Результаты опроса: Как Вы относитесь к искусству Михаила Плетнева?

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Тема: Михаил Плетнев

              
  1. #11

    По умолчанию

    Цитата Сообщение от Hamelin
    КФЭ Бах и вовсе далеко за пределами мыслимой и немыслимой гениальности.
    Вот-вот! Это именно как у Мессиана:"Озарения потустороннего"

    Замечательная рецензия из "Gramophone" :

    Цитата Сообщение от Gramophone
    A neglected keyboard master championed, with stiff competition for some authentecists



    No one who enjoyed Pletnev's two-disc set of Scarlatti (Virgin Classics, 3/96) will be surprised that he has now turned his attention to CPE Bach, whose keyboard music is so important in the transition from the High Baroque to Classical style. Nor is there any need for eyebrow-raising over his use of a modern piano; if anything it is the harpsichords used by Gabor Antalffy in his four-disc set that sound anachronistic, since it is clear from Bach's notation and from contemporary reports of his playing that he placed a premium on flexibility of tone. In any case, Antalffy's manner tends to be unyielding (as Nicholas Anderson noted in his review). Pletnev comfortably surpasses him in taste, intelligence and virtuosity. There is surprisingly little other competition in this repertoire.

    Where I have been able to compare his performances with published facsimiles of the manuscripts it is clear that Pletnev has felt free to go his own way with ornamentation and, occasionally, with rhythm. But he almost always does so in the spirit of the composer, whose own performing manner was renowned for its combined raptness and clarity. Arguably the Andante con tenerazza from the A major Sonata, included as a kind of encore, here acquires a fatalistic tone more like an Adagio funebre. But overall I cannot but admire Pletnev’s tasteful rhetoric, his eloquent declamatory flourishes, his pliancy in the Rondos, and his rhythmic alertness and caprice in fast movements, always allied to the classiest of fingerwork and the most refined colouristic sense.

    Given its historical significance (which extends as far as anticipations of Brahms – compare the first track with the finale of Brahms’s First Cello Sonata), CPE Bach’s keyboard music is remarkably poorly served on CD at present. All the more reason to welcome this superbly executed disc. Recording quality is clean but not clinical, with the piano close but not oppressively so, and always natural-sounding.



  • #12

    По умолчанию

    Это,по-моему,особенно хорошо!!!

    Цитата Сообщение от Gramophone
    Arguably the Andante con tenerazza from the A major Sonata, included as a kind of encore, here acquires a fatalistic tone more like an Adagio funebre.

  • #13
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    По умолчанию

    Чрезвычайно интересно читать... Не выношу Плетнёва, но признаю, что это - раннее о нём впечатление. Если не убедит дискуссия в форуме, то придётся послушать всё, что уже здесь упоминалось с придыханием. Go on, s'il vous plait

  • #14

    По умолчанию

    Цитата Сообщение от regards
    Чрезвычайно интересно читать... Не выношу Плетнёва, но признаю, что это - раннее о нём впечатление. Если не убедит дискуссия в форуме, то придётся послушать всё, что уже здесь упоминалось с придыханием. Go on, s'il vous plait
    Дорогой R,я праздную свою личную победу.Если удалось убедить ВАС послушать Плетнева,то это здорово.
    Я хотел бы поделиться некоторыми постшампанскими рефлексиями по поводу искусства Плетнева.Если будет достаточно сумбурно,прошу не судить меня строго-"Alka Zelcer" нету под рукой.

  • #15

    По умолчанию

    А пока пару текстов для затравки:

    статья из сетевого издания "Andante" :

    Mikhail Pletnev performs C.P.E. Bach and Alexandre Tharaud plays Rameau.

