Аркадий Володось

:angel: Хотелось бы узжнать мнение участников форума об Аркадии Володосе. Потому что по своей даровитости его ставят на уровень Евгения Кисина. А как считаете ВЫ???

Второй , а особенно третий вариант ответа нужно немедленно убрать.

Ибо Володось - пианистический Мессия, дарованный нам провидением откуда-то свыше.

Не думаю, что о ком-либо из современных пианистов говорят сегодня больше, чем о Володосе.

Вот сейчас меня точно побьют.
имя этого пианиста я впервые услышала только здесь, на форуме...

Это не говорит ни о чем, кроме моей необразованности, и...
О том, что не так уж и много о нем говорят :lol:

Спросите кого хотите.

И вам скажут.

А лучше послушайте его игру.

v proshlom godu, Volodos igral dlya iskushennoi "filarmonicheskoi publiki" (mejdu Ushidoi i Toradze, kotoriye gastrolirovali primerno v to je vremya.) obsheye mneniye: " vtoroi Gorovitz", "shto-to kosmicheskoye" , i drugiye epiteti....
no vot, proshel god, vsyo ravno slushayem i pokupayem diski Argrich, Peraya etc.. :(

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Сообщение от flo

Вот сейчас меня точно побьют.
имя этого пианиста я впервые услышала только здесь, на форуме...

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У нас о нем не говорят.А на Западе-о нем просто кричат,вопят и орут в оргиастическом экстазе от его игры.

За его полет шмеля я готов отдать пару литров собственной крови.

я уже не говорю про "Bunte Blatter".

Это тот самый пианистический взрыв мозгов,о котором мы с hamelin мечтали со времен Циффры.

Hailed as “a genius of the piano,” Arcadi Volodos has established himself as one of the world’s leading pianists, whose performances as recitalist, concerto soloist and recording artist are noted for coupling breathtaking technical mastery with a profound and eloquent musicality.

Volodos’ latest recording for Sony Classical features performances of Schubert’s Sonata in G Major, D. 894, and the unfinished Sonata in E Major, D. 157, with Franz Liszt’s transcription of the song “Der M&ller und der Bach” from the song cycle Die Sch&ne M&llerin. This recording became historic before it was released, as the last made in Vienna’s legendary Sofiensaal, which burned to the ground a month after the Volodos recording sessions. The pianist’s live performance of the Rachmaninoff’s Piano Concerto No. 3 with James Levine conducting the Berlin Philharmonic, was released in 2000, also featuring the pianist in performances of several solo works by Rachmaninoff and his own transcription of the Andante from the composer’s Cello Sonata.

Volodos made his Carnegie Hall recital debut in 1998. This now historic performance was recorded by Sony Classical, with whom he is an exclusive artist, and was released in 1999 – Live at Carnegie Hall (SK 60893). The album (his second for the label) has since received Gramophone's 1999 Best Instrumental Award, the German Record Critics Award (Spring 1999) and the Echo Klassik Preis 1999.

Volodos' self-titled first recording for Sony Classical (SK 62691) featured transcriptions of works by Rachmaninoff, Schubert, Bach, Mozart, Bizet, Tchaikovsky and other composers, and transcriptions by the pianist himself. This album received numerous awards and distinctions, including Gramophone's Editor's Choice, Classic CD's Disc of the Year, the German Record Critics Award and the French Choc du Monde de la Musique.

Since making his New York debut in 1996, Volodos has performed in recital internationally and has appeared with many of the world's most eminent orchestras and conductors, such as the Berlin Philharmonic Orchestra, the Israel Philharmonic Orchestra, the Philharmonia Orchestra, the Rotterdam Philharmonic Orchestra, the Royal Concertgebouw Orchestra, the Royal Philharmonic Orchestra, the Tonhalle Orchestra, the Boston Symphony Orchestra, the Chicago Symphony Orchestra and the San Francisco Symphony Orchestra, led by, among others, Vladimir Ashkenazy, Riccardo Chailly, Valery Gergiev, James Levine, Zubin Mehta and Seiji Ozawa.

