I am an Registered Piano Technician and often the fact that the condition of the piano a pianist is given on which to perform is overlooked. This piano is obviously regulated very well and voiced perfectly including the una corda pedal giving the artist a full palette for color and dynamics. Mr. Pogorelich is not only a gifted pianist but he understands the instrument he has been given and makes the most of its ability to do what he asks of it. So as is often missed a big praise should go to the piano technician who prepared this piano for him to make this lovely recording.
I only got to play on one like this once and it had been prepared by Franz Mohr. It has made me very demanding of my tech he hates me now. Apparently Franz works miracles not easily done by mere mortal technicians. This is a beautiful piano and I give great praise to the technician.
Attempting to redirect the focus on the artist by giving credit to the brush is neither honorable nor dignified. Shall we also then give credit to the electrician that enabled the lights in the Hall so that he could see the work? Or the masons that built the Hall where he performed the piece? Both of those are respective artists who in your definition should also be billed on the credits. What about the manufacturer of the vehicle that transported him safely to the Hall? Do they not also deserve their proper spotlight as well? A true artist understands the strengths and limitations of the instrument, which are apparent in EVERY instrument regardless of how well tuned, maintained, and stored, and irrespective of the technician that measured and adjusted the instrument. In fact, for every "professionally tuned" instrument, there still resides imperfect elements that must be managed by the artist. The artist understands these nuances and manipulates the product to produce the piece overcoming the deficiencies and expounding the strengths. I give you credit as a piano tech, kudos, however much like in battle you are neither on the front line, nor indispensable. For every hundred thousand foot soldiers and technicians, there comes only one General, or true master artist. I do not intend to minimalize your trade nor disparage you in any way, however it is you that chose a profession to stay hidden in the shadows without public appreciation. Have the quiet dignity of your chosen profession, and cease efforts to wrestle the attention away from artists that live and die by their performances. Otherwise you demean the pride of the mechanics that have come before you and those that will follow, and insult the artist and their works.
I think with Ondine, Ravel achieved musical perfection. Within all its complexity, dynamic ranges and sonority there is incredible beauty and structure. He does all this without repetition of sections. Truly amazing! I think this one piece secures his immortality in the ranks of the masters.
This is an incredible human achievement - somebody actually wrote this, somebody actually played it, and we even have the means to capture that performance and preserve it for eternity. Any one of those things is mind blowing; to have all 3 is a miracle.
@@10mimu I find I get the most pleasure and enjoyment from Romantic music so that's my favourite era of classical music. There are some bits and pieces from other eras, but Tomantic is my main area.
@@e.hutchence-composer8203 You should enter in to the Impressionism or even the Vanguardism. Enojuhani Rautavaara, Xekanis, Orthel, Ornstein, Poulenc, Bartók, Messiaen, Scriabin, Roslavets, among others Impressionists.
Some composers write pieces of music with the intention of making them difficult for the sake of being difficult whereas I feel, though indeed Ravel composed Scarbo with the intention of surpassing Islamey in terms of difficulty, he's able to strike the right mix between virtuosity and beautiful music.
When Ravel was composing Gaspard de La Nuit, he definitely thought of composing a piece which would become a prominent figure in the spectrum of piano literature as well as become one of the most difficult pieces ever written for the piano. He began composing Scarbo with the intention of writing the movement harder than Milly Balakirev's Islamey. Ravel is quoted to have said about the piece : "Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words." Scarbo ( the third movement of the suite) is inspired by a poem about a sprite or goblin of the night written by Aloysius Bertrand. Ravel is quoted to have said about Scarbo , "I wanted to make a caricature of romanticism. Perhaps it got the better of me". Hope this helps!
The thing is, ravel was a terrible pianist. He couldn’t play half what he wrote. He composed “Jeux D’eau” without a piano and on the way to class. I understand Liszt or Chopin making a technical piece but ravel? Cmon!!! He was also a horrible conductor!!!
I love this part. It's absolutely phenomenal and it has obviously reached MANY musicians. If you analyze the chord progression of this part, you get something like this, B-9, D13, G-9, Bb9, D#sus2, D#sus4, F#6/9, F#7alt. Looking at Coltrain's Giant Steps, we see a very similar progression, Bmaj7, D7, Gmaj7, Bb7, Ebmaj7, A-7, D7. Coltrain uses the 2-5-1 progression, while Ravel uses 1-4-5. I think it's absolutely fascinating! It's just changed by 3 evenly spaced key centers.
This is the best interpretation of this piece I have ever heard . Especially with Le Gibet , I just want to say the balance and tone he produces is just incredible .Listen from 10:03 , those descending Chords my goodness 🤯 !This also happens when the passage repeats throughout the piece , and it perfectly depicts the bell tolls , and the man being hung from the gallows .
Ivo Pogorelich was born in Belgrade in 1958 as son of a musician. He received his first piano lessons at the age of seven and went to Moscow at the age of twelve to study at the Central Special Music School and then at the Tchaikowsky Conservatory. In 1976 he began intensive studies with the renowned pianist and teacher Aliza Kezeradze, with whom he was married from 1980 until her untimely death in 1996. Mme. Kezeradze was able to transmit the spirit and matter of the school of Beethoven and Liszt, the tradition of the Liszt-Siloti school, originated in Vienna and than carried through to the Conservatory of St. Petersburg, flourishing towards the end of the 19th and the beginning of the 20th. Century. Pogorelich´s sound, concerts and recordings pay homage to this exceptionally refined, visionary, and truly revolutionary woman, who so lovingly made Pogorelich a unique artist of genius. Ivo Pogorelich won the first prize at the Alessandro Casagrande Competition at Terni (Italy) in 1978 and the first price at the Montreal International Music Competition in 1980. In October of the same year he entered the International Chopin Competition in Warsaw where, when prevented from participating in the final contest as a soloist with the orchestra, a fierce controversy resulted in the renowned argentinian pianist Martha Argerich, a member of the jury, protesting and leaving the competition, joined by other members of the jury panel, with the words “He is a genius”. The New York Times once wrote “He played each note exactly, with such a feeling, such expression, he was an entire orchestra- it was as if he played 200 years ahead of our time”. In this spirit Ivo Pogorelich is known today as a poet of the instrument. Ivo Pogorelich is not only an artist of the highest caliber, discipline and musicianship, but the archetype of the modern artist, the isolated and courageous master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquisite and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotized by his new and radical naturalness, by his nobility, dignity, severity and sobriety; transporting us to states of wonder, ecstasy, meditation, love and compassion. -- Sound and Silence, Life and Death, Time and Space; collapse into the Eternal moment of Infinity. -- ----------------------- "you have to get into the phycological frame of mind in which composers wrote their works in order to discover its secrets. virtuosity comes from the greek origin virtue. original is finding the origin Gaudi said. rachmaninov had arthritis at the end of his life, he was so weak that his sound was very short, that is the reason he played fast, to fill the vacuum. if you have long sound you are in command to achieve clarity and the hypnotic sound between the notes. the problem was always the conflict and the difference between the absolute and the relative quality. beauty in music is like in diamonds, the purest diamond in the world is the Koh-i-Noor, it is the absolute beauty to which others with relative beauty are compared. work as hard as a galley slave. one should always try as much as possible to rediscover music as though one is hearing it for the first time, searching everywhere for new meanings and new depths. the highest function of the artist is to release the spirituality and the emotional immediacy that lie within the score. sound becomes metaphysical only when you have completely explored all physical possibilities. you should explore until reaching the absurd. music takes you to another universe of eternity that remains with you after the concert is finished." Ivo Pogorelich. ------------------------------------
Thank you so much for sharing. I have this strange notion about Ivo having entered into some kind of state of consciousness referred to as becoming a bodhisattva.... Does he compose?
one of the greatest imaginative masterpieces of music-- possibly one the most difficult piece to play technically with the nuances and colorings that Ravel demands in a truly remarkable performance by the great Pogorelich
Really love his interpretation of Ondine. I think he puts the most effort and feeling into it out of all the other pianists. It really does sound mystical, magical and enchanting. Bravo!!! By far my favorite interpretation of this piece. This performance is otherworldly! Most of the other interpretations can make this sound magical and mystical. But this one is the most enchanting in my opinion.
