Искусство Григория Соколова

[Карим]

считаю, что сейчас есть только он и Поллини.

согласен и поддерживаю заградительным огнем по Поллини

[Eugene]

Ещё раз скажу, что я очень его люблю и считаю, что сейчас есть только он и Поллини

Странно... Оказалось, что это - цитата из regards-a...

Слушали ли Вы прелюдии Шопена в исполнении Поллини, ну и какрой же тогда "есть только он" теперь?

Не, мы здесь только в исполнении Г.С. слушаем

Vodovoz, Карим! Вызываю авиацию!

[беглец с ноева ковчега]

При всем почтении к старине Маурицио, ему не судил Бог стать рядом с таким Исполином из Исполинов каким является Соколов.

[Stam]

Монсенжон закончил свой фильм о Соколове (Концерт в Париже) и выпустил его на DVD. Можно купить в интернете http://tinyurl.com/qw34

[Weber Alexej]

для тех у кого еще есть сомнения

Bach Brahms - Chaconne for the left hand, from Schwetzingen 2003

[Maximov]

Лично мне Соколов не сказать, что совсем не нравится, но чего-то в его игре все же не хватает. Чего-то важного. Чего-то помимо красивого звука...

Хотелось бы поконкретнее - чего же всё таки в его игре не хватает? А то всё вокруг, да около...

[alex]

Лично мне Соколов не сказать, что совсем не нравится, но чего-то в его игре все же не хватает. Чего-то важного. Чего-то помимо красивого звука...

Хотелось бы поконкретнее - чего же всё таки в его игре не хватает? А то всё вокруг, да около...

А, если не секрет, зачем Вам конкретнее? Ваше отношение к ГС изменится?

[alex]

Кстати, кто-нибудь уже смотрел новый DVD с концертом в Париже?

[Walter Boot Legge]

Hi friends! Yesterday evening I heard maestro Sokolov live in Vienna
Konzerthaus. I think it was the first time that it was completely
sold out when Sokolov played there.
I was very eager to hear how the Bach-part of the programme has
changed since June when I heard it the first time live. - It has
changed! I think he played more "softly", still more delicate (fugue
of Bach/Reinken, where the theme was less "carved"). Then there were
some new phrasings and in Allemande and Courante Sokolov made some
new ornaments in the repetitions.
The more I hear the Bach/Reinken, the more I feel that this is one
of the very best piano-compositions of Bach!! The fugue and the
Gigue are fantastic music! And I think one cannot play this piece
better than Sokolov yesterday! The Bach/Brahms Chaconne then
couldn't fascinate me as much as it did in the recital in June. It
was played fantastic, but I always had the Bach/Reinken themes of
fugue and Gigue in my head (even just now) ... Sokolov had a big
applause even after the first part of the recital.
Then I was very eager to hear the "new" Beethoven-sonata op. 22. I
like this piece very much - it's so manifold. At the very beginning
I felt that maestro Sokolov was maybe a little "nervous" or not as
much concentrated as he usually is. In my impression he needed some
moments (until the beginning of the repetition of the 1st part of
1st mvmt.) to be completely "in" the sonata. But then it was a
fantastic Beethoven. The Adagio was maybe the highlight of the whole
recital - I never heard it in this way: I'm unable to describe it in
words - time seemed to stand still.
Finally the op. 111. I know Sokolovs LP-recording of late 1980's and
I was surprised that he played the 1st mvmt. a lot more
energetically, even a little fast I think with the most imaginable
dynamic range. For it was a like a volcano!! There were a few wrong
notes because he took a maximum risk in his musical eruptions. In an
other way the 2nd mvmt. was again a caleidoscope of different
atmospheres (the two pp-parts "leggieramente" seemed to be
impressionistic, like Debussy!!), brought into one compact piece of
music by an extraordinary musician. I felt more than ever before
what kind of metaphysic music this 2nd mvmt. is! In the final
Sokolov seemed to "suffer" this great music (and maybe even
Beethovens tribulation) in the true sense of the word. He was most
concentrated, with a red face, one heard him breathe hard in his
typical way and I think he played most of the 2nd mvmt. with closed
eyes ...
Maybe this all were reasons that the public seemed to be a little
bit reserved at the end. - I personally felt more than ever before
that applause is not an appropriate "reaction" to this unbelievable
music ...
But after some moments and some "curtains" the public gave many
bravi and finally even standing ovations. Finally Sokolov played 6
(!) encores (more than he ever played in Vienna):
Chopin: Etude f-min. op. 25/2
Couperin: Soeur Monique (I think?)
another Couperin which I don't know exactly
Chopin: Mazurka op. 63/3
Chopin: Mazurka op. 63/2 - and finally a fantastic
Chopin: Prelude c-min. op. 28/20 (like the 2nd mvmt. of op. 111,
Sokolov again "suffered" this piece - I was deeply stirred ...)