Engagements for the 2001-2002 season for Volodos include performances of the Prokofiev Piano Concerto No. 2 with the New York Philharmonic, Toronto Symphony Orchestra and Dallas Symphony Orchestra with conductors Leonard Slatkin, Keri-Lynn Wilson and Claus Peter Flor, and the Tchaikovsky Piano Concerto No. 1 with the Berlin Philharmonic, led by Seiji Ozawa. The pianist will also play recitals in Toulouse, Paris, Munich, Kiel, Bremen, Dresden, Rotterdam, Barcelona, Valencia and Seville. Volodos will make his recital debut at the Salzburg Festival in August 2002.

Born in St. Petersburg in 1972, Volodos first studied voice and conducting, but did not commence serious training at the piano until 1987, at the St. Petersburg Conservatory. He then pursued his studies at the Moscow Conservatory with Galina Egiazarova, in Paris with Jacques Rouvier and in Madrid with Dimitri Bashkirov at the Escuela Superior de Musica Reina Sofia

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Сообщение от Berenika

v proshlom godu, Volodos igral dlya iskushennoi "filarmonicheskoi publiki" (mejdu Ushidoi i Toradze, slushayem i pokupayem diski Argrich, Peraya etc.. : (

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Занятно...

Скажите,а Вы могли бы поставить Володося рядом с Торадзе?
Лично я-нет.

Простите,но по сравнению с Володосем,Торадзе-арап.Это я еще слабо выражаюсь,потому что люблю его запись концертов Прокофьева с Гергиевым.
Но если бы Торадзе сыграл хоть одну ноту так,как Володось-я бы "простил все".

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Сообщение от Gramophone

Arcadi Volodos at Carnegie Hall

Sony Classical CD SK60893 (72 minutes : DDD)

Recorded at a performance in Carnegie Hall, New York on October 21, 1998
Reviewed: Gramophone (4/1999)


Liszt (arr. Horowitz): Hungarian Rhapsody No. 15 in A minor, ‘Rakoczy’, S244. A Midsummer Night’s Dream – Wedding March, S410. Rachmaninov: Fragment in A flat. Etudes-tableaux – No. 8 in D minor, Op. 39; C minor, Op. posth. Schumann: Bunte Blatter, Op. 99. Scriabin: Piano Sonata No. 10 in C, Op. 70. Enigma, Op. 52 No. 2. Caresse dansee, Op. 57 No. 2. Prelude in B, Op. 2 No. 2.



Taken live from his 1998 Carnegie Hall debut recital, Sony’s second Arcadi Volodos recital confirms a daunting legend. At 26 Volodos is unquestionably among the world’s master pianists, a virtuoso for whom even the most fiercely applied difficulties (Horowitz and, on his earlier disc – 10/97 – Cziffra transcriptions) simply do not exist. At the same time everything is given with an unfaltering sense of equilibrium; as fast as you marvel at one thing it is immediately counterpointed by another. His technique in, say, the Liszt Rhapsody and Wedding March Variations (the first of two encores) is stupendous but never at the expense of musical quality. His sonority can be as delicate as it is thunderous and full-blooded. His accuracy and taste are impeccable so that instead of celebrating something self-serving or rip-roaring you find yourself conscious of higher virtues, of rhythm that can be magically free or held in a vice-like grip, as well as an unequalled fluency and aplomb (the shoals of notes at 2'18 in the Rhapsody). In Scriabin’s Tenth Sonata he is faithful to the composer’s obsessive and opalescent vision at every point, more than equal to even the most decadent and esoteric directions (tres douce et pur, avec une ardeur profonde et violee and cristallin, all within 11 bars). Less charged or manic than Horowitz’s celebrated performance (on a three-disc set, also from Sony at Carnegie Hall, in 1966) this performance carries its own authenticity. Volodos’s Rachmaninov, in his brief but gloriously enterprising selection, is played with the same magical sense of flux and clarity, and never more so than in the D minor Etude-tableau with its yearning and disconsolate double-note flow or in the C minor, posthumously published Etude-tableau, where one of the composer’s most heart’s-easing ideas blossoms from an elegy resonant with chiming funeral bells.
Yet if I were to choose just one item from this recital for my desert island, it would have to be Schumann’s Bunte Blatter, an audacious gathering with a graphic shift from the lighter to the darker side of romanticism (Nos. 1-8 and 9-14 respectively). Volodos’s reading of No. 1 is memorably mit Innigkeit; in No. 2 his playing is impetuous yet with every phrase precisely shaped and contoured, and he catches all of Schumann’s mordant wit as well as the music’s mysterious and desolating close in No. 14. You may hear a greater sense of Schumann’s fevered and tormented imagination in Richter’s legendary recording but the fact that you can so easily and unapologetically compare a pianist at the start of his career with one of the greatest artists of the century carries its own affirmation of pianistic and poetic genius.
Sony’s sound triumphs over difficult circumstances and if a teasing touch of enigma remains, both in performance and choice of repertoire, with an artist of this calibre you can hardly say that the golden age of pianism is dead