    "Mikhail Pletnev: C. P. E. Bach — Sonatas & Rondos"

    C. P. E. Bach:
    Sonata in G minor, H. 47
    Rondo in A, H. 276
    Sonata in C minor, H. 121
    Sonata in D, H. 286
    Sonata in F-sharp minor, H. 37
    Rondo in D minor, H. 290
    Sonata in G, H. 119
    Rondo in C minor, H. 283
    Sonata in E minor, H. 281
    Sonata in A, H. 135: Andante con tenerezza

    Mikhail Pletnev (piano)

    Deutsche Grammophon


    "Alexandre Tharaud Plays Rameau"

    Rameau: Nouvelles Suites
    Suite in A
    Suite in G
    Debussy: Hommage à Rameau

    Alexandre Tharaud (piano)

    Harmonia Mundi


    Hearing Gustav Leonhardt, or another such period-keyboard shaman, play Rameau or C. P. E. Bach is almost, but not quite, like stepping back in time. Listening today to the sounds of a harpsichord can be strangely, uniquely touching; yet the experience is still, at least for this listener, somehow at a remove, the music existing in quotation marks, as it were. It's not so dissimilar to the effect of hearing an old recording of Appalachian folk music: no matter how poignant the original, it can remain somehow "distant." But when a contemporary artist like, say, Bob Dylan covers an old Americana ballad, it is a voice of our own time singing of timeless sentiments; the performance possesses an expressive power that is direct, untrammeled. A similar quality can be heard on a pair of discs featuring early keyboard scores enlivened via the modern piano: Rameau performed by the young French pianist Alexandre Tharaud and C.P.E. Bach played by renowned Russian virtuoso Mikhail Pletnev.

    Of course, modern pianists have long been drawn to J. S. Bach and Domenico Scarlatti, and fans of Glenn Gould also know the works of the English virginalists, among others. But the French Baroque and even the pre-Classical era have lately remained more or less the preserve of specialists on the harpsichord, clavichord and fortepiano. Pletnev — whose two-disc set of Scarlatti for Virgin Classics was such a sensation in 1995 — shows once again that history's divisions hardly apply to his searching musicianship. His new DG disc of sonatas and rondos by Carl Philipp Emanuel Bach (1714–178 will surely rank as one of the all-time great surveys of pre-Classical repertoire on the modern grand piano.

    A progressive musician whose creations were often thought "bizarre" by his contemporaries, the second, and most talented, son of J. S. Bach exemplified his age's empfindsamer Stil (expressive style) by placing a premium on the individualistic and improvisatory in music. You can hear how C. P. E. Bach's most capricious works must have bewildered and even irritated his less-adventurous contemporaries, as his sudden harmonic shifts and dramatic melodies veer from galant in one measure to "grotesque" in the next. Sacrificing not a whit of such extreme stylishness, Pletnev relays C. P. E. Bach's inventions with a vibrant, even virile panache — the fantastically bold Allegro of the opening G minor Sonata, Wq. 65, sounds as if it would have utterly ruptured a clavichord. But explosive virtuosity isn't the only color on Pletnev's palette, as evidenced by his subtle way with the Andante con tenerezza from the A major Sonata, Wq. 65/32. The Russian's pianism is framed aptly by DG's engineering — which stands as a model of modern production values, providing exciting presence, preternatural clarity and beautiful bloom.

    Altogether more stately, if no less expressive, Tharaud's collection of keyboard suites by Jean-Philippe Rameau (1683-1764) reveals a considerable degree of thought regarding the capacities for ornament and expression on a Steinway (as opposed to the harpsichord for which the music was written). As he notes in an excellent interview included in the CD booklet, Tharaud — whose repertoire has centered on early 20th-century scores — limits his use of ornamentation, since what is vital for underlining a note or chord on the harpsichord isn't necessary on the modern piano (with this extending to a very discretionary use of notes inégales ). Along with his forethought, Tharaud's free, poetic feel for the music means that his playing sings and dances — with a light French Baroque accent that is natural, never affected. This pianist's Rameau glows with warmth and color like sunshine through stained glass.

    Obviously, all performers of early music owe a great debut to the period-instrumentalists of the past few decades. As it stands now, though, it would be the rarest of recordings that offered a more authentically musical experience than these.

