It's a mistery to me why such a genius has been left out from the great classical music biz, I mean theaters and recordings; why do we have to listen to anonymous automas instead of pure dramatic musical talent as Pogorelich? I cannot believe ECM - for instance - investing on Andras Schiff and not on him ...
I like the way Schumann quotes a lot of great composers in his work, I noticed Berlioz at 5:51, I enjoy the way that artists love to quote other masters in their compositions--that is recognizing their beauty and using it to create a musical montage that the artist is formed of appreciating. Beauty sings to Glory.
I love how Pogoorelich plays slower than other pianisst but the music sounds so much more powerful and energetic because of the consistence and control of his tone. Is this a product of a recording savvy pianist or is his technique really that much better? or am I not hearing this right?
@tombennettpiano Ivo Pogorelich esegue tutto così al naturale. In sala di registrazione, i tecnici fanno nulla, il suo suono personale basta da solo. Il vero guaio in Pogorelich è quando si stordisce da solo con il suo autocompiacimento estroso. Ma con la Toccata di Schumann è splendente e limpida l'interpretazione, senza falsare !!!! Un cordiale saluto ..... da Torino.
Quando Ivo Pogorelich dimostra di essere un grande interprete, esegue l'opera pianistica magnificamente. Con la Toccata op. 7 di Schumann ha scelta la giusta misura tra la velocità, la nitidezza delle note e la freschezza del fraseggio. Anche le voci intermedie e al basso sono limpide e cantano con decisione e lucentezza. Non rimpiango il delirio estroso di Horowitz ........ o la geniale rudezza di Richter !!!!
This man is so good, as a musician and a technician (re his non-use of the loud pedal) He is truely sublime. He needs to get help and get back in the game. Rubenstein was at his best after 80, as was Serkin and Horowitz.
I like this version because the dryness fully exposes Pogorelich's technique, yet it is still absolutely perfect... Flawless! It is very unfortunate about his playing nowadays. :(
I wonder do you understand,music aside of course, the meaning of the word 'boring',,,
Pogorelich is an artist to the tips of his fingers and above all an individual un-interested in negativity .The only 'boring' is the inane comments from trolls he attracts.
There are so man fine details in his playing here . Here brings out many lyrical qualities .Gorgeous layered lines with musicality .There is always the melody over the staccato layer. The left hand is never so interesting as it is here. i'm amazed that the other professionals weren't taken in with his playing. I wonder if there are some things all of us amateurs must not know ! He makes the music sound interesting ,new & fresh .
@lovesGenet I totally agree with you. The "new and fresh" for example is the using of the pedal between 5 min 23" and 5 min 42". first "dry", as a dance, and using between the 2 chords, sometime very shortly the pedal, and other times no, And finally, something exaspereted, 5 min 40", he enlarge the time. The subtleness of such a playing and the variety of every changing of moods is very rare today. i still not understand why so much professionnals don't like his play...
@lovesGenet I totally agree with you. The "new and fresh" for example is the using of the pedal between 5 min 23" and 5 min 42". first "dry", as a dance, and using between the 2 chords, sometime very shortly the pedal, and other times no, And finally, something exaspereted, 5 min 40", he enlarge the time. The subtleness of such a playing and the variety of every changing of moods is very rare today. i still not understand why so much professionnals don't like his play...
on croirait une machine a coudre.... who needs some oil....
the tempo is good. very clean but Schumann did not write staccato... so I think he is not really respecting the composers will. For a romantic period work it is too strict interpreted. Ciffra shows us better ways.... Horowitz is great as ever and Lhevinne is very elegant and discret when playing this. Gilels did like to play this piece too and did manage quite well. Richter is the one who did not play it that quick
Perhaps I would go even further: compared to Pogorelich, other performers just don't seem to have mastered the piece. Evidently it is so difficult that parts of it tend to lose their texture (in performance) and become a mash. As Pogorelich plays it, the piece is a tapestry whose threads remain distinctive. He manages not to lose any momentum at 0:26; I haven't heard anyone else punch right through that passage as he does it.
While listening to another one prominent contemporary pianist performing the Schumann's Toccata I realized one aspect why I find Pogorelich's interpretations unique in general, i.e., his fantastic control over tempi and dynamics. In every detail and in any fraction of each bar he takes full command over the performance. He does not allow the manual execution to slip away from his strict idea what the music is about, even in the form of minute interpretative microcracks.
@JoannaMeier: It's impossible to reproduce precisely what a composer asks for. Is a forte majestic or aggressive, a piano alluring or chary, is a staccato light or fluffily or firm etc. there is enough leeway for interpretation without changing black into white, darkness into light..............
@wisecritic333 Of course, that all depends on what YOU hear as "majestic" of "alluring" , et al. Frankly, all of these emotive descriptions are in your mind. For one thing, tell me how music can be "alluring", or how staccato can be :'fluffy' ?
As you say, it isn't what Schumann asked for, but frankly if everyone reproduced precisely what the composer asked for we'd live in a world where Clavinovas and Midi files won competitions.
It's certainly a different perspective on the piece, and more than any other rendition I've heard captures the perpetuum mobile feel.