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Сообщение от Gramophone

Rachmaninov N

Concerto for Piano and Orchestra No 3,Op. 30. Sonata for Cello and Piano,Op. 19 - Andante 9 Etudes-tableaux,Op. 33 - No. 9 in C sharp minor 5 Morceaux de fantaisie,Op. 3 - No. 5, Sйrйnade in B flat minor 7 Morceaux de salon,Op. 10 - No. 6 in F minor, Romance Prelude. 24 Preludes - F minor, Op. 32/6
Arcadi Volodos pf

Berlin Philharmonic Orchestra/James Levine


Sony Classical CD SK64384 (61 minutes : DDD)

Reviewed: Gramophone (/2000)






A consummate Rach Three, marred only by a too-calculated feel; plus a heavenly Sonata arrangement and similarly sublime solos



Straight into the top flight of Rachmaninov Thirds goes Arcadi Volodos’s recording, live from the Berlin Philharmonie last year. No doubt about that. To the top of the top flight? Not quite. And no doubt in my mind about that either.
So many things about it are distinguished and thrilling. The flowing tempo of the opening bars and the subtle assertion of soloistic presence augur well. I don’t much care for the way Volodos slows the end of the first mini-cadenza, towards 2'40, but at least Levine ensures that the following orchestral transition keeps moving (how often conductors wallow here and break the back of the structure). Otherwise Volodos’s phrasing is consummately tasteful, all the way through to the cadenza. His textures are superbly graded, his tone never glaring, even under the pressure of torrents of notes. So what if he doesn’t feel obliged to follow the tempos the composer chose for his 1939-40 recording? Why should he, when he has such a fine grasp of the structure? There is the feeling of a deep intake of breath as the development starts, and the cadenza (the ‘big’ original one) opens with a darkly idiomatic frown, suggesting limitless strength in reserve.
All is well, in fact, until mid-way in the cadenza, where Volodos inserts a hiatus before the Allegro molto (at 11'08). It sounds terribly calculated, as does the way he steers the cadenza towards its main climax (hear the incomparable Lazar Berman at this point, if you can find his deleted Sony disc). Of course, a couple of mannerisms in a performance are neither here nor there. And if Volodos takes the end of the first-movement subito piu mosso, rather than poco accelerando al fine, that’s no more cavalier than many of the great exponents of the past. What does bother me – and I felt this increasingly in the slow movement and the finale – is that such initiatives don’t always feel part of an organically conceived interpretation (the composer himself remains the touchstone here). Nor do they register as spontaneous expressions of temperament or inspiration (in which respect Argerich is without peer). Just a whiff of self-consciousness can be enough to cancel out a host of poetic or virtuosic touches. So while I’m sure I’m as amazed as any listener, and as envious as any pianist, at the clarity and velocity Volodos can bring to the toccata from 7'20 in the finale, in the overall context it feels like a gratuitous display. That’s just the most conspicuous example. In some ways I was surprised to hear the applause at the end (there is some very mild coughing on the way), because the performance, fine though it is, has the feel of the studio rather than a live occasion, not least because it is so fantastically clean.
Overall then this is not a world-beater, but certainly one to assess at the highest level. I have nothing but praise for the BPO’s wonderfully cushioned but never complacent accompaniment and for Levine’s avoidance of all the usual pitfalls. The piano is quite forwardly balanced, so that every tiniest note emerges bright as a new pin; and given how wonderfully Volodos shapes everything, that didn’t bother me, although I did occasionally feel I wasn’t hearing the orchestra in its full glory. One or two woodwind solos sound artificially spotlit, but not outrageously so.
As for the solo pieces, well, the Cello Sonata arrangement is simply a marvel. It floats ecstatically, with air seemingly blowing through the textures as if through a Chekhovian country house on a cool summer evening. The final flourishes – Volodos’s addition – have a touch of genius. This is heavenly, and the other solos are little short of that