From the unbelievably quiet pianissimos, to the vivacious and unequivocally emotional climaxes, to the sheer virtuosity of the rendition, Pogorelich’s performance is truly a masterpiece on all levels. It is not often that a pianist can achieve such mastery of technique and expressiveness in one recording, but he manages just that. Such a level of command over the piano is something that many pianists can only dream about, but all can admire. In my opinion, this is the definitive standard by which all performances of Gaspard de la nuit should be measured. Thank you very much for uploading this!
This piece is remarkable, I can picture the poems scenes reveal themselves. Ravel was brilliant and so much imagination. The beginning of Ondine scares me just to look at the score let alone play it. Mr. Pogorelich is such a gifted pianist.
Probably the best performance I've ever heard of what happens to be my absolute favorite piano piece. I have a feeling I've commented on this video before... oh well. It's just too incredible. The entire depth of my musical experience can be summarized in this performance of this piece. So many thanks for posting the score along with it, too; for me, being able to read along with those mind-shattering perpetuo moto 32nd-note explosions somehow makes the whole experience just that much more integrative and dazzling. Thank you thank you thank you!
+Dallas Bolin Please listen to Lucas Debargue when he palyed it at Tchaikovsky competition 2015. It is beyond words, an incredible performance. He gave a concert at Mariinsky theater in St. Petersburg, listen to the entire parformance ther it is about 47 minutes. Type in google.com lucas debargue mariinsky theater, it will blow all the listeners away. I must have listened to his performance at least 20 times!!!! He recevied 4th prize, does not matter, he is a musician, poet and an artist of the piano. There are many articles about him on the interent. Enoy!!!!!! Pogorelic is wonderful as well. Sultanov, Pogorelic and Debargue are provocative that sets them apart from others!!!! Happy new year!!
The dazzling virtuosity never compromises the logic, precision, and coherence of the composition, and yet the music heard evokes a profound sense of beautiful mystery...I never feel that Ravel's orchestration ever feels "outdated", likewise his piano music stands the test of time, the wide palette of colors from the piano feel fresh today. Pogorelich's performance is masterful and brilliant.
4:23 I have no words to describe this progression. I have rarely heard a climax with such intensity as to give me shivers. Gaspard de la Nuit It is a piece that every time I listen to it I discover surprising details that attest to Ravel's genius. Bravo
just came back to this gorgeous work because of the amazing part at 4:28 in the Ondine - Ravel uses the exact same 'Coltrane changes' as seen in the famous jazz piece Giant Steps! (B -> G -> D# -> B). He was truly ahead of his time...
One of the best performances I ever hear of such a difficult piece, Pogorelich plays this piece of art with tremendous artistry and mastery. Composer & performer both: masters.
I owned this recording on vinyl years ago, and listened to it over and over in the dark, utterly transported by it. Then I had the great pleasure of seeing Ivo Pogorelić perform at Expo '86 in Vancouver. When he came to the front of the stage to bow, his hands were massive! This is one of my all-time favourite Ravel compositions, which shows a stylistic link to Debussy, but also Ravel's emergence as one of the truly great composers of the 20th Century. The textures and colours he conjures are by turns lush and rapturous, bleak and desolate, childlike and grave. A Master!
Chris Robson "stylistic link to Debussy" - anything particular in mind (beyond the general "uses modes", "sustain" etc usually associated with "impressionist" music)..?
This is an amazing, brilliant musical journey created by one of the most gifted composers of the 19th and 20th century. When I listen to this I can sometimes imagine it scored for orchestra. He clearly succeeds in saying with notes what the poet expressed in words. The opening, enigmatic right hand sets the exquisite scene (in fact my right hand gets tired just listening to it). It reminds me of another of my favorite Ravel piano works the Jeux d'eau, with the sounds of water cascading over rocks.
Sometimes the first recording/performance you hear of a piece becomes the definitive one. I had never heard this piece until this recording came out. I had it first on LP, then on CD. To my ears it is as perfect as one could expect. The clarity of the line. The sense of ease through some of thee most difficult measures in the repetoire. It still amazes me.
The guy at Ravel´s publisher who was in charge of the sheet music, must have looked at this piece and thought: "No way in f...... hell I´m doing this. I´m applying for a job at Satie´s publisher instead!"
This is a truly wonderful performance of one of the greatest pieces ever written for the piano. Thanks for putting it up so that we can hear this interpretation and never forget it!
Not so much! We're only at two here. However, if it leads up to 12 "coincidences" then you should by all means report the authorities. Or... You can stop commenting on popular websites. ;)
Wonderful sound. Delicate, transparent and beautifully modulated. He conjures up the image of the seductive and quixotic water sprite, Ondine, and the gloomy, Caspar David Friedrich-like atmosphere of the gallows. In his interpretation of Scarbo, Pogorelich is sparing in his use of the damper pedal, but his half pedaling is masterful. It is certainly a pleasure to hear all of the notes so clearly. The Scarbo is a singular performance, ironic and mordant. Pogorelich obviously read the original poem, and he does not content himself to simply wallow in a feather bed of luscious sound. In this regard, the performance is a thrilling alternative. What a brilliant technique. Bravo!
I love this piece. Wish I had discovered it sooner. The first movement is gorgeous. The second is chilling. And the third is just everything in life period. Love this!
+toothless toe stop being such a pretentious fucknuckle. if you can play the part accurately, you're a musician. we can talk about "evoking images" in a different conversation.
Or they just lack education, or they are selfproclaimed "i-know-everything-best" and miss one 32nd beat somewhere in the piece that wasn't played exactly as how they expected it.
Googol You're right... I'm 16 years old, composing too - Ravel is my model for that :) And i'm really glad to have got a pitch perfect to hear the sonority of that harmonies Ravel integreated ^.^
Well young man, if that is true, go on and upload some of your stuff. And maybe you can make som composition for a guitar in style of Ravel. Don't be shy.
This is the greatest recording of Ondine. Most pianists try to play it but just fail. Even Pogo. cannot play as well it now that he is much older. To answer another commentator - no Ravel could not play it . His pianist capabilities were made fun of by his contemporaries. However therein lies his great genius in that he could create sounds he could not physically hear. Lazar B gets very close because of his immense technique but Pogo. is the prime interpreter.