The voicing is better than any I've heard, and the whole thing sparkles with frenetic energy.
without doubt an interesting rendition. The question is if Pogorelich has the right to play staccato, where Schumann asks for legato, to play a fortissimo ending where Schumann asked for the opposite, if it is O.K. to change the articulation of the "opening chords" in the fugato etc etc. I think he sacrifices too many facetes of the piece to his "Toccata-idea". I still prefer Horowitz, Lhévinne, Richter and recently discovered simply amazing Schmitt-Leonardy
That's a good point actually. Nevertheless, it is one of my favorite renditions due to its clarity. If the two variables could be brought together, I would be truly satisfied.
sharpear111: Sorry, not so. Actually, throughout the piece, Schumann did not ask for 'legato', or indeed much else in terms of specific articulation or dynamics. Instead, in the beginning, he included a comment: "In order to leave to the performer as much freedom as possible, only those places that might be misunderstood are clearly marked (with performance directions)". Please check your edition.
you are wrong !!! Schumann did write on a special moment in this piece staccato, so the rest shouldn t be staccato , otherwise ther would not be a difference between the staccato imposed by Schumann and the rest of the partition !!!! Check your edition !!!!!!!!!!
Dear uhartchristian: Check your logic. If Schumann writes A) the comment (see above) in the beginning of the piece and B) a staccato somewhere in the piece, perhaps the right conclusion is: the passage that he marked staccato is one of those that might, in his opinion, otherwise be misunderstood for a legato place. The staccato marking that you referred to, therefore, is local and does not say anything about how the rest of the piece should be played. The Pogo defense rests the case. :-)
I see that you are not a pianist or not a pianist who plays a lot Chopin and Liszt. Schumann was friend with both of them and they exchanged works This toccata is influenced by Chopin in many ways. Chopin never would have played this toccata staccato except where demanded. He searched for the perfect legato and here too there are exercises in this toccata for perfect legato specially at the end. Its a shame how pianists are there out today who don t respect the way how to play romantic music.
@uhartchristian The only group of interpretation that disrespects Romantic music is that which insists that the hallmark of Romanticism is always a smooth legato...this is more the work of revival interpreters who wished to distinguish in their minds between what they considered baroque or classical phrasing and romantic phrasing...it should be obvious to the intelligent musician that both staccato and legato are equally important when to the piece they are really equally important.
It is obvious for me that this piece was a research for legato. Chopin Schumann and Liszt were a lot doing research for a perfect legato which the modern german school ignores completely. Pogorelich disrespect this research. Schumann did work a few years on this Toccata specially to resolve the problem of legato technique in doublevoice in one hand. Horowitz did understand this Lhevinne also. Schuman writes stacczato where he wants it but the legato was everywhere as basic rule.
To the individual who remarked that this is 'dry' playing - are you kidding? It has exactly the right amount of lyricism for such a frenetic, unrelenting piece. This piece could not possibly be played any better.
i agree organman52. utter perfection and shocking playing. what moron could possibly call this "dry" playing. most likely the person who said that plays it all slow and shit.
After such acrimonious exchanges about the merits of Gould's playing, we thoroughly agree on something. This is a crystal clear, perfect rendering of this horrendously difficult but wonderful piece. Although containing lyrical passages, there should indeed be a "dry", unrelenting, motoric feeling/touch throughout.
pogorelich makes musicaldecisions.He gives us the fugal writing ,the fun of its music not the devil physical aspect Gilels unthinkingly THROWS at us.LISTEN. It aint Lhevinne .Le makes really charming colorful music here but completely different . The Gilels someone posted here how monstrous it can sound when a Russian technocrat tears at it. So many wonderful textures are accomplished here. soooo wonderfulthe quiet at the end.
Horowitz did wonderful things.i think he recorded more thanonce.
Having played this piece for many years, I think something in between this rendition and the more "romantic" interpretations would be more in line with the composer's original intent. One must keep in mind that 1) the music should honor the composer's intent, and 2) even the best pianos of the day were far inferior, and pedal/sustain was approached much differently. I don't think the bulk of the piece without sustain is the intent of the composer. But you sure can't complain about the technique!
Pogorelich plays most pieces like Scarlatti and Bach, I.E, almost no pedal. Therefore his technique is exposed and found to be flawless. See if you can find Rubenstein playing this, or even Horowitz; didn't think so.
Cziffra plays this brilliantly, as do Richter and Gilels. but even though Pogorelich is quite brilliant here, I wonder if the music is best served by such dry playing.
Agree, this is stunning. I am no P. expert, but I wonder whether he does better with extr. demanding pieces.
When I was a teen, I put skrjabins etude of thirds in a C64 program. The absolutely exact staccato here reminds me of what I got that time.
I just think a tiny little bit more contrast and liberty for the 2nd theme would have improved even on this ... the coda is more freewheeling and absolutely stunning. Don't really like P.'s antics, but this is perfect.
Pogorelich's "antics," as you call them, pale in comparison to the likes of Lang Lang and Aleksandr Madzar; the latter's Mozart Piano Concerto No. 27 on YouTube simply has to be seen to be believed!
Also, we should not ignore the excellent achievements of young Martin Stadtfeld in this and other works. Stadfeldt plays with great integrity and perfect control. He's just not as showy as those I discussed below.
For a completely different take on this, listen to Josef Lhevinne. Pogorelich is staggeringly brilliant, as he always was in his glorious prime. One of the things I admire most about his playing was his sparing use of the pedal; too many pianists just submerge everything in an undefined wash of sound which might be appropriate for some Debussy I suppose.
