|November 25, 2018|
RECITAL at NATIONAL CENTRE FOR THE PERFORMING ARTS
MOZART: Adagio in B minor K. 540
LISZT: Piano Sonata in B minor, S. 178
SCHUMANN: Symphonic Etudes Op. 13 – including Op. Posth.
About the works
Ivo Pogorelich first played Robert Schumann’s Symphonic Etudes as long ago as in 1978, and he recorded them for Deutsche grammophon in 1982. Marking the 40th anniversary of his first concert performance of this piano cicle in the 2018/2019 season, Pogorelich reintroduces this piece into his repertoire, together with 5 posthumous variations which Schumann left out from the original edition. Critics are showering Pogorelich’s interpretation of this Schumann’s masterpiece with praise, describing it as very sensible and close to the intentions of the composer himself.
Composed between the opening nights of Don Giovanni in Prague and Vienna in 1788, Mozart’s Adagio in b-minor belongs to the group of pieces which the composer had included in the integral list of his compositions. The unusual tonality in which Mozart wrote this piece indicates the particular emotional state he was in at the time, which ranges from melancholic pensiveness to strong internal tensions. In the current season, Ivo Pogorelich for the first time includes this, the only Adagio for solo piano in the opus of the great Viennese classicist, in the variety of Mozart pieces he has on his repertoire.
One of the most extensive and, performance-wise, most demanding pieces of the whole piano literature – Liszt’s grandiose Sonata in ha-minor, dedicated to Robert Schumann – is emblematic for Pogorelich’s repertoire.
The interpretation which Pogorelich recorded for Deutsche Grammophon has acquired anthological status, and the pianist has also played it in concerts on various occasions throughout his career. Critics said the following about one of his latest interpretations of this piece: Through his idiosyncratic interpretation, Pogorelich produced in Liszt’s Sonata colours which can rarely be heard coming out of a piano. Thanks to his unconventional reading of the score, he created room for pondering on a supposedly familiar piece of a supposedly familiar composer…