  • #16

    По умолчанию

    Цитата Сообщение от Leslie Gerber

    Mikhail Pletnev Live at Carnegie Hall

    The conductor demonstrates impressive skills — and less than impressive taste — at the piano.

    Bach-Busoni: Chaconne
    Beethoven: Sonata for Piano No. 32, Op. 111
    Chopin: 4 Scherzi
    works of Rachmaninov, Scriabin, Scarlatti, Moszkowski, and Balakirev

    Mikhail Pletnev (piano)
    Deutsche Grammophon



    Mikhail Pletnev is developing a major conducting career, and as an orchestral leader his interpretations are usually straightforward and convincing. As a pianist, he has a different musical personality, often given to exaggeration and excessive freedom. The garish lighting he applies to the Busoni transcription is appropriate enough, and his playing of the late Beethoven Sonata, while not the ultimate in spiritual insight, is a respectable performance that's free of mannerisms. When he gets to the second Chopin Scherzo, Pletnev shows his demonic side, playing the music for virtuoso display rather than musical expression and sometimes bending Chopin's rhythms beyond recognition. Overall, the Chopin group is a wild ride, frequently exciting and just as frequently irritating. The encores (generously included on a free bonus CD) include impressive Rachmaninov, Scriabin, and Moszkowski, egregiously distorted Scarlatti, and a breathless dash through Balakirev's demanding Islamey with so much rhythmic freedom it almost falls apart. This is a very mixed bag, but the recording captures the sense of occasion and Pletnev's fans will love it.

  • #17

    По умолчанию

    Цитата Сообщение от Bryce Morrison,если я не ошибаюсь

    Andante favori,WoO57. 26 Bagatelles - No. 1 in E flat;No. 2 in C;No. 3 in F;No. 4 in A;No. 5 in C;No. 6 in D;No. 7 in A flat;No. 1 in G minor;No. 2 in C;No. 3 in D;No. 4 in A;No. 5 in C minor;No. 6 in G;No. 7 in C;No. 8 in C;No. 9 in A minor;No. 10 in A;No. 11 in B flat;No. 1 in G;C minor (1797);C (1797) Polonaise,Op. 89. Rondo,WoO48. Rondo,WoO49. 2 Rondos,Op. 51. 6 Variations on an Original Theme,Op. 34. 9 Variations in C minor on a March by Dressler,WoO63. Variations on a Swiss song,WoO64. 24 Variations in D on Righini's 'Venni amore',WoO65. 12 Variations in C on 'Menuet а la Viganт' f,WoO68. 6 Variations on 'Nel cor piщ non mi sento' fro,WoO70. 6 Minuets,WoO10.
    Mikhail Pletnev pf


    Deutsche Grammophon CD 457 493-2GH2 (152 minutes : DDD)

    Reviewed: Gramophone (6/2001)