This is, indeed, staggeringly brilliant. It is frankly a monumental performance. I'm happy to enjoy it on Pogorelich's own terms, because he is a great master who has few peers.
However, Mr. Levhinne's rendition of this may be more what Schumann had in mind, since it is elegantly underplayed, beautifully phrased and as lyrical and charming as one of Schumann's character pieces.
Horowitz made of it a circus full of scintillating, spellbinding stunts.
There is no doubting the technical command that Pogorelich has of this toccata, but the dry, staccato approach gets tiresome, especially in the more lyric parts of the piece. The lyric second theme is not well served by the nervous rattling of the accompaniment figures as he plays them. This is a phenomenal performance in its way, but it lacks the dual nature of themes that is characteristic of sonata form.
The Schumann Toccata is not a four-movement sonata, true, but it is in sonata form nonetheless. Opening theme in the tonic C Major at the outset, second theme in the dominant at 0:46, closing theme derived from the second theme at 1:33, followed by a repeat of the exposition; development commences at 3:25; recapitulation in C Major at 4:19, second theme, in the tonic, of course, at 5:10, then Coda. It's a textbook sonata form movement.
I've listened to all the masters play this piece and I have to say this is the best version. For me it's the under-use of pedal that really makes this recording stand out. It is technically much more difficult to play the piece like this; keeping up staccato at this speed with this many notes requires great endurance. They also give the piece an edge to compliment its madness that it doesn't have elsewhere.
Since this was the first recording I ever heard of this piece it did set the standard of how it should be played and I will never find any better one :)
The clarity and ability to make every single tone to be heard is not even acheived by Horowitz who otherwise is my favourite regarding clarity.
Mr truecrypt, Robert Schumann seems smiling at this recording. This pianist went miles further than others, super-minimized pedal and is showing us what our nervous system and upper extremities can do with the instructions at the conservatory. Mr truecrypt, he is a latest Russian product. Russian educated musicians are teachers to the whole world. Thanks for your tremendous videos.
It's so exciting to compare Horowitz's, Richter's and Pogorelich's versions- they all choose identical tempo but differ so much in the way of achieving expression. What's amazing about Pogorelich is a Bach-style rigorous rhythmical strictness he employs, demonstrating what a toccata is all about. But who knows how he would play it today...Could Truecrypt tell us when was this recording taken?
Sounds like cinnamon and sugar in texture. sounds harpsichord-like. I like his playing immensely; have listened to many others and like those too, but this has me transfigured.
This is a crude and metered uninteresting interpretation. Hang out for a day at Julliard--students there played it like this 30 years ago when I was there--the bad ones!
When you were 4 years old? Your profile says you're 34. I like Ivo's playing in general. I can't say anything about the Juilliard students you mean, but the Juilliard students I know did learn to spell the name of their school.
Thanks for your comment, and the proofread, useful. Based on the zany videos on your profile I am guessing you have a sense of humor. I should have said 10 years ago--but have been told it's been like that at Giulliardo for decades. And, FYI--none of them, including myself, knows how to spell ! (only kidding) We tend to practice! LOL! This performance is just exaggerated, affected and student-like playing.
ha he.. I grew up listening to Horowitz' version and I love it! The control of the inside voices is incredible. on the othe hand I personally don't like the ending and there are several editing cuts in the recording. Pogorelich' perfect rythm is almost inhuman and at the same time he manages to be expressive, the phrasing is well thought out and as a whole I like it better. Try also Cziffra for some goosebumps!!!
I would disagree that this performance is robotic. I actually think it's quite sensuous. Something that Pogorelich does uncannily well is create the illusion of sound having physical weight. Pogorelich is all about contrasts. Here he delineates very interesting rhythmic patterns. And there is a sensuousness in the way that they intermingle. I get an immense sense of reinvigorating joy whenever I listen to this performance.
This piece suits Pogorelich's style down to the ground - it's the only other thing I've heard him do which is up to the standard of his extraordinary Gaspard de la Nuit and Prokofiev 6...
Pogorelich is a very odd pianist. Its his interpretations, not his virtuosity. His mechanical quality might be a good thing, but it does not sound that great to me. From 1:10, the left hand sounds so...prominent. Its like... *dum* (right hand) *dum* (right hand). And I agree with bsdkflh. It sounds a little 'pecked out'.
Now I read my comment again, I find myself very stupid. When I first heard this, I thought this was complete madness. Now I hear it, it is actually pretty good.
Um, that's not a case for your argument. It just makes you sound like a pretentious asshole who gleans off of other people's wisdom. Do you have any original nuggets of wisdom for us lower beings?
It's not perfect, it's that the idea and the sound are so highly defined, that someone can just spit out: "perfect". But, the major quality here is far beyond simple perfection.
This is playing UNDERLINED with perfection, but with much more imagination, spirit and dilucidity than many other well-practiced performances can deliver.
listen to cziffra first, then, perhaps, you might want to reconsider that statement.
And no, I'm not saying Pogo plays it bad, albeit Cziffra does it more classical way (Pogorelich is known for his different interpretations, I know that).
In Cziffra's, I can't find any fault, and seriously, don't you find this one a bit pecked out?