I agree with you, Dear Mr. Amos, that this performance by Pogorelich is absolutely splendid - certainly better than most - BUT, that said, it is not the equal of the performance given by Walter Gieseking of this piece in 1956 - ruclips.net/video/Rhyu-v58Mkg/видео.html
Ravel had a very good pianist friend who played well and was into repeated notes shit. So even though Ravel didn't play piano, his compositions still went through plenty of testing because of that random guy
They say there is a very fine line between insanity and creative genius. I think this performance is a perfect example. How Ravel could conjure such a piece of music is beyond words.
Oh, you may be sincere but obviously, you're stupid. Did your mother ever tell you to stop playing with it? Or should we call you father in to watch this? Please. !!
The first Ravel piece I ever saw was the Fountain. I was browsing sheet music at the music store to find some things to sight read for my teacher as potential options for a competition, and I LOVED how it looked, I knew it would sound magnificent, and it would be hard enough to play to qualify for my ranking. He became my favorite composer from that time forward. His compositions look as beautiful on the page as they sound to the ear, and when your fingers achieve the notes perfectly, you feel like the rain outside is falling directly from your fingertips. This piece is no exception, and it is performed with a lovely touch.
An excerpt from the third movement of this piece, Scarbo, is painted on the old Schmitt Music Headquarters in downtown Minneapolis at 10th and Marquette. The music painted on the wall begins around 22:45. If you look closely at the mural, you will notice that is actually made up of a smaller musical excerpt of 16 measures repeated several times.
Ondine is such an angelic piece. 5:06 always leaves me star strucked. And now hearing "Le Gibet". Just hearing the repeated B-flat octaves is like hearing the sound of distant knell bells. It reminds me of the last section of The Bells by Edgar Allen Poe.
Cumplido, sugerente, arrebatador. Pogorelich reescribe cada poema, lo hace vivir en el espacio, en particular ese "gibet" patético y el "Scarbo" imprevisible y mágico. Soberbia interpretación de partitura tan compleja. Ivo es genial como lo era Ravel, ha recreado el Gaspar y uno tiene la sensación de oírlo por la primera vez. Escuchado en la noche de estos Andes ecuatorianos, me he dejado llevar y al terminar la audición no sé donde estoy, si en las alturas por encima del Tablón Pachamama o simplemente disuelto en los aires.
Siempre me encuentro con comentarios de este señor (por ejemplo en obras de Brahms, Liszt, Shostakovich) y me impresiona las buenas observaciones que hace sobre la obra y su intérprete, además de agregar arte a sus palabras.
Translation courtesy Google: "Fulfilled, suggestive, captivating. Pogorelich rewrites each poem, makes it live in space, in particular that pathetic "gibet" and the unpredictable and magical "Scarbo". Superb interpretation of such a complex score. Ivo is great as Ravel was, he has recreated Gaspar and one has the feeling of hearing him for the first time. Heard in the night of these Ecuadorian Andes, I have let myself be carried away and at the end of the audition I do not know where I am, if in the heights above the Pachamama Tablon or simply dissolved in the air."
Probably my favourite bit of the whole piece - the way he voices those chords, the rubato into the second bar of the page, and the way he brings out the middle clef melody
This magnum opus is probably the nightmare of many pianists just like Frank Zappa's _The Black Page #1 and #2_ is for many percussionists. Excellent job mister Ivo Pogorelić, Croatia should be very proud of you. 💥💥💥💥💥
Acorrding to most, Scarbo is technically the most difficult piano solo ever written, Ravel purposelly tried to "out do the difficulty in "Islamey",written by Mily Balakieriv..
@@raincoat2683 Liszt’s pieces are easier than Ravel’s? Listen to ‘Galop in A Minor’ and then talk. lmao. The problem is that Liszt’s most known pieces are not his hardest, and don’t represent his INSANE musical and pianistic genius. But Ravel’s most known pieces are his hardest. Maybe that’s why it looks like Ravel has hardest pieces than Liszt (in generall)
@@lisztomaniac2593 I think you're underestimating just how hard Scarbo really is. Galop is a very flashy piece, and by no means easy, however it consists of mostly octave figures and chords that fit quite comfortably in the hand. Scarbo on the other hand has some wildly uncomfortable sections. You have to remember that in many of these bars, the pianist's hands have to be literally overlapping while playing already difficult figures. Scarbo also presents a much greater interpretive challenge, while the Galop is clearly composed as a showpiece and does not have much in terms of musical depth. I think if we're looking at Liszt's most difficult works, I would argue Feux Follets is more comparable to Scarbo.
That is a lie, the entire suite is not near the hardest suite written, individually Scarbo is an extremely difficult piece, but there are a bit of other pieces that are in general technically more challenging then this piece. Difficulty is subjective, and there will never be a hardest piece/suite ever written because then it would be unplayable, something unplayable is not music
This might just be the greatest recording of Gaspard, but specifically Ondine. It feels like I'm actually experiencing all the imagery of the poem. It really is so alive...
My brain is fried. I can't even think this fast. No, I take that back. I can't even follow the score and have it make sense in my head. I wonder how the pianist felt. Amazing!
Ondine, Douce comme la brise et forte comme la vague, Va au devant des obstacles et traverse les mers déchaînées, Dans les flots tumultueux de l'océan tu sais rester fière et limpide comme l'eau de roche, Tu apaises mon âme de ta douceur naïve,et telle une nymphe tu m'inspires et m'aspires, Oh Ondine! Que trépasses si je je t'oublie! Qui saurait me procurer autant de plaisir que tes langoureuses caresses le long de mon corps, Baigné dans ton eau pure et au soleil éclatant, Tu ondines, ondules, et parcours le littoral de mon corps, Telle un sage stoïque tu nous enseignes à tous l'importance de l'harmonie et de la transparence, Car limpide tu es et claire tu es, Ondine! Sauve-nous des aléas obscures des eaux noires de l'existence! Ondine et ondule, Ondine!
Wow, having this level of interaction with the piano requires the pianist to have this intimate connection with the piece to be able to deliver as the composer's intent and tell the story as the poet does on the peom it is based. A supercalifragilisticexpialidocious performance!
I totally agree- had the same thought during that time bracket; because of his technical abilities, he is able to propel things forward more than others, but it still sounds unhurried….just mesmerizing.
I first heard this mesmerizing piece of music ("Le Gibet") in a movie, " the Hunger". I am SO grateful to youtube for this transcription. sincerely, John.
Trying to learn this piece is quite the learning experience. All movements pose their own difficulties, technically and emotionally. The pristineness of Ondine, the desolation of Le Gibet, and the anger and fear of Scarbo. For a while I thought Le Gibet would be easier, and while technically your fingers aren't occupied with insane jumps or tricky trills, the repetitive tolling of the Bflat octave and the occasional moments with some rather uncomfortable positions for the hands is pretty exhausting, not to mention trying to capture the lonely, deathly atmosphere of the movement. Ondine is already challenging enough. To capture the elegance of the piece is the most tricky part of it. Wrong notes will easily be audible in this movement. Scarbo is deservedly regarded as one of the most demanding pieces in the piano repertoire, classical or not. The very deep, dark and angry character of this piece is awesome.
Ha! I thought the same about Le Gibet at first. I always loved this piece and thought the slower mellower movement would be easy to play. Boy, was I wrong...