    Playing to ravish the ear and delight the mind



    In DG’s eight-disc compilation of Beethoven’s miscellaneous piano works it was Pletnev, along with the young Italian Gianluca Cascioli, who stole the show. Between them these two brought freshness and finesse to a whole host of supposedly minor works, going far beyond the gap-filling exercise it might have seemed on paper. When Cascioli’s contributions appeared as two separate discs (7/97 and 7/99) he was allowed to add a sprinkling of pieces also recorded by Pletnev. So it is slightly disappointing that Pletnev’s two-disc set does not include the Op 126 Bagatelles (given to Anatol Ugorski in the complete survey), especially considering that the current catalogue lists surprisingly few complete recordings of the Bagatelles (amazingly the classic 1974 Kovacevich – Philips, 1/76 – seems to be deleted). That, however, is the only downside.
    From the very first notes of the Dressler Variations – Beethoven’s first-known compo-sition, dating from 1782 – it is clear that Pletnev is a master of piano texture, and that he is going to use his mastery not only to ravish the ear but also to delight the mind. His nuances in the baby- simple Swiss theme and its artless variations, lasting barely three minutes in total, are quite delicious. At the opposite extreme, the grand set of 24 Variations on Righini’s ‘Venni amore’ comes across as a dry run for later cycles such as the Eroica or even the Diabelli Variations, both in overall design and in certain idiosyncratic details. Technical tours de force abound here, and Pletnev negotiates them all not only with phenomenal pianistic aplomb but, where appropriate, with dry wit. This makes for a fascinating glimpse into the laboratory of the 20-year-old Beethoven’s mind.
    In the two early Rondos Pletnev is freer than some might wish with the notated dynamics, phrasing and articulation, and his touch suggests at times that he is thinking more of Scarlatti than of Beethoven. Nevertheless the most startling moments of whimsy in these pieces are not his but the composer’s. By contrast, in the Vienna-period Rondos of Op 51 (actually much earlier works than that opus number suggests) Pletnev seems to be thinking forward to the age of Lisztian rhetoric. But the fact that he is never satisfied with the default response to the surface of the music is much to be welcomed, and almost always his initiatives are stylish and effective.
    Similarly the bagatelles radiate openness to all sorts of possibilities, from which you can be fairly sure that one of the less obvious and more delightful is going to be selected. In some instances Brendel finds more of a rough-and-tumble edginess; but Pletnev’s range of touch and tonal nuance outstrips them both and brings rewards of its own, as in the proto-Schubertian touches of Op 119.
    Instrument and recording quality are as near to ideal as we are entitled to expect, and the authority of Barry Cooper’s annotations adds to the attractions of an outstanding issue

  • #18

    По умолчанию

    Цитата Сообщение от Какой-то критик из Gramophone
    Pletnev - Live at Carnegie Hall N

    Bach 3 Sonatas and 3 Partitas,BWV1001-06 - Partita No. 2 in D minor, BWV1004 Balakirev Islamey. Beethoven Sonata for Piano No 32,Op. 111. Chopin 4 Scherzos. D. Scarlatti Sonatas for Keyboard Nos. 1-555 - D minor, Kk9 (L413): also arr Tausig as 'Pastoraleor Moszkowski Etudes de virtuositй,Op. 72 - F Rachmaninov 9 Etudes-tableaux,Op. 39 - No. 5 in E flat minor Scriabin 2 Poиmes,Op. 32 - F sharp
    Mikhail Pletnev pf


    Deutsche Grammophon CD 471 157-2GH2 (102 minutes : DDD)

