Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Scarlatti, Sonata No.15
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Scarlatti, Sonata No.3
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Chopin, Ballade No.1, op.23
Krystian Zimerman was born in Zabrze (Poland) on 7 December 1956. He made his first major breakthrough in 1975, when he won the first prize at the Chopin Competition in Warsaw. His friendship with Artur Rubinstein exerted a lasting influence on him in his youth. After expanding his repertoire and studying in London in 1980, he began to make a name for himself as one of the most talented pianists of his generation through numerous concerts and recordings. Further important stations in his career were his projects with such great conductors as Bernstein, Giulini and Karajan. The Polish composer Witold Lutoslawski dedicated a piano concerto to him, which he premiered in Salzburg in 1988.
Chopin, Ballade No.2, op.38
Bach, Suite for Solo Cello in C minor, BWV 1011
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Bach, Suite for Solo Cello in D major, BWV 1012
The six suites for violoncello solo by Johann Sebastian Bach are a pillar in this instrument’s repertoire. Just as a pianist will always confront himself with a standard work such as Bach’s “Well-Tempered Clavier,” so does a cellist keep tackling these highly demanding solo suites throughout his life. Mischa Maisky recorded the complete cycle for television in 1986.
Mozart, Violin Concerto No.4 in D major, K. 218
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. K. 218 opens with a long orchestral introduction after which the soloist introduces new themes that are developed with virtuoso elements such as trills, arpeggios and pizzicati. The Andante cantabile stands out for its poetic and intensely lyrical violin melodies. The final movement is an imaginative fusion of rondo and sonata first-movement form. The entire work dazzles with its bravura writing that makes it so believed among soloists. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.
Mozart, Violin Concerto No.5 in A major, K. 219 “Turkish”
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. The Violin Concerto No. 5 is the most refined and accomplished of Mozart’s early works for this instrument. It explores all the resources of the violin and integrates the orchestra much more thoroughly and organically into the concerto structure than in the previous works. A particular original touch is the Adagio entrance of the violin after the traditional Allegro introduction by the orchestra. The slow movement unfolds a variety of modulations in minor which give the movement a tragic touch. The last movement is beloved above all for its minor-mode “Turkish” or “Hungarian” episode, with marked leaps and basses which hit the strings with the wood of the stick – a delightful idea that comes at the close of what is arguably Mozart’s most popular violin concerto. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.
Schumann, Dichterliebe (Poet’s Love), op.48
The internationally acclaimed baritone Hermann Prey was born in Berlin in 1929. He made his breakthrough in 1956 as Figaro in the Vienna State Opera’s production of Rossini’s “Barber of Seville”. He has since performed at all of the world’s great opera houses and festivals. Hermann Prey has always loved lieder, especially the works of Franz Schubert and Robert Schumann. In spite of his many engagements on the opera stage or in the concert hall, in the TV and recordings studios, Hermann Prey always takes the time to pass his knowledge and experience on to younger generations by giving master classes in lied singing all over the world.