#Maurizio Pollini

[koshigurajumy]

Maurizio Pollini plays Beethoven - Piano Concerto in G major, op. 58 conductor: Claudio Abbado Lucerne Festival Orchestra Live from the Lucerne Culture and Congress Centre, Lucerne (2004)

[noneun]

Il Concerto per pianoforte e orchestra n. 5 di Beethoven, diretto da Claudio Abbado con Maurizio Pollini al pianoforte è stata una delle prime cose belle che ricordo di quando iniziai ad ascoltare musica classica, 30 anni fa.

Grazie Maurizio.

[aschenblumen]

Frédéric Chopin, Nocturne nº 14 in F sharp minor, op. 48. Maurizio Pollini, piano

[justforbooks]

The Italian pianist Maurizio Pollini, who has died aged 82, was one of the giants of the keyboard in the second half of the 20th century, and yet for all the respect he commanded, his playing was criticised throughout his career for being excessively cool and cerebral. When he took first prize at the 1960 Chopin competition in Warsaw, the chairman of the jury, Artur Rubinstein, declared: “That boy plays better than any of us jurors.” But that success proved to be only the prelude to the first controversial event of his career. He withdrew from the international concert circuit for 18 months to broaden his repertoire and develop other cultural interests. It was not until nearly the end of the decade that his performance schedule achieved a normal rhythm, but his full return in 1968, coinciding with a contract signed with the Deutsche Grammophon (DG) label, launched a series of triumphs on the concert platform and in the recording studio.

Classic recordings of Chopin Etudes, of music by Schumann and Beethoven, and of modernist repertoire such as Pierre Boulez’s Second Sonata consolidated his reputation and, at its best, Pollini’s playing combined expressive but unsentimental intimacy, tonal beauty, textural clarity and a formidable technique. Particularly in his later years, Pollini’s breathless, impatient delivery of Beethoven’s sonatas often seemed to deny their rhetoric, as though he was embarrassed by large romantic gestures or overt emotionalism.

Pollini’s cerebral instincts appeared to deprive him of the ability to live in the moment: romantic subjectivity, it seemed, had constantly to be interrogated.

Pollini was born in Milan. His father, Gino Pollini, was one of Italy’s leading architects of the interwar period; his mother, Renata (nee Melotti), who had studied singing and piano, was the sister of the modernist sculptor Fausto Melotti. Such a background, in which “old works and modern works co-existed together as part of life”, as Pollini later put it, was to have a formative influence on his own approach to art. The discovery of his musical talent led to lessons with Carlo Lonati and Carlo Vidusso (from 1955 at the Milan conservatory) and various competition successes prior to Warsaw. His 1963 London debut, playing Beethoven’s Third Piano Concerto with the LSO under Colin Davis, was criticised by the Times as “rushed” and over-impetuous.

Peter Andry, the responsible executive at EMI in the early 1960s, told in his autobiography, Inside the Recording Studio (2008), of the pursuit of the 19-year-old who had just won the prestigious Warsaw competition: “We quickly signed the young Italian, a slender, bespectacled young man with an elongated brow but a very pleasant manner.” One of their first (and only) projects together was a recording of the two sets of Chopin Etudes, Opp 10 and 25. It was not long after this that Pollini appeared to suffer a crisis of confidence. EMI sent him off to study for two years with the pianist Arturo Benedetti Michelangeli, but even as his musicality deepened, and reviews were often complimentary, Pollini retreated from the spotlight. He refused to allow the Etudes to be released – though this was in part because DG, shortly to sign Pollini as an exclusive artist, wanted to make their own version. The EMI sets were finally released only in 2011 (on Testament), winning plaudits for their spontaneity and freshness.

It was also in the 60s that music and politics first became intertwined in Pollini’s career. A friendship with a fellow-student, Claudio Abbado, a like-minded leftwing idealist, led them to seek radical ways of bringing classical music to factory workers, including a cycle of concerts at La Scala for employees and students. Another friendship, with the Marxist avant garde composer Luigi Nono, was equally important, resulting in the commission of two pieces for Pollini, including one for piano, voice and tapes, commemorating an assassinated Chilean revolutionary. Pollini’s radical outlook remained with him throughout his career, as did his intellectual approach to art and life. If too often that cerebralism seemed at odds with the heroic or passionate romantic sensibility of the music he played, there were compensations: the visionary gleam in a Chopin miniature; the anticipation of modernism in the ghostly finale of the same composer’s Second Piano Sonata.

Even when declining physical stamina took its toll in later recitals, Pollini commanded admiration of a sort for his continued willingness to pit himself against some of the most demanding works in the repertoire. The breathless impatience of his foreshortened phrases was unsettling, but glimpses of the old magic were still in evidence. The programming of his five-concert series The Pollini Project at the Royal Festival Hall, spread over five months in 2011 – which moved from Bach, through late Beethoven and Schubert to Chopin, Schumann, Liszt and Debussy to modernists such as Stockhausen and Boulez – represented a personal statement about landmarks in the history of piano music.

His interpretation of Boulez’s Second Sonata, notable for its precision and explosive energy, but also for its lyricism and Debussy-influenced pointillism, remains without peer. Stravinsky’s Petrushka likewise drew from him an incomparable muscularity coupled with tonal clarity that was ideally incisive rather than brutal. If Pollini’s playing was controversial, it was so because it explored the dichotomy of intellect and emotion fundamental to music-making.