    Reviewed: Gramophone (5/2001)
    A volatile, occasionally vivacious display of keyboard virtuosity not for the faint-hearted
    The billed recital was the Bach-Busoni transcription, the Beethoven Sonata Op 111 and the Chopin Scherzos, and the rest – five items on a ‘bonus’ CD, finishing with Balakirev’s Islamey – amount nearly to a half-programme on top. The recording comes with buckets of applause, linking every item, and by the end of Islamey the audience is in a state of near frenzy (and the piano beginning to complain). What an awful programme, I had thought, sniffily, walking by Carnegie Hall a few days before, though had I been staying longer I would probably have gone. I blow hot and cold over Pletnev but he is not to be missed. As celebrity recitals go this must have been an exceptional spectacle. There is an old-time feel about it, as if Horowitz might have been about to walk out on stage. Bach, Beethoven, Chopin and a few others are of the party but it is the pianist people have come to hear, and they are expecting to be astonished.
    An acquaintance of mine once asked a celebrated virtuoso (better nameless) why he had played something so fast. ‘Because I can,’ was the reply. When covering the ground in such thoroughbred style, Pletnev’s athleticism has an allure which is a pleasure in itself. The tumultuous codas of Chopin’s Scherzos are meat and drink to him, and in making a dash for home, over hedge and ditch, there is never a doubt about his stamina. It is a thrilling dash too, the mechanics of piano playing thrown off, the virtuosity transcendental – and the house brought down (four times). There has been grace along the way, many special moments, and always a faultless sense of timing. But with Pletnev in this mood the personality does seem disappointingly limited. It is the devil in his make-up who predominates, and you don’t have to travel far in the first Scherzo, I think, to find yourself questioning the volatility and the exaggerated feverishness of it all. Is there nothing more to these wonderful pieces than tempests, and charm and coquettishness in the slower bits? Does the middle section of the first one – folk-like and remote – really have to be perfumed to high heaven? But that is his way: toy with the detail and then snatch it away, play with the line and texture to see what novelties one might come up with, hold up the flow, if fancy invites, or perhaps step on the gas. Add a gloss, in other words, as if this constantly performed music could not be interesting to modern listeners unless given a new slant, or a wholesale transcription. It’s a point of view, I suppose, but as Pletnev takes us with him through the flea-markets I ask myself: if the operation has to be done, could there not be more authenticity of feeling and less vulgarity?
    In Chopin he strikes me as a heartless fellow and I much prefer him in Beethoven. It is a traversal rather than a completely coherent interpretation of the last Sonata he offers, but it is full of striking things. The first movement alternates agitation with near-stasis, and the coda is floated away like something out of Medtner; but the spirit of inquiry and control of mass and sonority are of such an order that the ground is made fertile, the communication fresh. What Beethoven would have thought at having so many of his indications and inflections of expression stood on their heads we shan’t know, but I doubt he would have considered it a futile endeavour for the performer to take delight in the physical challenges and to allow the sense to emerge from the sound. The Arietta, played very slowly, is ideally hymn-like and direct; and although some of the detailing in the variations strikes me as weird, the breath of the huge second movement as a lyrical span is impressively sustained, right through to the final trilling, which is wonderful. Not a monumental version of the Sonata entirely hewn from the rock, then, and that makes a nice change.
    The Bach-Busoni at the beginning, an uncharacteristically misguided transcription and such a waste of time, will not disappoint admirers of it. Rather give me the Scriabin, Moszkowski and Balakirev, any day, which are outstanding among the encores. Oh yes, a Carnegie Hall debut with attitude and knobs on, and no, it is never dull. But best to have been there, perhaps

  • #19

    По умолчанию

    Цитата Сообщение от Gramophone

    Grieg

    Lyric Pieces, Book 2,Op. 38 - No. 1, Berceuse Lyric Pieces, Book 3,Op. 43 - No. 1, Butterfly (Schmetterling);No. 6, To the Spring (An den Frьhling) Lyric Pieces, Book 4,Op. 47 - No. 3, Melody Lyric Pieces, Book 5,Op. 54 - No. 3, March of the Trolls (Troldtog);No. 5, Scherzo;No. 6, Bellringing (Klokkeklang) Lyric Pieces, Book 6,Op. 57 - No. 1, Vanished days (Entschwundene) Lyric Pieces, Book 7,Op. 62 - No. 4, Brooklet (Baekken) Lyric Pieces, Book 8,Op. 65 - No. 5, In ballad style (I balladetone);No. 6, Wedding day at Troldhaugen (Bryllupsdag pagn) Lyric Pieces, Book 9,Op. 68 - No. 2, Grandmother's minuet (Bedstemors menuet) Sonata for Piano,Op. 7. 3 Pictures from life in the country,Op. 19 - No. 3, Carnival scene (Fra karnevalet) 7 Fugues,EG184.
    Mikhail Pletnev pf


    Deutsche Grammophon CD 459 671-2GH (75 minutes : DDD)

    Reviewed: Gramophone (5/2000)

    Pletnev provides scrupulous and sensitive advocacy for Grieg, including his previously unrecorded [Fugue] Fugues, in exceptional DG sound