@@AllNewYear In general, yes. Though on selective pieces, Scriabin, Godovski, Szimanovski, Liszt, Chopin, the romantic and modernist/20th century and new complexity movement can be more difficult than some of his pieces. Yes, in terms of endurance and accuracy he reigns supreme overall.
1st movement (ondine) is water & beautiful. 2nd movement (le gibet) is underrated, dark & beautiful. 3rd movement (scarbo) is virtuoistic and beautiful.
Tried to learn this piece in college. My teacher and I collectively agreed it just wasn’t going to happen after I worked on it for a semester. (Thanks for letting me off the hook in 1983, Prof. Claire Richards!) Oddly, the hardest part for me was those alternating two-triplets/one-triplet figures - notated in quarter-time - right at the beginning.
"Ondine" : I feel like water fairy singing a song to me so I can jump in the lake with her. "Le Gibet" : I can see the hanged man on the gibbet and it looks horrifying. "Scarbo" : aaah i have nightmares when I heard this when small fiend disappears and reappears.. Purely beautiful playing here
This rightly had a rosette in the Penguin, phenomenally skilled playing, totally secure and in the idiom; the colours he finds in the middle movement are unique. His playing seems to luxuriously thicken out to the full length every note.
That is an excellent description of Pogorelich's playing - as well as super heated emotions, super precision and accuracy: there is an underlying luxuration of sound. His staccato may be very dry, but his melodic lines (often picked out from rich textures) are stretched to accomodate the beauty of each note. It is an inifinitesimal difference... but it makes ALL the difference
Polyrthms, Glissandos and the kitchen sink, Ondine has it all and the beautiful sounds make me want to learn it even more, my piano has come a long way in the last 5 months, still think I'm a couple of years off of being able to attempt the piece compentnetly.
martha argerich was right. he is a genius (that is an understatement )and she would know. see what happened at the chopin piano competition. i am only happy that i have lived long enough to listen to this. my friend hiro harada, a concert pianist in tokyo, when playing debbusy images, this reminds me of. when he auditioned at curtis in philadelphia, for rudolf serkin, serkin said "i don't know what we can teach you".
ivo is way beyond sound, ...pogorelich has the most powerful and perfect union of form, harmony and melody, i have no doubt he is the best interpreter ever, surpassing maria callas and horowitz, and at the level of the greatest composers to whom he seems to play for.
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](http://i.ytimg.com/vi/F61Zb9zIP-4/mqdefault.jpg)
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](/img/tr.png)
I am an Registered Piano Technician and often the fact that the condition of the piano a pianist is given on which to perform is overlooked. This piano is obviously regulated very well and voiced perfectly including the una corda pedal giving the artist a full palette for color and dynamics. Mr. Pogorelich is not only a gifted pianist but he understands the instrument he has been given and makes the most of its ability to do what he asks of it. So as is often missed a big praise should go to the piano technician who prepared this piano for him to make this lovely recording.
hoppsmusic Very well said. Although I disagree he's quite the pianist
hoppsmusic i
I agree. One wouldn't want to whisper or breathe on the action. But, the sound is truly glorious.
I only got to play on one like this once and it had been prepared by Franz Mohr. It has made me very demanding of my tech he hates me now. Apparently Franz works miracles not easily done by mere mortal technicians. This is a beautiful piano and I give great praise to the technician.
Attempting to redirect the focus on the artist by giving credit to the brush is neither honorable nor dignified. Shall we also then give credit to the electrician that enabled the lights in the Hall so that he could see the work? Or the masons that built the Hall where he performed the piece? Both of those are respective artists who in your definition should also be billed on the credits. What about the manufacturer of the vehicle that transported him safely to the Hall? Do they not also deserve their proper spotlight as well? A true artist understands the strengths and limitations of the instrument, which are apparent in EVERY instrument regardless of how well tuned, maintained, and stored, and irrespective of the technician that measured and adjusted the instrument. In fact, for every "professionally tuned" instrument, there still resides imperfect elements that must be managed by the artist. The artist understands these nuances and manipulates the product to produce the piece overcoming the deficiencies and expounding the strengths. I give you credit as a piano tech, kudos, however much like in battle you are neither on the front line, nor indispensable. For every hundred thousand foot soldiers and technicians, there comes only one General, or true master artist. I do not intend to minimalize your trade nor disparage you in any way, however it is you that chose a profession to stay hidden in the shadows without public appreciation. Have the quiet dignity of your chosen profession, and cease efforts to wrestle the attention away from artists that live and die by their performances. Otherwise you demean the pride of the mechanics that have come before you and those that will follow, and insult the artist and their works.
I think with Ondine, Ravel achieved musical perfection. Within all its complexity, dynamic ranges and sonority there is incredible beauty and structure. He does all this without repetition of sections. Truly amazing! I think this one piece secures his immortality in the ranks of the masters.
I agree
Jeux d'eau is up there too, but this has the plus of being a three part composition.
I agree.
It’s a nice hummable tune.
@@docbailey3265not nearly as hummable as Scarbo
This is an incredible human achievement - somebody actually wrote this, somebody actually played it, and we even have the means to capture that performance and preserve it for eternity. Any one of those things is mind blowing; to have all 3 is a miracle.
someone actually invented the piano
It's the devil's work. It's got his fingerprints all over it. ;"+)
Ondine is without a doubt the absolute most beautiful piece of music i have ever heard, to this day. It is impossibly gorgeous.
jhonnbalance Rachmaninoff Rhapsody on Paganini 18th variation, Rachmaninoff Concerto Op. 18 Mvt. 2, Chopin Nocturne Op. 62 No. 1, Rachmaninoff Symphony No. 2 Mvt. 2, Chopin Concerto No. 1 Mvt. 2 and the whole of concerto 2, Beethoven Sonata No. 15, could go on forever really.
Eddie Hutchence why only Romantic?
@@10mimu I find I get the most pleasure and enjoyment from Romantic music so that's my favourite era of classical music. There are some bits and pieces from other eras, but Tomantic is my main area.
@@e.hutchence-composer8203 You should enter in to the Impressionism or even the Vanguardism. Enojuhani Rautavaara, Xekanis, Orthel, Ornstein, Poulenc, Bartók, Messiaen, Scriabin, Roslavets, among others Impressionists.
@@alejandrom.4680 what about modern russian? prokofiev shostakovich etc.
Some composers write pieces of music with the intention of making them difficult for the sake of being difficult whereas I feel, though indeed Ravel composed Scarbo with the intention of surpassing Islamey in terms of difficulty, he's able to strike the right mix between virtuosity and beautiful music.
When Ravel was composing Gaspard de La Nuit, he definitely thought of composing a piece which would become a prominent figure in the spectrum of piano literature as well as become one of the most difficult pieces ever written for the piano. He began composing Scarbo with the intention of writing the movement harder than Milly Balakirev's Islamey. Ravel is quoted to have said about the piece : "Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words." Scarbo ( the third movement of the suite) is inspired by a poem about a sprite or goblin of the night written by Aloysius Bertrand. Ravel is quoted to have said about Scarbo , "I wanted to make a caricature of romanticism. Perhaps it got the better of me". Hope this helps!