He is survived by his wife, Marilisa (nee Marzotto), whom he married in 1968, and their son, Daniele.

🔔 Maurizio Pollini, pianist, born 5 January 1942; died 23 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[takmiblog]

「音の建築家」

技術偏重の傾向に国内で一石を投じたのは87年、ポーランドの名ピアニスト、ホルショフスキの95歳での初来日だった。19世紀ロマンティシズムの香り高い演奏に、聴き手は「完璧」とは違う価値観を見いだした。

ポリーニ自身、かなり早い時期から技術の衰えが目立つようになったが、���が彼の演奏でとりわけ評価するのは、すぐれた構築性である。

あるリサイタルで、ポリーニの弾くシェーンベルクやシューマンがひとつの立方体となってホールの空間に立ちのぼる様が見える、という不思議な体験をした。調整音楽でも無調音楽でも、和声的な書法でもポリフォニックな書法でも、作品をその骨格においてとらえ、時間軸をも考慮に入れつつ寸分の狂いもなく組み立ててみせる。

ポリーニは、「完全無欠な音の建築家」だったといえよう。

(https://ondine-i.net/column/7013)

ポリーニ追悼（2024年4月1日付　読売新聞朝刊文化欄）　

by　青柳いづみこ　さん

[sunset-supergirl]

Happy birthday Maurizio Pollini

[depressedraisin]

instagram just threw a photo of maurizio pollini and claudio abbado and one of miles and alex side by side my way right as i opened the explore page and idk man. idk man

[aromantyczno-liryczna]

I've just heard of Maurizio Pollini's passing and it brings me a profound sense of loss. His renditions of Chopin's compositions espeicially always struck a chord within me (haha get it..). Although not a pianist myself, I've always admired his incredible dedication to precision. With his departure, we bid farewell to one of the greatest pianists of our time. May his soul find eternal peace. <3

[trendynewsnow]

A Farewell to Maurizio Pollini: Celebrating His Legacy Through Music

A Farewell to a Master: Maurizio Pollini The celebrated pianist Maurizio Pollini continued to explore the depths of music right until his final days. Throughout his long and illustrious partnership with Deutsche Grammophon, Pollini, who passed away in March at the age of 82, consistently delivered recordings that were not only technically accomplished but also intellectually stimulating. His…

[koshigurajumy]

Maurizio Pollini plays Schönberg - Drei Klavierstücke Op.11 BOUREZ FESTIVAL at Suntory Hall (May 26th, 1995)

[marcogiovenale]

concerto in fabbrica / maurizio rotundi. 1972

  CONCERTO IN FABBRICA Scheda Intergrale: https://goo.gl/xjuEUt Regia: Maurizio Rotundi Casa di produzione: Unitelefilm Anno: 1972 Abstract: L’Orchestra del teatro comunale di Genova e il maestro Maurizio Pollini tengono un concerto in una grossa fabbrica tipografica della città ligure, la “Paragon”, occupata dalle maestranze: l’iniziativa è documentata dalla macchina da presa. Il film mette in…

[unita2org]

IN RICORDO DEL COMPAGNO MAURIZIO POLLINI CHE SUONO' AL CONCERTO PER IL VIETNAM

Maurizio Pollini al piano suona il Concerto No.5 di BEETHOVEN, dirige l’amico Claudio Abbado, RAI Roma 1967 di Redazione Riproduciamo la pagina 11/spettacoli – arte de l’Unità del 14 gennaio 1973 dove è raccontata la memorabile giornata al Comunale di Bologna dove si era tenuto il concerto di Maurizio Pollini a favore della lotta del popolo del Vietnam contro l’imperialismo USA. Pollini è stato…

[morningwalksposts]

25.03.2024

monday ~ 25.03.2024

blue lake - dallas

lalalar - isyanlar

blind faith - can't find my way home

maurizio pollini - brahms: piano quintet in f minor, op. 34 - ii. andante, un poco adagio

johannes brahms - feldeinsamkeit, op. 86, no. 2

in memoriam Maurizio Pollini

[kecobe]

Maurizio Pollini

(January 5, 1942–March 23, 2024) Photograph: Mathias Bothor/Deutsche Grammophon

[takmiblog]

未来探り続けた　音の大建築家

　その精度の高さから、ポリーニの名は揺るがぬブランドとなった。2012年にインタビューをしたとき、かつての録音ですでに20世紀のベートーベン演奏の金字塔を打ち立ててしまったのでは、と尋ねると、「あの演奏が、ですか？」とやや戸��いの混じったような表情を浮かべた。「とてもそうは思えない。私自身はあのときより、ずっと先に進み続けているつもりです」

　21世紀の音楽界の光を影を独りで背負い、老境に至っても葛藤から逃げず、完璧さへの呪縛を振り払うかのように未来系の探究者であり続けた。（編集委員・吉田純子）

2024/05/18　朝日新聞

惜別

ピアニスト　マウリツィオ・ポリーニさん

未来探り続けた　音の大建築家

2024/03/23死去　Maurizio Pollini　82歳