I cannot bear it. Does he feel anything? Does he want to be more original than the others? No expression, no fantasy, nothing. He's a good pianist, of course, but Schumann is not here!
The best toccata in C I've heard. Very musical, technically perfect, absolut control, great endurance and rythm. Better than Horowitz and Cziffra. On the CD it sounds much better than here on YT.
i agree, there is here a grear pulsation and the continuity of the music, my prefered one. There are many details of variety of sonority which appear on the CD :-)
It's a mistery to me why such a genius has been left out from the great classical music biz, I mean theaters and recordings; why do we have to listen to anonymous automas instead of pure dramatic musical talent as Pogorelich? I cannot believe ECM - for instance - investing on Andras Schiff and not on him ...
Busillis67 1 month ago
Amazing. :)
hfleung100 6 months ago
I like the way Schumann quotes a lot of great composers in his work, I noticed Berlioz at 5:51, I enjoy the way that artists love to quote other masters in their compositions--that is recognizing their beauty and using it to create a musical montage that the artist is formed of appreciating. Beauty sings to Glory.
silverideas 6 months ago
This is still the best version I ever heard...great..viva Pogorelich
bisschopvanmetz 9 months ago
This is stil the best version i've ever heard, a great musicion, viva Pogorelich
bisschopvanmetz 9 months ago
I love how Pogoorelich plays slower than other pianisst but the music sounds so much more powerful and energetic because of the consistence and control of his tone. Is this a product of a recording savvy pianist or is his technique really that much better? or am I not hearing this right?
tombennettpiano 9 months ago
@tombennettpiano Ivo Pogorelich esegue tutto così al naturale. In sala di registrazione, i tecnici fanno nulla, il suo suono personale basta da solo. Il vero guaio in Pogorelich è quando si stordisce da solo con il suo autocompiacimento estroso. Ma con la Toccata di Schumann è splendente e limpida l'interpretazione, senza falsare !!!! Un cordiale saluto ..... da Torino.
darkblueangel1956 9 months ago
Quando Ivo Pogorelich dimostra di essere un grande interprete, esegue l'opera pianistica magnificamente. Con la Toccata op. 7 di Schumann ha scelta la giusta misura tra la velocità, la nitidezza delle note e la freschezza del fraseggio. Anche le voci intermedie e al basso sono limpide e cantano con decisione e lucentezza. Non rimpiango il delirio estroso di Horowitz ........ o la geniale rudezza di Richter !!!!
darkblueangel1956 9 months ago
One word : heavently.
valderande 11 months ago
i like how he brings out the bass notes in the opening
88alan8800 11 months ago
You have to have hands of steel to play this piece. My piano teacher used to play this and when your standing next to the piano, it's just thrilling.
The funny thing was when it came to using a keyboard he was absolutely terrible at it and used to type with his two index fingers like a noob lol.
lozza925 1 year ago
brilliant. he is able to keep the melody line so clear and harmony mixed just right.
Conner36 1 year ago
technically amazing but, in my opinion, only a mechanical pleasure. I recommend listening to the sublime Lhevinne
gullivior 1 year ago
For a youngster to carry the baton, give Serg van Gennip a try. He plays with astonishing clarity and very little pedal. And he's in his 20s.
Rugghead98 1 year ago
This man is so good, as a musician and a technician (re his non-use of the loud pedal) He is truely sublime. He needs to get help and get back in the game. Rubenstein was at his best after 80, as was Serkin and Horowitz.
petie32 1 year ago
I like this version because the dryness fully exposes Pogorelich's technique, yet it is still absolutely perfect... Flawless! It is very unfortunate about his playing nowadays. :(
OrangeSodaKing 1 year ago 3
I can hardly listen to any other version after having heard this one.
th3wing3dpaint3r 1 year ago 2
Genius!
princeofsf 1 year ago
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Re-drumier
"this is boring check cziffra"
I wonder do you understand,music aside of course, the meaning of the word 'boring',,,
Pogorelich is an artist to the tips of his fingers and above all an individual un-interested in negativity .The only 'boring' is the inane comments from trolls he attracts.
aston0708 1 year ago
this is boring check cziffra
drumier 1 year ago
Listen to the "Nocturne"s by Chopin, played by Pogorelich- that is unforgetable
jankerle58 1 year ago
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Yesterday I celebrated - in the company of a sublime Ivo Pogorelich and a good glass of red wine - Schumann's 200th birthday!
hughilde 1 year ago
yesterday evening I celebrated - in the company of sublime Ivo Pogorelich and a good glass of red wine - Schumann's 200th birthday!
hughilde 1 year ago
There are so man fine details in his playing here . Here brings out many lyrical qualities .Gorgeous layered lines with musicality .There is always the melody over the staccato layer. The left hand is never so interesting as it is here. i'm amazed that the other professionals weren't taken in with his playing. I wonder if there are some things all of us amateurs must not know ! He makes the music sound interesting ,new & fresh .
lovesGenet 1 year ago
@lovesGenet I totally agree with you. The "new and fresh" for example is the using of the pedal between 5 min 23" and 5 min 42". first "dry", as a dance, and using between the 2 chords, sometime very shortly the pedal, and other times no, And finally, something exaspereted, 5 min 40", he enlarge the time. The subtleness of such a playing and the variety of every changing of moods is very rare today. i still not understand why so much professionnals don't like his play...
lhiram23 1 year ago
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@lovesGenet I totally agree with you. The "new and fresh" for example is the using of the pedal between 5 min 23" and 5 min 42". first "dry", as a dance, and using between the 2 chords, sometime very shortly the pedal, and other times no, And finally, something exaspereted, 5 min 40", he enlarge the time. The subtleness of such a playing and the variety of every changing of moods is very rare today. i still not understand why so much professionnals don't like his play...
lhiram23 1 year ago
i love schumann, this is such a great work, short, but just GREAT!