After more than 2,5 hours the public left the Konzerthaus - and I
could speak again some words with maestro Sokolov. I was anew
fascinated from the very open-minded and warm character of this
great man and I am very grateful that I had again the possibility to
experience this personage!!
Good news for all Austrians: Sokolov told me, he will play 4 or 5
times next year in Austria (in Vienna Musikverein, in Salzburg, in
Wels and in Graz), recitals but also with orchestra.
Finally I congratulated him to his DVD-project from Paris. When I
asked him if there are plans for new projects with Bruno
Monsaingeon, he answered that this is possible; they seem to stay in
contact.
.........................................

Here is a review (in German language) of the Sokolov-recital on Nov.
18 in Vienna Konzerthaus:

20.11.2003 Kritik Konzert: Die großen Atemzüge
Grigorij Sokolov gab im großen Konzerthaussaal eines seiner
unvergleichlichen Recitals.

Er ist längst ein allseits adorierter Interpret, dessen treues
Publikum weiß, dass seine Abende stets aufregende, ungewöhnliche
Auseinandersetzungen mit Musik bescheren. Diesmal spielte Grigorij
Sokolov im völlig abgedunkelten Saal Bach und Beethoven und sorgte
mit unvergleichlich konzentrierter interpretatorischer Kraft für
atemlose Spannung.
Die strenge, schroff gegliederte Suite, die Johann Sebastian Bach
nach Johann Adams Reinken arrangiert hat, stand am Beginn. Brahms'
Arrangement der berühmten Violin-Chaconne für Klavier linke Hand
rundete den ersten Teil. Was Sokolov an kontrapunktischen
Kunstfertigkeiten aus dem Flügel zauberte, trug nach der Pause, bei
Beethoven, reiche Früchte. Nicht nur in der späten Sonate op. 111
legte er mit analytischem Zugriff die kühnen kompositorischen
Verschachtelungen bloß. Sogar in der sonst mehr verspielt wirkenden
B-Dur-Sonate op. 22 vernahm man plötzlich schroffe Kontraste und
erstaunlich kühn gegeneinander geführte musikalische Linien.
Sokolov ist nicht nur ein Meister der klanglichen Transparenz, der
ungeahnte dynamische Wirkungen zur Steigerung der formalen Klarheit
einzusetzen weiß. Er fasst auch mit großen, dramaturgisch
raffinierten Atemzügen scheinbar gegensätzlichste Aussagen zu
vielschichtigen rhetorischen Bildern zusammen. Allein die ersten
Takte der frühen Beethoven-Sonate sorgten auf diese Weise bereits
dafür, dass das Publikum jegliche Hör-Routine über Bord zu werfen
hatte: Wer da nicht aktiv lauscht, den Gang der Handlung zu
verfolgen trachtet, verpasst ein rares intellektuelles Vergnügen.
Dass dann Adagio-Gesänge von schier unendlicher Weite entstehen,
machte den langsamen Satz von op. 22 wie das riesige
Variationsfinale von op. 111 zu traumverlorenen Abenteuern.
(Dr. Wilhelm Sinkovicz)

After the recital I could have a short talk with G. Sokolov. When I
asked him, he told me that it is possible that there will follow new
projects with Bruno Monsaingeon ...
Unfortunately the concert wasn't recorded by Austrian radio. But
there were two microphones on the stage. Today the management of
Vienna Konzerthaus told me that the recital was recorded by a french
label (must be op.111/Naive). The label records at the moment a
number of concerts of G.Sokolov, because it's planned to make a CD
later ... So, let's wait and hope!

Желающие сделать übersetzung/translation добро пожаловать!

[Сергей]

Hi friends!

Желающие сделать übersetzung/translation добро пожаловать!

Hm... Pozavchera byl na tom zhe kontserte, i v artisticheskoy stoal ryadom s Klausom... Tesen mir!
Vpechatleniya ot kontserta v tselom podtverzhdayu, dobavlyu ot sebya, chto Adagio iz op.111 bylo uzhe na grani sryva pul'sa v nitevidny. No ne oborvalos'! (sonata shla 31 minutu, znayushchiye menya poymut )
Po zakazu Foruma, v artisticheskoy ya snova poprosil ego izdat' 3 Rachmaninova (!), na chto on obeshchal podumat', a ego zhena skazala, chto uzhe davno prosit ego sygrat' etot kontsert.
Bylo sygrano 6 bisov--dlya Veny sluchay izryadno redkiy!


Poka vsyo...