@@novastorm7841 tysm
The thing is, ravel was a terrible pianist. He couldn’t play half what he wrote. He composed “Jeux D’eau” without a piano and on the way to class. I understand Liszt or Chopin making a technical piece but ravel? Cmon!!! He was also a horrible conductor!!!
Yep ravel definitely took after liszt in this regard
@@Inubiz what difference does it make? that's like saying why did john williams write for orchestra even though he can't play every instrument in it.
4:28 just absolutely blows me away
I love this part. It's absolutely phenomenal and it has obviously reached MANY musicians. If you analyze the chord progression of this part, you get something like this, B-9, D13, G-9, Bb9, D#sus2, D#sus4, F#6/9, F#7alt. Looking at Coltrain's Giant Steps, we see a very similar progression, Bmaj7, D7, Gmaj7, Bb7, Ebmaj7, A-7, D7. Coltrain uses the 2-5-1 progression, while Ravel uses 1-4-5. I think it's absolutely fascinating! It's just changed by 3 evenly spaced key centers.
I play that piece every morning. After that I wake up
As far as I remember, you're dead for 60 years when it's been written
Why wouldn't you consider just staying in bed all day? I don't get it.....
Stevee GALLO: BroiSatse is right. He does.
@@Molybdaenmornell -- Should we call in Backup & Rescue? What if he's in a Persistent Vegetative state??
@good idea! He might even be decomposing. We don't want to lose any of those études.
This is the best interpretation of this piece I have ever heard . Especially with Le Gibet , I just want to say the balance and tone he produces is just incredible .Listen from 10:03 , those descending Chords my goodness 🤯 !This also happens when the passage repeats throughout the piece , and it perfectly depicts the bell tolls , and the man being hung from the gallows .
If I had a time machine I'd bring this piece to Bach, Mozart, and Beethoven, and watch their reactions
Yuu Mozart and Beethoven wouldn’t understand it. Bach would know Ravel is a genius.
SIU MAN LI -- LOL
"MUST WATCH!! BEETH REACTS TO RAVEL!!!!!!"
They would think it's horrifying. Bach would look at it as it is and say it's beautiful.
theinvisibleman -- Was there ever any question?
Ivo Pogorelich was born in Belgrade in 1958 as son of a musician. He received his first piano lessons at the age of seven and went to Moscow at the age of twelve to study at the Central Special Music School and then at the Tchaikowsky Conservatory. In 1976 he began intensive studies with the renowned pianist and teacher Aliza Kezeradze, with whom he was married from 1980 until her untimely death in 1996.
Mme. Kezeradze was able to transmit the spirit and matter of the school of Beethoven and Liszt, the tradition of the Liszt-Siloti school, originated in Vienna and than carried through to the Conservatory of St. Petersburg, flourishing towards the end of the 19th and the beginning of the 20th. Century.
Pogorelich´s sound, concerts and recordings pay homage to this exceptionally refined, visionary, and truly revolutionary woman, who so lovingly made Pogorelich a unique artist of genius.
Ivo Pogorelich won the first prize at the Alessandro Casagrande Competition at Terni (Italy) in 1978 and the first price at the Montreal International Music Competition in 1980. In October of the same year he entered the International Chopin Competition in Warsaw where, when prevented from participating in the final contest as a soloist with the orchestra, a fierce controversy resulted in the renowned argentinian pianist Martha Argerich, a member of the jury, protesting and leaving the competition, joined by other members of the jury panel, with the words “He is a genius”.
The New York Times once wrote “He played each note exactly, with such a feeling, such expression, he was an entire orchestra- it was as if he played 200 years ahead of our time”. In this spirit Ivo Pogorelich is known today as a poet of the instrument.
Ivo Pogorelich is not only an artist of the highest caliber, discipline and musicianship, but the archetype of the modern artist, the isolated and courageous master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take.
Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquisite and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete.
Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotized by his new and radical naturalness, by his nobility, dignity, severity and sobriety; transporting us to states of wonder, ecstasy, meditation, love and compassion.
-- Sound and Silence, Life and Death, Time and Space; collapse into the Eternal moment of Infinity. --
-----------------------
"you have to get into the phycological frame of mind in which composers wrote their works in order to discover its secrets.
virtuosity comes from the greek origin virtue.
original is finding the origin Gaudi said.
rachmaninov had arthritis at the end of his life, he was so weak that his sound was very short, that is the reason he played fast, to fill the vacuum.
if you have long sound you are in command to achieve clarity and the hypnotic sound between the notes.
the problem was always the conflict and the difference between the absolute and the relative quality.
beauty in music is like in diamonds, the purest diamond in the world is the Koh-i-Noor, it is the absolute beauty to which others with relative beauty are compared.
work as hard as a galley slave.
one should always try as much as possible to rediscover music as though one is hearing it for the first time, searching everywhere for new meanings and new depths.
the highest function of the artist is to release the spirituality and the emotional immediacy that lie within the score.
sound becomes metaphysical only when you have completely explored all physical possibilities. you should explore until reaching the absurd.
music takes you to another universe of eternity that remains with you after the concert is finished."
Ivo Pogorelich.
------------------------------------
TL;DR
😂
- - - -
Alright, with no jokes, it was interesting to read this
@@RaptorT1V you are right.. too much BS,, i dont like pogorelich anymore.. i go back to safe waters.. eternity is on horowiz rather
@@Chopin4321 Horowitz 💙
Thank you so much for sharing. I have this strange notion about Ivo having entered into some kind of state of consciousness referred to as becoming a bodhisattva....
Does he compose?
The rendition of Ondine is pure genius and by far the best one I’ve ever heard.
By no small margin, the greatest performance of Ondine I have ever heard.
one of the greatest imaginative masterpieces of music-- possibly one the most difficult piece to play technically with the nuances and colorings that Ravel demands in a truly remarkable performance by the great Pogorelich
wtf man this goes beyond beauty
Really love his interpretation of Ondine. I think he puts the most effort and feeling into it out of all the other pianists. It really does sound mystical, magical and enchanting. Bravo!!! By far my favorite interpretation of this piece. This performance is otherworldly! Most of the other interpretations can make this sound magical and mystical. But this one is the most enchanting in my opinion.
From the unbelievably quiet pianissimos, to the vivacious and unequivocally emotional climaxes, to the sheer virtuosity of the rendition, Pogorelich’s performance is truly a masterpiece on all levels. It is not often that a pianist can achieve such mastery of technique and expressiveness in one recording, but he manages just that. Such a level of command over the piano is something that many pianists can only dream about, but all can admire. In my opinion, this is the definitive standard by which all performances of Gaspard de la nuit should be measured. Thank you very much for uploading this!
This piece is remarkable, I can picture the poems scenes reveal themselves. Ravel was brilliant and so much imagination. The beginning of Ondine scares me just to look at the score let alone play it. Mr. Pogorelich is such a gifted pianist.
Probably the best performance I've ever heard of what happens to be my absolute favorite piano piece. I have a feeling I've commented on this video before... oh well. It's just too incredible. The entire depth of my musical experience can be summarized in this performance of this piece. So many thanks for posting the score along with it, too; for me, being able to read along with those mind-shattering perpetuo moto 32nd-note explosions somehow makes the whole experience just that much more integrative and dazzling. Thank you thank you thank you!
