minor; Alexander Scriabin: Piano Sonata No. 2

Breathtaking Scriabin

Anthony S. | Chicago, IL USA | 03/10/2004

(5 out of 5 stars)

"Why this album is not more acclaimed than it is surprises me. Much of Pogorelich's output is unconventional yet convincing, and the same holds trues here. The dynamic/tempo contrasts are played up to the hilt, and a few harsh fortissimos aside, this is a dramatic account to be reckoned with. The filler Scriabin second sonata is truly amazing: Pogorelich's absolute technical command in the final movement coupled with his uniquely limpid tone make for an exciting finish. The only drawback is the relatively short playing time (also a Pogorelich trademark)."

Flashes of brilliance, but doesn't hold the whole massive st

John Grabowski | USA | 02/16/2009

(3 out of 5 stars)

"Ivo Pogo is a fascinating artist, there's no doubt about that. Always a difficult individual, I've heard that as of late he may have become just a bit unstable. That instability might suit him well in the Liszt, but despite what seem like sterling credentials (a volcanic temperment, knife-sharp attack, formidable technique), he doesn't quite pull it off here. One of my two favorite performances of this work is by the late, criminally-underappreciated Ernst Levy. (The other is a 1966 live performance by Richter at Aldeburgh. Sadly, both are out of print.) Ivo follows every dot and dash, every dynamic change and rest, more closely than either Richter or (especially!) Levy, but somehow the result doesn't add up the same. There's something frustratingly disjointed about this performance that only becomes apparently after you've spent a lot of time with the work. (And my introduction to it was a Jorge Bolet performance--that I now loathe--back in the early 80s), For many years I thought this composition was a shapeless dinosaur that was all about banging and hair-tossing. Only after hearing Levy and a few others who really know how to corral the structure (Arrau and the aforentioned Richter and even Yundi Li!) did I appreciate the magnificent structure. (Reading some online postings by the always-fascinating Samir Ghicel Golescu at http://groups.google.com/group/rec.music.classical.recordings/browse_thread/thread/2cf69138d7cbb6ca/e1aec0affe653ea0?lnk=gst&q=liszt+sonata+levy+SG#e1aec0affe653ea0 also helped tremendously.) After comparing this performance of the Liszt to most of the others I have, made terribly convenient thanks to the iPod, I conclude that Ivo has flashes of brilliance in sections. There are some very powerful moments in the outer sections, though I do find the very first appearance of the main theme curiously underpowered. In the quiet moments, Ivo can make the piano siiing with a gorgeous legato. And he does it without excessive pedal--indeed, this may be the least-pedaled B minor I've heard... no hiding technical difficulties in a mush of sound and reverb. (Another reviewer here subtracted a point because of a clangy sound. This isn't the pianist's fault, but rather close miking. All his recordings seem to be this way--don't know if he likes it or not, but he sounds very different in concert.)



What does him in at times is his very strength in others, his tendency to play, almost milk, the moment--at the expense of long-term architecture and planning. Thus the piece, to me, comes off as a series of episodes more successfully than one organic piece. Some examples of what I'm talking about happen at about 12 -13 minutes in. Another example is the transition from the tranquil slow section at about 22 mins.) With more thought and connection of ideas instead of fussing with the shape and velocity of smaller moments, this performance could have had more unity and cohesion. There are times in the slow middle where the tension sags, the structure folds in on itself, we get lost in the whole thing. Some artists can play super-slow and super-quietly and hold the tension, keep you on the edge of your seat. That doesn't happen with Pogo, at least here.



The Scriabin is a piece I know a lot less about, and I have never looked at a score. I know I have other performances of this piece, but I can't remember where or by whom and since I foolish have never cataloged my collection finding them for direct comparisons wouldn't be easy. Suffice it to say Pogo seems on more familiar ground here, with a more organic and naturalness to his playing (he sounds like he's spontaneously creating it as he plays, a quality I feel his Liszt sonata does not have). At the same time, *I'm* on less familiar ground here, so take my comments with salt. The sound is also more "rounded" and less percussive in the Scriabin. It's an excellent way to bring us back from the abyss after the exaltations of the Liszt sonata, while at the same time offering a very substantive piece. Overall, I'd recommend this album, but for some stunning Liszt you should look as hard as you can for Richter at Aldeburgh, Levy, and a live Chaudio Arrau from Italy, Sept. 17, 1971."

Poetry and Passion

Aesthete Chris | London UK | 06/04/2009

(5 out of 5 stars)

"This is one of my favourite performances of the Liszt Sonata.EL ROSARIO I have many great recordings of this work.

Ivo for me displays the perfect blend of fire, madness, heroism, lyrical poetry, elegance and philososphical depth. It is truly breathtaking and inspiring to listen to; the Liszt is a very great work and so is this performance.

The Scriabin I do not know but am learning to enjoy; it is a difficult but interesting work.

I think it is good to couple the familiar Liszt with a lesser known piece.

The cd is wonderfully recorded: bright and clear, very immediate.

Well done, as the piano is not always easy to capture on disc.

Brilliant!"