PrisLN 2 years ago
on croirait une machine a coudre.... who needs some oil....
the tempo is good. very clean but Schumann did not write staccato... so I think he is not really respecting the composers will. For a romantic period work it is too strict interpreted. Ciffra shows us better ways.... Horowitz is great as ever and Lhevinne is very elegant and discret when playing this. Gilels did like to play this piece too and did manage quite well. Richter is the one who did not play it that quick
uhartchristian 2 years ago
No one can play staccato like him. This is his unique interpretation. ;)
barismertpeker 1 year ago 6
I would like to hear him play the Bach- Busoni Chaconne. It has its very messy parts, but I am sure, that Pogorelic would keep it distinct.
metteholm75 2 years ago
I'm with Croat4747 --
Perhaps I would go even further: compared to Pogorelich, other performers just don't seem to have mastered the piece. Evidently it is so difficult that parts of it tend to lose their texture (in performance) and become a mash. As Pogorelich plays it, the piece is a tapestry whose threads remain distinctive. He manages not to lose any momentum at 0:26; I haven't heard anyone else punch right through that passage as he does it.
opus34c 2 years ago
While listening to another one prominent contemporary pianist performing the Schumann's Toccata I realized one aspect why I find Pogorelich's interpretations unique in general, i.e., his fantastic control over tempi and dynamics. In every detail and in any fraction of each bar he takes full command over the performance. He does not allow the manual execution to slip away from his strict idea what the music is about, even in the form of minute interpretative microcracks.
Croat4747 2 years ago 3
Amazing !!!!
normabelga 2 years ago
magnifique version faite de puissance expressive et de clarté; oui, pogorelitch est un très grand...
MYRHAH 2 years ago 2
technique, phrasing, rhythm, clarity- immaculate!
Baddogphil 2 years ago 2
@JoannaMeier: It's impossible to reproduce precisely what a composer asks for. Is a forte majestic or aggressive, a piano alluring or chary, is a staccato light or fluffily or firm etc. there is enough leeway for interpretation without changing black into white, darkness into light..............
wisecritic333 2 years ago 12
@wisecritic333 Of course, that all depends on what YOU hear as "majestic" of "alluring" , et al. Frankly, all of these emotive descriptions are in your mind. For one thing, tell me how music can be "alluring", or how staccato can be :'fluffy' ?
janicezany 1 year ago
As you say, it isn't what Schumann asked for, but frankly if everyone reproduced precisely what the composer asked for we'd live in a world where Clavinovas and Midi files won competitions.
It's certainly a different perspective on the piece, and more than any other rendition I've heard captures the perpetuum mobile feel.
The voicing is better than any I've heard, and the whole thing sparkles with frenetic energy.
JoannaMeier 2 years ago
without doubt an interesting rendition. The question is if Pogorelich has the right to play staccato, where Schumann asks for legato, to play a fortissimo ending where Schumann asked for the opposite, if it is O.K. to change the articulation of the "opening chords" in the fugato etc etc. I think he sacrifices too many facetes of the piece to his "Toccata-idea". I still prefer Horowitz, Lhévinne, Richter and recently discovered simply amazing Schmitt-Leonardy
sharpear111 2 years ago 4
That's a good point actually. Nevertheless, it is one of my favorite renditions due to its clarity. If the two variables could be brought together, I would be truly satisfied.
Zebeldarebel 2 years ago
Yes, that would be pretty amazing.
sharpear111 2 years ago
sharpear111: Sorry, not so. Actually, throughout the piece, Schumann did not ask for 'legato', or indeed much else in terms of specific articulation or dynamics. Instead, in the beginning, he included a comment: "In order to leave to the performer as much freedom as possible, only those places that might be misunderstood are clearly marked (with performance directions)". Please check your edition.
jooputki 2 years ago 2
you are wrong !!! Schumann did write on a special moment in this piece staccato, so the rest shouldn t be staccato , otherwise ther would not be a difference between the staccato imposed by Schumann and the rest of the partition !!!! Check your edition !!!!!!!!!!
uhartchristian 2 years ago
Dear uhartchristian: Check your logic. If Schumann writes A) the comment (see above) in the beginning of the piece and B) a staccato somewhere in the piece, perhaps the right conclusion is: the passage that he marked staccato is one of those that might, in his opinion, otherwise be misunderstood for a legato place. The staccato marking that you referred to, therefore, is local and does not say anything about how the rest of the piece should be played. The Pogo defense rests the case. :-)
jooputki 2 years ago 2
I see that you are not a pianist or not a pianist who plays a lot Chopin and Liszt. Schumann was friend with both of them and they exchanged works This toccata is influenced by Chopin in many ways. Chopin never would have played this toccata staccato except where demanded. He searched for the perfect legato and here too there are exercises in this toccata for perfect legato specially at the end. Its a shame how pianists are there out today who don t respect the way how to play romantic music.
uhartchristian 2 years ago
@uhartchristian The only group of interpretation that disrespects Romantic music is that which insists that the hallmark of Romanticism is always a smooth legato...this is more the work of revival interpreters who wished to distinguish in their minds between what they considered baroque or classical phrasing and romantic phrasing...it should be obvious to the intelligent musician that both staccato and legato are equally important when to the piece they are really equally important.