+Dallas Bolin
Please listen to Lucas Debargue when he palyed it at Tchaikovsky competition 2015. It is beyond words, an incredible performance.
He gave a concert at Mariinsky theater in St. Petersburg, listen to the entire parformance ther it is about 47 minutes.
Type in google.com
lucas debargue mariinsky theater, it will blow all the listeners away.
I must have listened to his performance at least 20 times!!!!
He recevied 4th prize, does not matter, he is a musician, poet and an artist of the piano. There are many articles about him on the interent.
Enoy!!!!!!
Pogorelic is wonderful as well.
Sultanov, Pogorelic and Debargue are provocative that sets them apart from others!!!!
Happy new year!!
The dazzling virtuosity never compromises the logic, precision, and coherence of the composition, and yet the music heard evokes a profound sense of beautiful mystery...I never feel that Ravel's orchestration ever feels "outdated", likewise his piano music stands the test of time, the wide palette of colors from the piano feel fresh today.
Pogorelich's performance is masterful and brilliant.
Amazing! The way he plays 16th in intervals and chords pianissimo and fast with one hand (right and/or left)! His technique is perfect!
4:23 I have no words to describe this progression.
I have rarely heard a climax with such intensity as to give me shivers.
Gaspard de la Nuit It is a piece that every time I listen to it I discover surprising details that attest to Ravel's genius. Bravo
just came back to this gorgeous work because of the amazing part at 4:28 in the Ondine - Ravel uses the exact same 'Coltrane changes' as seen in the famous jazz piece Giant Steps! (B -> G -> D# -> B). He was truly ahead of his time...
Incorrect. Coltrane referenced Ravel, not the other around.
@@10ison Thats exactly what the original poster said, mentioning "he (Ravel) was ahead of his time"
Trurly ahead of time. Yet ive heard this in music written before he wrote this
@@10isonlearn to read
Artificial intelligence will never be capable of generating or writing a piece of music such this magnificent timeless piece of art
One of the best performances I ever hear of such a difficult piece, Pogorelich plays this piece of art with tremendous artistry and mastery. Composer & performer both: masters.
Chau play it💀💀💀💀💀💀
Pogorelich is superb playing the whole piece (Gaspard de La Nuit)....Amazing....So perfect....Ravel would be proud to listen to this.
... all my life I loved Scarbo... all my life I loved Le Gibet... all my life I loved Ondine... and one day I discovered I loved the three of them...
Ravel's music sends chills up my spine!
***** Me too! "Ondine" is exceptionally beautiful!
Ehem ehem.....
(plays 'The Tomb of Couperin')
@@PentameronSV Menuet vibe.
The second piece is so morbid and unsettling. I love it.
4:18 - 4:28 i can’t describe how wonderful this part is
i agree
And then its giant steps 😂😂😂
@@theforbiddenfruit2300 yes crazy shit, and that 50 years before coltrane wrote it.
It feels like when you have diarrhea and you let everything exit
@@lecheconcolacao6654 soooooo true
I owned this recording on vinyl years ago, and listened to it over and over in the dark, utterly transported by it. Then I had the great pleasure of seeing Ivo Pogorelić perform at Expo '86 in Vancouver. When he came to the front of the stage to bow, his hands were massive! This is one of my all-time favourite Ravel compositions, which shows a stylistic link to Debussy, but also Ravel's emergence as one of the truly great composers of the 20th Century. The textures and colours he conjures are by turns lush and rapturous, bleak and desolate, childlike and grave. A Master!
Chris Robson "stylistic link to Debussy" - anything particular in mind (beyond the general "uses modes", "sustain" etc usually associated with "impressionist" music)..?
xXBUDDERPENGUIN43Xx FTW over 2 octaves??
This is an amazing, brilliant musical journey created by one of the most gifted composers of the 19th and 20th century. When I listen to this I can sometimes imagine it scored for orchestra. He clearly succeeds in saying with notes what the poet expressed in words. The opening, enigmatic right hand sets the exquisite scene (in fact my right hand gets tired just listening to it). It reminds me of another of my favorite Ravel piano works the Jeux d'eau, with the sounds of water cascading over rocks.
reading the poetry completely changes le gibet and scarbo's feeling, as well making you realise how clever of an imitation of the poem the piece is
Sometimes the first recording/performance you hear of a piece becomes the definitive one. I had never heard this piece until this recording came out. I had it first on LP, then on CD. To my ears it is as perfect as one could expect. The clarity of the line. The sense of ease through some of thee most difficult measures in the repetoire. It still amazes me.
The guy at Ravel´s publisher who was in charge of the sheet music, must have looked at this piece and thought: "No way in f...... hell I´m doing this. I´m applying for a job at Satie´s publisher instead!"
Lmao
That is so funny!! Good one:)
Show mercy to Sorabji's publisher
@@mochdrew3364 man that job would've sucked lmao
@@mochdrew3364 Nah, that's easy for the publisher because all you need to do is shit on the page.
Absolutely breathtaking! Ravel was a mad genius to create such a musical world from three poems 😍
This is a truly wonderful performance of one of the greatest pieces ever written for the piano. Thanks for putting it up so that we can hear this interpretation and never forget it!
This performance of scarbo is absolutely breathtaking
My God, the clarity, the clarity … it is just astounding.
Ondine by Pogorelich is extremely splendid.
It always carries me into an ecstasy.
It's so genius bringing that bass line from 18:34 all the way to 18:47. I love it.
The finest performance of one of the most exquisite pieces ever written for any instrument.
No wonder this is one of the hardest piece in the world. Keeping all those chords even is like impossible for me.
+toothless toe Do most toes have teeth?
***** LOL agreed
+Noah Johnson We meet again Noah/Pencil! Stop goofing around and go back to studying piano. :(
Milton Enosse creepy lol
Not so much! We're only at two here. However, if it leads up to 12 "coincidences" then you should by all means report the authorities.
Or...
You can stop commenting on popular websites. ;)
4:00 i've never head a piano sound so desperate and mournful. Ravel never ceases to amaze me..
Jonathan Moreau Listen List's Mazeppa. It have some details from Gaspard
Wonderful sound. Delicate, transparent and beautifully modulated. He conjures up the image of the seductive and quixotic water sprite, Ondine, and the gloomy, Caspar David Friedrich-like atmosphere of the gallows. In his interpretation of Scarbo, Pogorelich is sparing in his use of the damper pedal, but his half pedaling is masterful. It is certainly a pleasure to hear all of the notes so clearly. The Scarbo is a singular performance, ironic and mordant. Pogorelich obviously read the original poem, and he does not content himself to simply wallow in a feather bed of luscious sound. In this regard, the performance is a thrilling alternative.
What a brilliant technique. Bravo!
the most precise,and carefully delineated performance of this magical work,that i have heard.
I love this piece. Wish I had discovered it sooner. The first movement is gorgeous. The second is chilling. And the third is just everything in life period. Love this!
Stunning composition, exceptional performance.
Not to brag or anything, but I think I can play 6:20 to 6:47 pretty well.
+toothless toe stop being such a pretentious fucknuckle. if you can play the part accurately, you're a musician. we can talk about "evoking images" in a different conversation.
+Sanjay Pandiri Hey, you guys are sure talkin it out
+Sanjay Pandiri I think you should play it and post it and let us be the judge, but if you chicken out we'll understand.
