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Ravel: Gaspard de la Nuit / Prokofiev: Piano Sonata No.6

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Détails sur le produit

  • Interprète: Pogorelich Ivo
  • Compositeur: Prokofiev Serge, Ravel Maurice
  • CD (25 octobre 1990)
  • Nombre de disques: 1
  • Label: Deutsche Grammophon
  • ASIN : B000001G54
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Descriptions du produit

ravel: gaspard de la nuitfreddie ravel | format: audio cd5.0 out of 5 stars see all reviews (4 customer reviews)

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Amazon.com: HASH(0x9a863a2c) étoiles sur 5 7 commentaires
23 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0x9a88b0fc) étoiles sur 5 one of Pogorelich's best recordings 22 février 2008
Par M. R. Simpson - Publié sur Amazon.com
Format: CD
Back in the 1980s, I remember asking a composer friend what he thought of Ivo Pogorelich. As he was a stickler for musicians observing composers' markings, I expected him to dislike Pogorelich, whose interpretations were very controversial at the time; however, to my surprise he replied that he was "undecided." Apparently, he had liked some of the recordings, but others he wasn't so crazy about. Years later, I tend to feel the same way, except that I have stronger feelings both ways--some of his recordings I really love, and would take with me to my desert island, while others I have definitely found to be more challenging.

My chief complaint against Pogorelich is that he has a tendency to drag the music. I once attended a performance of Chopin's 24 Preludes at Carnegie Hall, in which he played some of the pieces so slowly, and with so many pauses, that at times the music seemed to lose all forward momentum. I mention this because listeners should be warned that he does have a tendency to do this on some of his recordings as well (although not on this one here). For example, his Brahms Intermezzi are very slow, not misguided--he definitely understands the ruminative nature of the music, but due to his slow pacing, some may feel that he compromises or retards the overall musical structure. (His Mozart Sonatas are even worse, as he approaches them in the same "romantic" manner as his Brahms.) Yet, at other times, as with his recording of Schumann's dazzling Toccata, he is absolutely incredible--and I mean, phenomenal. In fact, to my mind he is the only pianist to have ever bettered the legendary early Horowitz recording of the Toccata (previously released on the EMI label).

In addition to his Schumann, I have also enjoyed his Scarlatti, Bach, Haydn, and Beethoven, and only wish that he would record more Scriabin, for which he has a special affinity. Yet, of all his recordings, it is to this recording of Ravel's Gaspard de la Nuit that I have returned most over the years, and even after repeated listening, I am still utterly transfixed by it. Simply put, it contains some of the most riveting and imaginative piano playing that I have ever heard--and my piano listening goes as far back as De Pachmann in the early 1900s (albeit on recordings, of course).

One can only wonder what Ravel would have thought of it, having been--as a teacher--quite a strict taskmaster. Certainly, Ravel's students, or friends, such as Robert Casadesus and Jacques Fevrier, play the piece more formally, and with a more authentic French piano touch and sensibility. Indeed, when this recording first appeared, I remember my girlfriend at the time--a graduate of the Curtis Institute--saying that she found the French pianist Jean-Phillipe Collard to be "more sensitive" in this piece, and that is probably true. I also recall that in the first Penquin Guide review, the reviewer didn't even award Pogorelich a full three stars. He thought that there was something narcissistic about the playing--finding his attention drawn more to the extraordinary quality of pianism rather than to Ravel's music. Yet today, many years later, this recording--along with the very fine Prokofiev 6th sonata that accompanies it--has acquired an enduring status, and is considered by many to be a true classic.

While there may indeed be touches of narcissism in some of Pogorelich's other recordings--I must respectfully disagree with the Penquin Guide and say that I do not find that to be the case here. Admittedly, Pogorelich may employ a greater expressive range than some very notable Ravelians, such as Casadesus, Monique Haas, Francois, or Collard, but I would argue that the wildly imaginative nature of Ravel's writing more than justifies him doing so. And it is astonishing just how well he is able to realize--both technically and musically--the fantastical sound world of Ravel's nightmarish visions. Indeed there are times when I feel that he has surpassed everyone in this piece, with the possible exception of Haas and Fevrier, both of whom I adore in this music. (I should mention that Fevrier didn't record Gaspard until late in his career in 1971, when he was 71 years old, and his technique wasn't quite what it had been in earlier years. Nevertheless, Fevrier had a special authority in this music, having known the composer and worked with him on his Concerto for the Left Hand, and I would strongly urge students of Ravel to seek out these wonderful and uniquely instructive recordings: Ravel-L'Oeuvre Pour Piano Volume 1-Jacques Fevrier and Ravel-L'Oeuvre Pour Piano Volume 2. You can also listen to Fevrier's Ravel on You Tube.)