Cancrizans 2 years ago
It is obvious for me that this piece was a research for legato. Chopin Schumann and Liszt were a lot doing research for a perfect legato which the modern german school ignores completely. Pogorelich disrespect this research. Schumann did work a few years on this Toccata specially to resolve the problem of legato technique in doublevoice in one hand. Horowitz did understand this Lhevinne also. Schuman writes stacczato where he wants it but the legato was everywhere as basic rule.
uhartchristian 2 years ago
Best ever. I rest my case.
petie32 2 years ago
this is the best i've ever heard!
GiovanniNesi 2 years ago
the best performance.
better than richter cziffra and gilels
lisztbest 2 years ago
Pianists often use the word "dry" as a descriptor of pedaling. I think many of you are barking up the wrong tree.
pupusman 2 years ago 4
Agreed. Dry isn't bad, it's just a term of pedaling. Bach and Mozart tend to be dryer than Liszt or Debussy.
OrangeSodaKing 2 years ago
shocking. incredible playing. Schumann would be ecstatic.
goodguysdoll 2 years ago
To the individual who remarked that this is 'dry' playing - are you kidding? It has exactly the right amount of lyricism for such a frenetic, unrelenting piece. This piece could not possibly be played any better.
organman52 2 years ago 2
i agree organman52. utter perfection and shocking playing. what moron could possibly call this "dry" playing. most likely the person who said that plays it all slow and shit.
goodguysdoll 2 years ago
Yes. What that person referred to as 'dry' is simply his/her way of saying 'crystal clear.'
organman52 2 years ago
After such acrimonious exchanges about the merits of Gould's playing, we thoroughly agree on something. This is a crystal clear, perfect rendering of this horrendously difficult but wonderful piece. Although containing lyrical passages, there should indeed be a "dry", unrelenting, motoric feeling/touch throughout.
adams82683 2 years ago
pogorelich makes musicaldecisions.He gives us the fugal writing ,the fun of its music not the devil physical aspect Gilels unthinkingly THROWS at us.LISTEN. It aint Lhevinne .Le makes really charming colorful music here but completely different . The Gilels someone posted here how monstrous it can sound when a Russian technocrat tears at it. So many wonderful textures are accomplished here. soooo wonderfulthe quiet at the end.
Horowitz did wonderful things.i think he recorded more thanonce.
lovesGenet 2 years ago
Having played this piece for many years, I think something in between this rendition and the more "romantic" interpretations would be more in line with the composer's original intent. One must keep in mind that 1) the music should honor the composer's intent, and 2) even the best pianos of the day were far inferior, and pedal/sustain was approached much differently. I don't think the bulk of the piece without sustain is the intent of the composer. But you sure can't complain about the technique!
dhdw6 2 years ago 3
Pogorelich plays most pieces like Scarlatti and Bach, I.E, almost no pedal. Therefore his technique is exposed and found to be flawless. See if you can find Rubenstein playing this, or even Horowitz; didn't think so.
petie32 2 years ago 5
Cziffra plays this brilliantly, as do Richter and Gilels. but even though Pogorelich is quite brilliant here, I wonder if the music is best served by such dry playing.
daniel15671 2 years ago
I like the dryness in this piece, actually. Pogo does a wonderful job. I'd like to play this piece sometime. How difficult is it?
OrangeSodaKing 2 years ago 3
Note for note, it's considered one of the more difficult things in the repertory. But that's all the more reason to tackle it now!
daniel15671 2 years ago
Absolutely stunning; immaculate. His Scarlatti series is also unsurpassed.
petie32 2 years ago
Agree, this is stunning. I am no P. expert, but I wonder whether he does better with extr. demanding pieces.
When I was a teen, I put skrjabins etude of thirds in a C64 program. The absolutely exact staccato here reminds me of what I got that time.
I just think a tiny little bit more contrast and liberty for the 2nd theme would have improved even on this ... the coda is more freewheeling and absolutely stunning. Don't really like P.'s antics, but this is perfect.
rbrilla 2 years ago
Pogorelich's "antics," as you call them, pale in comparison to the likes of Lang Lang and Aleksandr Madzar; the latter's Mozart Piano Concerto No. 27 on YouTube simply has to be seen to be believed!
billyguns2 2 years ago
Also, we should not ignore the excellent achievements of young Martin Stadtfeld in this and other works. Stadfeldt plays with great integrity and perfect control. He's just not as showy as those I discussed below.
Pischnaholic 2 years ago
For a completely different take on this, listen to Josef Lhevinne. Pogorelich is staggeringly brilliant, as he always was in his glorious prime. One of the things I admire most about his playing was his sparing use of the pedal; too many pianists just submerge everything in an undefined wash of sound which might be appropriate for some Debussy I suppose.
billyguns2 2 years ago
This is, indeed, staggeringly brilliant. It is frankly a monumental performance. I'm happy to enjoy it on Pogorelich's own terms, because he is a great master who has few peers.