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Сообщение от Gramophone

Arcadi Volodos: Piano Transcriptions N

Bach 6 Trio Sonatas,BWV525-30 - No. 5 in C, BWV529 Horowitz Variations on a theme from Bizet's "Carmen". Liszt 4 Geistliche Lieder Schubert,S562 - No. 1, Litanei 19 Hungarian Rhapsodies,S244 - No. 2 in C sharp minor Schwanengesang Schubert,S560 - No. 3, Aufenthalt;No. 10, Liebesbotschaft Prokofiev 3 Pieces from Cinderella,Op. 95 - No. 2, Gavotte 10 Pieces from Cinderella,Op. 97 - No. 6, Oriental dance 6 Pieces from Cinderella,Op. 102 - No. 1, Grand waltz Rachmaninov 6 Songs,Op. 4 - No. 2, Morning (wds. Yanov) 12 Songs,Op. 21 - No. 9, Melody (wds. Nadson) Rimsky-Korsakov The Tale of Tsar Saltan - Flight of the bumble-bee Tchaikovsky Symphony No 6, 'Pathйtique',Op. 74 - Allegro molto vivace Volodos Concert Paraphrase on Mozart's "Turkish March".
Arcadi Volodos pf


Sony Classical CD SK62691 (61 minutes : DDD)

Reviewed: Gramophone (10/1997)


Alerted to Arcadi Volodos’s calibre I hurried to London’s Wigmore Hall some months ago. I was not disappointed. Performing a bewildering bits and bobs programme Volodos, who is 25, Russian-born but Spanish-based, declared himself an elegant lyricist and spectacular virtuoso in every bar. Some of that recital is repeated on this recording where once again the playing is as tactful as it is audacious, the work, surely, of a romantic pianist for our times.
His tributes to Horowitz (the ultimate Russian virtuoso icon) and Cziffra (the ne plus ultra of pianistic necromancy) are as coolly masterful as they are personally engaging and are wholly devoid of wilfulness or undue idiosyncrasy. Those anxious for Horowitz’s splintering treble and thundering bass or for Cziffra’s manic explosions and accelerations will listen in vain. Mercifully, Volodos remains his own man, tempering some heart-stopping octaves and glissandos at the close of Feinberg’s transcription of the scherzo from Tchaikovsky’s Pathetique Symphony with a touch of nonchalance, and in Feinberg’s other arrangement, guiding Bach gently but firmly into the nineteenth century.
Volodos is no less beguiling in his own Rachmaninov song transcriptions; here is that dreamed-of vocal ‘line’, luscious cantabile and aristocratic rather than ostentatious voicing and texturing. Last but far from least his elaboration of Mozart’s “Turkish March” seasons the most decadent and epicurean taste with a teasing wit and insouciance (poor Sir Clifford Curzon, arch-hater of Schubert- Godowsky, must surely be turning in his grave at such unapologetic mischief-making).
Sony’s sound is superlative and this delectable recital makes one long for more substantial as well as glittering fare from a pianist who, as his producer puts it, “never loosens the reins of his guiding intellect”