If you are searching for a more recent digital performance, either to compare the Pogorelich to, or perhaps to buy as part of a complete set of Ravel's piano music (instead of the Prokofiev coupling), I would also strongly recommend either Jean-Efflam Bavouzet or Jean-Yves Thibaudet. Both pianists are excellent in this music, although I am undecided about which one I like better. However, I definitely prefer Thibaudet's performance of Ravel's Prelude. Bavouzet's rendition is beautifully played, but too broadly concieved, while Thibaudet is the only pianist I've heard other than Samson Francois to recognize the subtle jazz-like inflections within the piece (although I have never heard anyone play the Prelude more beautifully than Francois.) In addition, over the years I have also treasured a single disc of Ravel's piano music played by Mikail Rudy on the EMI label, which unlike the Pogorelich recording, was awarded a Rosette by the Penguin guide.

Then again, if you don't mind decent analogue sound, you might do well to consider Jean-Phillipe Collard: not only is his set superbly well played, and thoroughly idiomatic, but it is also now attractively available at a discount price. Moreover, it is interesting to note that in one particular movement of Miroirs--I'm sorry but I've forgotten which one it is--Collard's timing is exactly the same as the composer's recording, that is, to the very second.

In closing, I would be remiss if I did not add that the great Italian pianist, Arturo Benedetti Michelangeli, was also remarkable in Gaspard. My only problem is that he was never afforded a particularly good sound quality, despite having recorded the work, I believe, three times (the "Vatican" recording being the worst of the lot). And in such richly textured music, poor sound quality is a definite negative, despite the amazing stature of Michelangeli's playing.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x9a88b150) étoiles sur 5 A really special disc 27 décembre 2009
Par G.D. - Publié sur Amazon.com
Format: CD
Ivo Pogorelich is a controversial pianist, but I cannot imagine anyone being (overall) dissatisfied with the performances on this disc. The approach Prokofiev's sixth sonata is certainly one of extremes, using the whole range of colors and shades, but it works superbly. The allegretto movement is turned into a kind of scherzo, but a strangely subdued one, and the Valzer lentissimo is almost otherworldly in its dreamlike textures and colors, conveying an impression of a magical fire burning behind a calmly multi-colored, solemn glass painting. The reading of Gaspard de la nuit might not be a first choice - for that it is far too idiosyncratic - yet I wouldn't want to be without it. Ondine is calmly delicate but with a fiery intensity belying its surface sadness. Le gibet is quietly menacing, almost disconcertingly crystalline and ice-coated - it is probably the most intensely chilling version on disc, a performance bathed in shimmering, bleak, frozen half-lights. In comparison, Scarbo sounds fiercely but ephemereally magnificent and tumultuous, nervous and disquieting. The sound is rather on the cold side as well, but even if memories of, say, Ashkenazy are never eclipsed I wouldn't want to be without this reading. A really special disc, then, strongly recommended - especially to those who think they already know these works.
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x9a88b588) étoiles sur 5 Fabulous Pogorelich 2 mars 2009
Par David Thierry - Publié sur Amazon.com
Format: CD Achat vérifié
Out of the over 100 available recordings of Ravel's Gaspard de le nuit this must be one of the finest. If this was Ravel's idea of a bad dream I'll take it. It easily ranks with the most beautiful music I know. I have the estimable Vlado Perlmuter's complete recording of Ravel's music, recorded when the pianist was in his eighties and it's a marvel. Martha Argerich's recording is still a wonder. Haven't heard Ashkenazy or any others. Pogorelich may be an artist with the courage to do what he feels is right despite composer's markings and that makes for an interesting listen. I know both the Ravel and the Prokofiev rather well and haven't noticed anything amiss. Pogorelich plays with both great power and amazing delicacy. If you don't know the Prokofiev sonatas, explore them and you will be amply rewarded. I love this recording. Very highly recommended.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9a88b570) étoiles sur 5 Ivo in his element. 1 mars 2010
Par Abert - Publié sur Amazon.com
Format: CD
This original release has now been re-issued under DG's 'Original' series, with the Chopin No. 2 Concerto added.
I for one would want to stick to this 'original' version, since both works contained in this CD represent Ivo Pogorelich's finest performances.
The Ravel piece has been Pogorelich's calling card both in the recording studio and in concert halls. His tremendously powerful touching, varied tone colouring and immaculate sense of rhythm in this set of three pieces marked this performance as 'the' benchmark of this masterpiece of Ravel.
The other part of this album is devoted to Prokofiev's Sonata No. 6. Again, here Pogorelich's pianism serves the work like hand in glove. The listener is left to absolutely no doubt whatsoever that this work is intuitively in the musical soul of Pogorelich. There is no trace of any ponderosity, any drag in tempi, or any waywardness of expression. The rhythms and dynamics are utterly well-paced and well-placed, and there are much beauty of touching, showcasing Pogorelich's greatest pianistic strength.
This may not be true for his Chopin, Brahms, or Moussorgsky, as one reviewer here so aptly pointed out. And it is also true that Pogorelich's interpretive problems with either Chopin or Brahms did not surface in this recording of Ravel and Prokofiev one bit.
These are absolutely classics, and should not be missed.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9a88ba38) étoiles sur 5 Contains the most amazing moment of piano playing I’ve ever heard 31 mars 2014
Par jt52 - Publié sur Amazon.com
Format: CD
That comes at 4 minutes into the opening track, “Ondine”, the water sprite, from Maurice Ravel’s “Gaspard de la nuit.” The surge as Pogorelich plays it is fully supernatural, an emanation from the depths, with superb timing and building up of the preceding crescendo Ravel created from rising scales. The disc overall is just excellent, but the “Ondine” alone makes this a must-hear for classical fans. The end of “Ondine” is another remarkable moment, with Pogorelich creating a delicate shimmering texture, of the kind that only a master pianist can achieve.