However, Mr. Levhinne's rendition of this may be more what Schumann had in mind, since it is elegantly underplayed, beautifully phrased and as lyrical and charming as one of Schumann's character pieces.
Horowitz made of it a circus full of scintillating, spellbinding stunts.
Richter sounds klutzy next to these three.
Pischnaholic 2 years ago
Bravo , Pogo ! :)
Lisztmaniac 2 years ago
Ivo never ceases to surprise and refresh. This is astonishing, out of the mold and FUN !
Bravo !!
salviati 2 years ago 3
There is no doubting the technical command that Pogorelich has of this toccata, but the dry, staccato approach gets tiresome, especially in the more lyric parts of the piece. The lyric second theme is not well served by the nervous rattling of the accompaniment figures as he plays them. This is a phenomenal performance in its way, but it lacks the dual nature of themes that is characteristic of sonata form.
karlakor 2 years ago
It's not a sonata. Why would you expect it to be characteristic of sonata form?
Buldaner 2 years ago 2
The Schumann Toccata is not a four-movement sonata, true, but it is in sonata form nonetheless. Opening theme in the tonic C Major at the outset, second theme in the dominant at 0:46, closing theme derived from the second theme at 1:33, followed by a repeat of the exposition; development commences at 3:25; recapitulation in C Major at 4:19, second theme, in the tonic, of course, at 5:10, then Coda. It's a textbook sonata form movement.
karlakor 2 years ago
I've listened to all the masters play this piece and I have to say this is the best version. For me it's the under-use of pedal that really makes this recording stand out. It is technically much more difficult to play the piece like this; keeping up staccato at this speed with this many notes requires great endurance. They also give the piece an edge to compliment its madness that it doesn't have elsewhere.
Buldaner 2 years ago 21
I totally agree
SwePianoholic 2 years ago 2
@Buldaner Shut up and enjoy
Fantasticifaction 11 months ago
Since this was the first recording I ever heard of this piece it did set the standard of how it should be played and I will never find any better one :)
The clarity and ability to make every single tone to be heard is not even acheived by Horowitz who otherwise is my favourite regarding clarity.
SwePianoholic 2 years ago
check out the rendition by "camaysar." Do a search on youtube and it will come up...his rendition is superb.
tipusultan007 2 years ago
Mr truecrypt, Robert Schumann seems smiling at this recording. This pianist went miles further than others, super-minimized pedal and is showing us what our nervous system and upper extremities can do with the instructions at the conservatory. Mr truecrypt, he is a latest Russian product. Russian educated musicians are teachers to the whole world. Thanks for your tremendous videos.
joesubaruson 2 years ago
Absolute the best execution of Schumann's Toccata....a dance & extremely precise keying in.
ludwig720 2 years ago 5
I love Pogorelich
BugzLooney 2 years ago 2
This piece evokes such strange emotions.
Buldaner 2 years ago 3
SUPERLATIVO!!!!!!
Schumanntica
povepupe 2 years ago 2
fantastic!!! pogorelich is a technical god
solidsnake1391 2 years ago 2
It must to be easy for him to play shumann tocatta, no? Yes!! of course! How can´t be easy with his big hands!! hahaha
Love this interpretation! VERY CLEEEEARRR! the pedal is controlled, another version MAGNIFIC! =)!
erickalk 2 years ago 2
It's so exciting to compare Horowitz's, Richter's and Pogorelich's versions- they all choose identical tempo but differ so much in the way of achieving expression. What's amazing about Pogorelich is a Bach-style rigorous rhythmical strictness he employs, demonstrating what a toccata is all about. But who knows how he would play it today...Could Truecrypt tell us when was this recording taken?
Croat4747 3 years ago 3
From the 1981 DG recording.
Pogouldiwitz 2 years ago
Horowitz: Charming beauty
Richter: Sophisticated complexity
Pogorelich: Astral clarity
Croat4747 2 years ago 4
Sounds like cinnamon and sugar in texture. sounds harpsichord-like. I like his playing immensely; have listened to many others and like those too, but this has me transfigured.
cellestialX 3 years ago
He's a genius!
troppofiato 3 years ago
Amazing!!
121jazzy 3 years ago
This is a crude and metered uninteresting interpretation. Hang out for a day at Julliard--students there played it like this 30 years ago when I was there--the bad ones!
downtoearthwildguy 3 years ago
When you were 4 years old? Your profile says you're 34. I like Ivo's playing in general. I can't say anything about the Juilliard students you mean, but the Juilliard students I know did learn to spell the name of their school.
3cplantin 3 years ago 4
Thanks for your comment, and the proofread, useful. Based on the zany videos on your profile I am guessing you have a sense of humor. I should have said 10 years ago--but have been told it's been like that at Giulliardo for decades. And, FYI--none of them, including myself, knows how to spell ! (only kidding) We tend to practice! LOL! This performance is just exaggerated, affected and student-like playing.
downtoearthwildguy 3 years ago
Good comment! I agree 100%!
voolare 3 years ago
ha he.. I grew up listening to Horowitz' version and I love it! The control of the inside voices is incredible. on the othe hand I personally don't like the ending and there are several editing cuts in the recording. Pogorelich' perfect rythm is almost inhuman and at the same time he manages to be expressive, the phrasing is well thought out and as a whole I like it better. Try also Cziffra for some goosebumps!!!
voolare 3 years ago
however those "serious musicians" just don't have the ability to play as good as this "monkey".
oklymaster 3 years ago
No one beats Pogo on this piece, the phrazing, the ability to hear ever note in the bass......Astonishing!