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Сообщение от flo

Это не говорит..
О том, что не так уж и много о нем говорят :lol:

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вот так это только для начала для примера

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Сообщение от Дмитрий Ларош

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Сообщение от Berenika

v proshlom godu, Volodos igral dlya iskushennoi "filarmonicheskoi publiki" (mejdu Ushidoi i Toradze, slushayem i pokupayem diski Argrich, Peraya etc.. : (

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Занятно...

Скажите,а Вы могли бы поставить Володося рядом с Торадзе?
Лично я-нет.

Простите,но по сравнению с Володосем,Торадзе-арап.Это я еще слабо выражаюсь,потому что люблю его запись концертов Прокофьева с Гергиевым.
Но если бы Торадзе сыграл хоть одну ноту так,как Володось-я бы "простил все".

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nas ne ponyali :) nikto i ne sravnivayet Volodosya s Toradze. prosto, po vremeni, ih gastroli sovpali. a Toradze u nas lubat hotya bi potomu, shto on pedagog Alexandra Korsantii, kotorii v svoyo vremya, poluchil pervuyu premiyu na konkurse Rubinshteina, i posle etogo stal neobichaino popularen.
zamechu: ya ne sravnivayu i ego s Volodosem :wink:

Бога ради простите,не хотел Вас задеть 8)

vso v poryadke :wink: :wink: :wink:

eto khorosho

:P

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Сообщение от Дмитрий Ларош

[
За его полет шмеля я готов отдать пару литров собственной крови.

.

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Здесь, полагаю, Дмитрий имел в виду Циффровский "Полет".

Но Аркадий сыграл только половину текста, подвергнув её незначительным (с первого прослушивания и без нот) изменениям.

konechno

:)

kstati,u menya est' zapis vsekh transkripcij s pervogo diska .

Zapis's festivala v Polshe v Dusznikach 1996 god.

Tak vot tam on igraet i rapsodiju i rond i "Polet" sovershenno po-inomu.

Zdorovo.

:P

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Сообщение от Hamelin

Но Аркадий сыграл только половину текста, подвергнув её незначительным (с первого прослушивания и без нот) изменениям.

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Dumayu, chto poluchilos' v itoge luchshe, chem v notah. Ya sravnival. Noty est'.

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Сообщение от Сергей

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Сообщение от Hamelin

Но Аркадий сыграл только половину текста, подвергнув её незначительным (с первого прослушивания и без нот) изменениям.

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Dumayu, chto poluchilos' v itoge luchshe, chem v notah. Ya sravnival. Noty est'.

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Эх, не скажите , Сергей.

Хотя, лучше чем в нотах - возможно.

Но лучше чем авторское исполнение - никогда!

:( Chestno govorya,ya dumala,chto pro Volodosya napishut bolshe?Vse-taki pro nashego Aleshu Sultanova,Stanislava Yudenicha,Evgeniya Murskogo i Eldara Nebolsina napisano pobol'she.

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Сообщение от Hamelin

Эх, не скажите , Сергей.

Хотя, лучше чем в нотах - возможно.

Но лучше чем авторское исполнение - никогда!

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Nu.
O tom i rech'. :)
A avtora k sozhaleniye ne slyshal. Xtati interesno, est' li informatsiya, byl li sredi velikih virtuozov ambidextry (t.e. vladeyushchiye obeimi rukami kak pravymi)? i esli da, to kto? Inogda zakradyvayutsya takiye mysli o Volodose i Rudenko...