    It is heartening when artists of international stature take Grieg under their wing, their musical faith undiminished by the hostile and patronising attitudes of those who equate Grieg with little more than easily palatable or domestic virtues. Thankfully Debussy's dismissal of Grieg as 'a pink fondant stuffed with snow' has changed over the years from bane to joke.
    Mikhail Pletnev's recital ranges from the early, unwieldy but engaging E minor Sonata to the Fugues and a shrewd selection from Grieg's confessional diary, his Lyric Pieces. Composed in Leipzig in 1861-62, recently discovered and here receiving a world-premiere recording, the Fugues find Grieg most oddly attired, and doffing his mortarboard, so to speak, to the groves of Academe. But whether brisk, contemplative or quirky (No 6), all seven are played with impeccable clarity and musicianship. Hardly a pianist to wear his heart on his sleeve, Pletnev none the less combines his legendary cool head and crystalline technique with frequent flashes of poetry and affection.
    He is generous and comprehensive in Vanished Days, music at once radiant, dark, introspective and joyful, finds an undertow of melancholy in the Brooklet's chatter (dismissed in the inadequate insert-note as 'a peacefully idyllic, leggero study'), is audaciously improvisatory in Melody and almost palpably warms to the central oasis of calm in March of the Trolls. His Grandmother's Minuet, too, wittily suggests a slightly tipsy as well as spry old lady. You may occasionally miss that 'world of intimate feeling' so unforgettably conjured by Pletnev's compatriot, Emil Gilels (DG, 2/97), but all these performances are of special calibre, at once scrupulous and sensitive. DG's sound is no less exceptional

  • #20

    По умолчанию

    Цитата Сообщение от Gramophone

    Mikhail Pletnev plays the Rachmaninov Piano N

    Beethoven Sonata for Piano No 26, 'Les adieux',Op. 81a. Chopin Andante spianato and Grande Polonaise,Op. 22. Mendelssohn Andante cantabile and Presto agitato. Rondo capriccioso,Op. 14. Rachmaninov Variations on a theme of Corelli,Op. 42. 9 Etudes-tableaux,Op. 33 - No. 6 in E flat minor;No. 8 in G minor;No. 9 in C sharp minor 9 Etudes-tableaux,Op. 39 - No. 5 in E flat minor
    Mikhail Pletnev pf



    Gimmickry? Not a bit of it. This is a genuinely illuminating and thought-provoking issue. More than that, it’s immensely enjoyable. The freedoms and avoidances of convention which Pletnev often likes to allow himself, but which can seem merely self-conscious and applied from the outside, here sound consistently inspired and true to the spirit of the music.
    The instrument is Rachmaninov’s pre-war American Steinway, but I’ve been listening without more precise details than that. What I hear is a well-regulated tone, a little more uneven between the registers and a little thinner overall than its modern counterpart, but never measly or tinny, with the exception of the high treble, which sometimes gives an impression similar to excessive use of the soft pedal. Some of the glittering passagework in the Chopin does becomes rather glaring, especially when pushed beyond mezzo-forte. On the whole though, even this is easy to adapt to, because in Pletnev’s hands the texture is so rich in nuance, his own eloquence apparently released from all inhibitions. There’s also a significant gain in transparency. Indeed if anyone wanted to claim that this kind of instrument has all the advantages of the ‘early’ piano with none of the drawbacks I wouldn’t be inclined to disagree. Whether it would stand up to the demands of having to project to the back of a full-size concert hall I don’t know, but heard in DG’s close yet well-ventilated recording, it sounds marvellous.
    I’m not sure I’ve ever heard as involving an account of the Rachmaninov Corelli Variations, and only Richter in my experience has surpassed Pletnev in the Etudes-tableaux. Nor is it only Rachmaninov’s own opulent textures which are thrillingly clarified. The Les adieux Sonata is wonderfully free, both in rubato and voicing, and never so at the expense of the longer lines of the structure (though I can’t account for the curious slip in the left hand at 4'36 in the first movement, bar 137).
    Pletnev’s Mendelssohn is breathtakingly poetic and, in the Rondo capriccioso, stunningly articulate, every single phrase subtle yet unselfconscious. All in all, this is one of the very finest achievements in Pletnev’s already imposing discography

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