SwePianoholic 3 years ago
Best Shumann Toccata. On the CD it sounds so much better; here the sound came out very compressed.
voolare 3 years ago
I would disagree that this performance is robotic. I actually think it's quite sensuous. Something that Pogorelich does uncannily well is create the illusion of sound having physical weight. Pogorelich is all about contrasts. Here he delineates very interesting rhythmic patterns. And there is a sensuousness in the way that they intermingle. I get an immense sense of reinvigorating joy whenever I listen to this performance.
Pogouldiwitz 3 years ago 3
You expressed well the experience I have when I listen to this.
cellestialX 3 years ago
Wow, great performance. He emphasizes each phrase just right create an interpretation that is just reeks of nobility.
squishym 3 years ago
This piece suits Pogorelich's style down to the ground - it's the only other thing I've heard him do which is up to the standard of his extraordinary Gaspard de la Nuit and Prokofiev 6...
rebetes69 3 years ago
Pogorelich is a very odd pianist. Its his interpretations, not his virtuosity. His mechanical quality might be a good thing, but it does not sound that great to me. From 1:10, the left hand sounds so...prominent. Its like... *dum* (right hand) *dum* (right hand). And I agree with bsdkflh. It sounds a little 'pecked out'.
Now I read my comment again, I find myself very stupid. When I first heard this, I thought this was complete madness. Now I hear it, it is actually pretty good.
Sinfoniette 3 years ago
great version, precision, intelligent phrasing
guenaule 3 years ago
Sorry doubt you will understand, the great philosphy that phrase has
derefis 3 years ago
Um, that's not a case for your argument. It just makes you sound like a pretentious asshole who gleans off of other people's wisdom. Do you have any original nuggets of wisdom for us lower beings?
pumpkinheads79 3 years ago
Think of me what you want, i dont care, i just stated my opinion, not my fault if you dont agree
derefis 3 years ago
Transparent, textured, clean. I vote best recording.
ahern112 3 years ago
A perfect played piece is nothing but crap, once a wise musician said
derefis 3 years ago
Who's that musician, you? :)
It's not perfect, it's that the idea and the sound are so highly defined, that someone can just spit out: "perfect". But, the major quality here is far beyond simple perfection.
This is playing UNDERLINED with perfection, but with much more imagination, spirit and dilucidity than many other well-practiced performances can deliver.
In other words - this is INGENIOUS :)
mytchilla 3 years ago
excellent tempo
framaulo 3 years ago
Maybe in absolute this is the best rendition of Schumann's Toccata!
laurion69 3 years ago 6
Yup definitely the best interpretation of the Toccata!
jero13595 3 years ago
Absolutely agree.
The dance charatcter tha precision are magnificents!
ludwig720 3 years ago
listen to cziffra first, then, perhaps, you might want to reconsider that statement.
And no, I'm not saying Pogo plays it bad, albeit Cziffra does it more classical way (Pogorelich is known for his different interpretations, I know that).
In Cziffra's, I can't find any fault, and seriously, don't you find this one a bit pecked out?
bsdkflh 3 years ago
Ce mec est un extra terrestre : il faut être un extra terrestre pour arriver à jouer ce morceau sans mettre la moindre fausse note... !!
Par contre, les extra terrestres ne sont pas très doués pour l'expression et la musicalité...
Je préfère donc d'autres version, moins techniquement parfaites mais plus expressives, comme celles d'Horowitz ou Richter par exemple ;-)
MisterJSF 3 years ago
D'accord pour Richter, qui prend des risques, qui payent ou non, mais c'est toujours vivant!
guboub 3 years ago
I cannot bear it. Does he feel anything? Does he want to be more original than the others? No expression, no fantasy, nothing. He's a good pianist, of course, but Schumann is not here!
oinetakoa 3 years ago
I just can't understand those who think this is the greatest recording of Toccata... it's so exact and staccatoy. I love Pogorelich but not this!
hildenborough 3 years ago 2
¡magistral!. Mucho talento demuestra Pogorelich.
malditocalvo 3 years ago
not all the notes are "palyed", can't hear all as singular and as a harmony - someone tried to compare this with Richter's Live???
please take a look at the way of playing, wrist - is that the same idea of sounding?
poisonalien 3 years ago
much better than i expected, probably the best version i heard, a work of genius, so is the interpretation
minetto2 3 years ago
Great one!
aaabbbccc5 3 years ago
Pogorelich almighty.
dinoimeri 4 years ago 2
Strange, but this way of playing reminds me of Glenn Gould. But Gould thought that this kind of music was "A complete waste of time"...
pianopera 4 years ago
The best toccata in C I've heard. Very musical, technically perfect, absolut control, great endurance and rythm. Better than Horowitz and Cziffra. On the CD it sounds much better than here on YT.
voolare 4 years ago 6
i agree, there is here a grear pulsation and the continuity of the music, my prefered one. There are many details of variety of sonority which appear on the CD :-)
lhiram23 4 years ago 4