Сергей

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Сообщение от Guzal

Vse-taki pro nashego Aleshu Sultanova,Stanislava Yudenicha,Evgeniya Murskogo i Eldara Nebolsina napisano pobol'she

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Я бы не сказал.Все-таки,к Володосю относятся не как к состоявшимся талантливым музыкантам [случай Мурского,Небольсина и Юденича] а как к новому слову,я бы сказал как к представителю новой волны в фортепианном искусстве.
Все-таки случай Володося-уникален.

NOVOE NE VSEGDA BIVAET DOLGOVECHNIM.NUJNO VREMYA CHTOB PROVERIT' NA PROCHNOST'.VED' SPUSTITSYA VSEGDA LEGCHE ,CHEM PODNYATSYA.VPROCHEM, PODOJDEM-UVIDIM!!!NE BUDU DELAT' SRAZU KAKIH-TO FANATICHESKIH ZAKLUCHENIY.BED' K VIVODAM NUJNO PROHODIT NE TOL'KO SERDCEM,NO I UMOM.

http://myslonim.narod.ru/zemlyaki.htm

Почитайте здесь!
Я чуть не о...фонарел!!!!

Ну что я могу... :)

На самом деле, речь идет об отце духовного сына Циффры. Я, кстати,
с ним знаком. На протяжении долгих лет он работал в Минской опере.

За последние 5 лет Володось-младший трижды давал концерты в Минске. Последний раз-4 декабря 2000 года. 8)

То есть Володось получается Аркадий Аркадьевич?

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Сообщение от Hamelin

То есть Володось получается Аркадий Аркадьевич?

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Получается что так... :P

В жизни он производит даже более сильное впечатление, чем в записи.

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Сообщение от Дмитрий Ларош

В жизни он производит даже более сильное впечатление, чем в записи.

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Zaviduyte!
7 maya Volodos' igrayet v Vene! Ya poydu... :roll: :lol:

Hamelin! Тебе до этого времени сделают загран. паспорт? Поехали! :)
Чтобы и нам все завидовали :P

Если сделают, то меня не сможет остановить даже воскресший Циффра!!!

А может, в Милан 12 мая? Рах-3 всё-таки ;)

Неужто на www.volodos.com обновили tour?

:cry: KAK MNOGO POYAVILOS' NOVIH VOLN,MODNIH PIANISTOV,CHTO YA UJE TAK OT VSEGO USTALA.ODNOGO SEYCHAS HOCHETSYA(HOT' ETO I NEREAL'NO)VERNUTSYA VO VREMENA VELIKIH MUZIKANTOV I MASTEROV!TAKIH KAK SERGEY VASIL'EVICH RACHMANINOV,VLADIMIR HOROWITZ,SVYATOSLAV RICHTER,EMIL GILELS.MARIYA YUDINA I MNOGIH DRUGIH.KAK JALKO,CHTO ETO VREMYA BEZVOZVRATNO USHLO!I BOL'SHE TAKOGO ZOLOTOGO VEKA V FORTEPIANNOM ISSKUSTVE,PO-VIDIMOMU,NE BUDET.OCHEN',OCHEN' JALKO!!!

Почти так :)

"В наш век развелось столько феноменальных пианистов, что я истосковался по хорошим" (c) Натан Перельман

Дорогая Guzal,

по-моему не все так плохо. :)

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Сообщение от Дмитрий Ларош

Дорогая Guzal,

по-моему не все так плохо. :)

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KAK RAZ TAKI VSE PLOHO I NEPOPRAVIMO.VSE UTRACHENO I BOL'SHE ETO BLAGOSLOVENNOE VREMYA NE VERNETSYA.

Прошлого и будущего нет - есть только настоящее.
Есть только эта минута, которую можно потратить на вздох о несуществующем.
:)

NASTOYASHEE NE VSEGDA EST' LUCHSHEE,HOROSHO ,CHTO EST' MINUTI ,KOGDA MOJNO VZDOHNUT ' PO PROSHLOMU

А смысл? :)