+Sanjay Pandiri Not to brag, but i cant play piano
Yeah, I do music.
Oh damn I'm late
How is this recording able to get 50 dislikes? This is the best existing recording of the masterpiece from Ravel, performed by a legendary pianist.
nowadays a lot of people have poor health, hypothyroidism, depression - they can't appreciate any art
Or they just lack education, or they are selfproclaimed "i-know-everything-best" and miss one 32nd beat somewhere in the piece that wasn't played exactly as how they expected it.
Googol You're right...
I'm 16 years old, composing too - Ravel is my model for that :) And i'm really glad to have got a pitch perfect to hear the sonority of that harmonies Ravel integreated ^.^
Well young man, if that is true, go on and upload some of your stuff. And maybe you can make som composition for a guitar in style of Ravel. Don't be shy.
sargijapunk Playing the piano since 10 years - I will upload some stuff soon. In my music school they've got a *steinway* now
This is the greatest recording of Ondine. Most pianists try to play it but just fail. Even Pogo. cannot play as well it now that he is much older. To answer another commentator - no Ravel could not play it . His pianist capabilities were made fun of by his contemporaries. However therein lies his great genius in that he could create sounds he could not physically hear. Lazar B gets very close because of his immense technique but Pogo. is the prime interpreter.
Argerich ???
I agree with you, Dear Mr. Amos, that this performance by Pogorelich is absolutely splendid - certainly better than most - BUT, that said, it is not the equal of the performance given by Walter Gieseking of this piece in 1956 -
ruclips.net/video/Rhyu-v58Mkg/видео.html
Ravel had a very good pianist friend who played well and was into repeated notes shit. So even though Ravel didn't play piano, his compositions still went through plenty of testing because of that random guy
I love how he plays 20:14.
same it's pretty sweet
same
It's like a trance bell
They say there is a very fine line between insanity and creative genius. I think this performance is a perfect example. How Ravel could conjure such a piece of music is beyond words.
15:13 I wish Ravel had explored this motif more.
You can do it instead of him. xD
Sounds a lot like Liszt's La Campanella
Eine außerordentlich kluge Beobachtung, Eure durchlauchtigste Hoheit.
Oh, you may be sincere but obviously, you're stupid. Did your mother ever tell you to stop playing with it? Or should we call you father in to watch this? Please. !!
he probably did but we were just judged not worthy enough to get ahold of it (or maybe we just can’t see it)
Ondine is played out of this world perhaps the finest performance of it
It is most delicate, deliscious and delightful Version which I ever heard.
Love Pogo !
The first Ravel piece I ever saw was the Fountain. I was browsing sheet music at the music store to find some things to sight read for my teacher as potential options for a competition, and I LOVED how it looked, I knew it would sound magnificent, and it would be hard enough to play to qualify for my ranking. He became my favorite composer from that time forward. His compositions look as beautiful on the page as they sound to the ear, and when your fingers achieve the notes perfectly, you feel like the rain outside is falling directly from your fingertips. This piece is no exception, and it is performed with a lovely touch.
An excerpt from the third movement of this piece, Scarbo, is painted on the old Schmitt Music Headquarters in downtown Minneapolis at 10th and Marquette. The music painted on the wall begins around 22:45. If you look closely at the mural, you will notice that is actually made up of a smaller musical excerpt of 16 measures repeated several times.
This is the best version ive ever heard of Ondine. The harmonies are so powerful, its unbelievable... Ravel was brilliant.
Ondine is such an angelic piece. 5:06 always leaves me star strucked. And now hearing "Le Gibet". Just hearing the repeated B-flat octaves is like hearing the sound of distant knell bells. It reminds me of the last section of The Bells by Edgar Allen Poe.
Just about the time you think you've escaped their call, you're sucked back in again. Breathtaking. Beautifully done.
Cumplido, sugerente, arrebatador. Pogorelich reescribe cada poema, lo hace vivir en el espacio, en particular ese "gibet" patético y el "Scarbo" imprevisible y mágico. Soberbia interpretación de partitura tan compleja. Ivo es genial como lo era Ravel, ha recreado el Gaspar y uno tiene la sensación de oírlo por la primera vez. Escuchado en la noche de estos Andes ecuatorianos, me he dejado llevar y al terminar la audición no sé donde estoy, si en las alturas por encima del Tablón Pachamama o simplemente disuelto en los aires.
Bua, lo de los Andes ya me ha dejado atónito. xD
Siempre me encuentro con comentarios de este señor (por ejemplo en obras de Brahms, Liszt, Shostakovich) y me impresiona las buenas observaciones que hace sobre la obra y su intérprete, además de agregar arte a sus palabras.
@@j.e.8442 también lo he visto en álbumes de jazz jaja!
Translation courtesy Google: "Fulfilled, suggestive, captivating. Pogorelich rewrites each poem, makes it live in space, in particular that pathetic "gibet" and the unpredictable and magical "Scarbo". Superb interpretation of such a complex score. Ivo is great as Ravel was, he has recreated Gaspar and one has the feeling of hearing him for the first time. Heard in the night of these Ecuadorian Andes, I have let myself be carried away and at the end of the audition I do not know where I am, if in the heights above the Pachamama Tablon or simply dissolved in the air."
Ravel really did set out to make one of the most brilliante inspiring works of tone color and imaginative thinking. Very amazing!
I just can't get my head around 10:33 - 10:46. Pogorelich shades every chord differently and it sounds beyond stunning
Probably my favourite bit of the whole piece - the way he voices those chords, the rubato into the second bar of the page, and the way he brings out the middle clef melody
20:25 such a delicate passage. Truly ominous and magical.
This magnum opus is probably the nightmare of many pianists just like Frank Zappa's _The Black Page #1 and #2_ is for many percussionists.
Excellent job mister Ivo Pogorelić, Croatia should be very proud of you. 💥💥💥💥💥
Stunning....stunning....stunning!
Acorrding to most, Scarbo is technically the most difficult piano solo ever written, Ravel purposelly tried to "out do the difficulty in "Islamey",written by Mily Balakieriv..
Liszt has harder pieces
Ayham Shaheed still liszt is easier than Ravel
@@raincoat2683 Liszt’s pieces are easier than Ravel’s? Listen to ‘Galop in A Minor’ and then talk. lmao.
The problem is that Liszt’s most known pieces are not his hardest, and don’t represent his INSANE musical and pianistic genius. But Ravel’s most known pieces are his hardest. Maybe that’s why it looks like Ravel has hardest pieces than Liszt (in generall)
@@lisztomaniac2593 I think you're underestimating just how hard Scarbo really is. Galop is a very flashy piece, and by no means easy, however it consists of mostly octave figures and chords that fit quite comfortably in the hand. Scarbo on the other hand has some wildly uncomfortable sections. You have to remember that in many of these bars, the pianist's hands have to be literally overlapping while playing already difficult figures. Scarbo also presents a much greater interpretive challenge, while the Galop is clearly composed as a showpiece and does not have much in terms of musical depth. I think if we're looking at Liszt's most difficult works, I would argue Feux Follets is more comparable to Scarbo.