As a big fan of “Gaspard de la nuit”, it is for me one of the great works ever written. I’m having troubles thinking of any 20th-century music that rivals its combination of atmosphere or excitement. The atmosphere of “Ondine” is established right from the beginning in the sensuous opening, one that Pogorelich evokes wonderfully. The long grisly ostinato in “Le gibet” comes straight out of the impressionist tradition, with its rhythmic ostinato recalling several Debussy piano works. The absolute calm Pogorelich manages to convey is sinister – is it the calm of death? The almost unplayable “Scarbo” caps things, a transformation of the traditional quick finale into the supernatural frame of “Gaspard”. The main theme of “Scarbo”, constructed from the symmetrically-arranged octatonic scale, leads Ravel to a repetitive extension of the melody rather than directional development typical of more traditional music. Up to when I got this Pogorelich release, I had thought that Martha Argerich’s classic performance (also on DG) was the ultimate. Pogorelich forced me to re-assess – this is one of the pinnacles of pianism.

“Gaspard” is paired with an unlikely companion, Sergei Prokofiev’s 6th piano sonata. The two compositions exist in different worlds, both musically and in their social origins. While the Ravel is from a time of peace, focused on an interior world, Prokofiev’s 1940 work is jagged, modernist music, the horrors of Stalinism and the second world war shunted aside but seeping into the tense language. I don’t consider the 6th sonata equal to “Gaspard,” either as a composition or in terms of Ivo’s performance, but that is a high standard, so a fairer assessment is to say that it is a good performance of an accomplished piece, but one that I find hard to like. Pogorelich takes a particularly dry approach, one that shears away any romantic vestiges in Prokofiev’s modernist style. He handles the scherzo particularly well, I think, with a very fine control of different textures.

The only negative I’d apply to this CD is the mediocre engineering job DG provided. I would recommend seeking out the remastered issue, which I haven’t heard, but is likely to sound a bit better. Sound issues don’t negate a supreme “Gaspard” and a very well-done Prokofiev.
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