That is a lie, the entire suite is not near the hardest suite written, individually Scarbo is an extremely difficult piece, but there are a bit of other pieces that are in general technically more challenging then this piece. Difficulty is subjective, and there will never be a hardest piece/suite ever written because then it would be unplayable, something unplayable is not music
Love this rendering, Pogorelichs control of the piano keys is just incredible, for such a difficult piece he delivers so smoothly.
My favourite recording of any piece, ever...
Very very GREAT!!!
The score synchronized with the music!
Thank you Musicanth, you're fantastic!
Beauty beyond perfection !!
Such a masterful performance, sensitive and powerful in turn.
He performs Scarbo in what has to be my favorite way at the moment -- with technical prowess, but not mechanically. It's so alive...
This might just be the greatest recording of Gaspard, but specifically Ondine. It feels like I'm actually experiencing all the imagery of the poem. It really is so alive...
My brain is fried. I can't even think this fast. No, I take that back. I can't even follow the score and have it make sense in my head. I wonder how the pianist felt. Amazing!
The best performance of Scarbo.❤
timeless and otherworldly majestic, what a composer.
Ondine,
Douce comme la brise et forte comme la vague,
Va au devant des obstacles et traverse les mers déchaînées,
Dans les flots tumultueux de l'océan tu sais rester fière et limpide comme l'eau de roche,
Tu apaises mon âme de ta douceur naïve,et telle une nymphe tu m'inspires et m'aspires,
Oh Ondine! Que trépasses si je je t'oublie! Qui saurait me procurer autant de plaisir que tes langoureuses caresses le long de mon corps,
Baigné dans ton eau pure et au soleil éclatant,
Tu ondines, ondules, et parcours le littoral de mon corps,
Telle un sage stoïque tu nous enseignes à tous l'importance de l'harmonie et de la transparence,
Car limpide tu es et claire tu es,
Ondine! Sauve-nous des aléas obscures des eaux noires de l'existence!
Ondine et ondule, Ondine!
@일론 머스크 yes
Thank you for uploading this with updating score.
This is my fav rendition of my fav piano piece. It goes to 11.
I Like too much Ravel
Not possible!
me likey..
Ur channel is odd
@@epicbottleflips5032 lol
There is no such thing as “too much” Ravel. ❤️
One of the greatest pieces of piano music ever written!
Sound quality is so clear and beautiful :)
Wow, having this level of interaction with the piano requires the pianist to have this intimate connection with the piece to be able to deliver as the composer's intent and tell the story as the poet does on the peom it is based. A supercalifragilisticexpialidocious performance!
That buildup from 4:17 to 4:28 is unbelievably good! 🙌🏽🙌🏽
I totally agree- had the same thought during that time bracket; because of his technical abilities, he is able to propel things forward more than others, but it still sounds unhurried….just mesmerizing.
I first heard this mesmerizing piece of music ("Le Gibet") in a movie, " the Hunger". I am SO grateful to youtube for this transcription. sincerely, John.
Trying to learn this piece is quite the learning experience. All movements pose their own difficulties, technically and emotionally. The pristineness of Ondine, the desolation of Le Gibet, and the anger and fear of Scarbo. For a while I thought Le Gibet would be easier, and while technically your fingers aren't occupied with insane jumps or tricky trills, the repetitive tolling of the Bflat octave and the occasional moments with some rather uncomfortable positions for the hands is pretty exhausting, not to mention trying to capture the lonely, deathly atmosphere of the movement. Ondine is already challenging enough. To capture the elegance of the piece is the most tricky part of it. Wrong notes will easily be audible in this movement. Scarbo is deservedly regarded as one of the most demanding pieces in the piano repertoire, classical or not. The very deep, dark and angry character of this piece is awesome.
Ha! I thought the same about Le Gibet at first. I always loved this piece and thought the slower mellower movement would be easy to play. Boy, was I wrong...
Personally, Ondine is the hardest movement for me. However, the difficulty of Gaspard pales in comparison to nearly all of Maestro Sorabji’s works.
@@vnwa7390 I cannot disagree with you on that one. Sorabji is indeed perhaps the king of technically difficult piano music.
@@AllNewYear In general, yes. Though on selective pieces, Scriabin, Godovski, Szimanovski, Liszt, Chopin, the romantic and modernist/20th century and new complexity movement can be more difficult than some of his pieces.
Yes, in terms of endurance and accuracy he reigns supreme overall.
Classical music pieces to relax and listen to ❤
1st movement (ondine) is water & beautiful.
2nd movement (le gibet) is underrated, dark & beautiful.
3rd movement (scarbo) is virtuoistic and beautiful.
Tried to learn this piece in college. My teacher and I collectively agreed it just wasn’t going to happen after I worked on it for a semester. (Thanks for letting me off the hook in 1983, Prof. Claire Richards!) Oddly, the hardest part for me was those alternating two-triplets/one-triplet figures - notated in quarter-time - right at the beginning.
"Ondine" : I feel like water fairy singing a song to me so I can jump in the lake with her. "Le Gibet" : I can see the hanged man on the gibbet and it looks horrifying. "Scarbo" : aaah i have nightmares when I heard this when small fiend disappears and reappears..
Purely beautiful playing here
Not bad.....
I agree with the hanged man part
Jump in the water with her lmao
Haven't found "Le Gibet" horrifying, despite its reference, but thought-provoking (meditation-prompting?) and desolate.
+Johnson ZHANG (JohnsonMusic)
Ondine is not fairy.
Somewhere around the middle of Scarbo I cracked what can best be described as an utterly deranged grin, my god this is otherworldly!
This rightly had a rosette in the Penguin, phenomenally skilled playing, totally secure and in the idiom; the colours he finds in the middle movement are unique. His playing seems to luxuriously thicken out to the full length every note.
That is an excellent description of Pogorelich's playing - as well as super heated emotions, super precision and accuracy: there is an underlying luxuration of sound. His staccato may be very dry, but his melodic lines (often picked out from rich textures) are stretched to accomodate the beauty of each note. It is an inifinitesimal difference... but it makes ALL the difference
Polyrthms, Glissandos and the kitchen sink, Ondine has it all and the beautiful sounds make me want to learn it even more, my piano has come a long way in the last 5 months, still think I'm a couple of years off of being able to attempt the piece compentnetly.
martha argerich was right. he is a genius (that is an understatement )and she would know. see what happened at the chopin piano competition. i am only happy that i have lived long enough to listen to this. my friend hiro harada, a concert pianist in tokyo, when playing debbusy images, this reminds me of. when he auditioned at curtis in philadelphia, for rudolf serkin, serkin said "i don't know what we can teach you".
This is lovely, and awe-inspiring.
IVO POGORELICH ... definitely one of my favorite pianists!!!
Listened again in 2022 to this outstanding performance ~ thank you !
4:20-4:35 just perfect, deep, real, cannot find the right words to describe what i feel. Thanks Maurice, and Ivo
Gorgeous performance.
ivo is way beyond sound, ...pogorelich has the most powerful and perfect union of form, harmony and melody,
i have no doubt he is the best interpreter ever, surpassing maria callas and horowitz, and at the level of the greatest composers to whom he seems to play for.
Pogorelich's rendition is impenetrably clean
4:27 - 4:41
So far the best interpretation of I've heard of this particular passage.
.. And I've listened to a ton of interpretations.