My Dear friends

This site not work anymore .I have a new site and you can go there visit me. I dont go put more post here anymore ... If you like this blog go there .. I will be there for you ... Olá meus queridos amigos ... agora tenho um novo blog Este site nao funcionará mais , tive alguns problemas. Agora tenho um novo endereco de blog. Nao irei mais colocar post neste blog .. Todas as atualizacoes e novidades estarao no outro endereco .. Acessem... estarei lá pra vcssss Se vcs gostaram desse blog irao amar o outro .. mais atualizado e lindo ... Vamos láaaa .... visitem-me lá .. Beijinhos Lili

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sexta-feira, 5 de março de 2010

Maurizio Pollini: ice-man of the ivories



Maurizio Pollini is one of the most cerebral – and dazzling – pianists of all time.


By Ivan Hewett
Published: 10:32AM GMT 05 Mar 2010
Cool and controlled: 'In music, the complexity makes the intensity,? says classical pianist Maurizio Pollini Photo: Mathias Bothor

Being described as an intellectual is always a handicap for a performing artist. It’s damning with faint praise, because the implication is that the things that really matter – spontaneity and passion – are missing.

If there’s one musician who proves just how wrong-headed this opposition is between heart and brain, it’s the Italian pianist Maurizio Pollini. He’s been at the very top of the tree of classical pianism for a good 40 years, and first shot to fame 10 years before that, when he won the Chopin competition in Warsaw in 1960. Nowadays, he fills concert halls wherever he plays, but it’s a refined and subtle pleasure he brings. Pollini doesn’t whip audiences to a frenzy, preferring that special kind of intensity that works by understatement. “Cool and controlled” are the epithets often pinned on him.

http://www.telegraph.co.uk

First impressions when I meet him are indeed cool. He lives with his wife in an exquisite wooden-floored apartment just a stone’s throw from Milan’s cathedral. The first things that hit you are the pastel-coloured modernist-looking architectural designs on every wall. “Yes, those are by my father. He was one of the 'Group of Seven’ architects who tried to bring modernist architecture to Italy. And look, over here,” he says, leading me into the dining room with his strangely eager, shambling gait, “this is a sculpture by my uncle.” He peers with proprietorial pride at a delicate assemblage of wire and cut metal. “Of course, it was not easy for them in the Fascist period. Mussolini was against anything modern.”

Mention of Thirties Italian politics inevitably leads to mention of Italian politics today. Pollini throws up his hands in despair. “Berlusconi is a total disaster. What is really scandalous are the new laws that are being planned, to give him presidential powers. If he wins the referendum, it will be a black day for Italy. Democracy is being killed in this country, but by small steps, so nobody notices. Italy has many beautiful and strong things, but politics is not one of them.”

To cheer him up, I bring back the conversation to imperishable, pure things – music and modernism, which clearly runs in the Pollini blood. That explains his love of Boulez and Stockhausen and other high-modernists who are out of fashion. But there’s also the other side of Pollini – the fabulously sensitive touch in Chopin, the grasp of form in Beethoven. Where did that come from? “Well, there was a lot of music in the house. My mother sang a little and my father played the piano. And Milan was a wonderful city for culture when I was a child. All the great pianists came here, Backhaus, Walter Giesking, Rubinstein.”

It was Rubinstein who led the jury that declared Pollini the winner of the 1960 Warsaw competition, saying: “that boy can play the piano better than any of us”. “Yes, he was very nice to me,” Pollini says, “and I remember when I was a boy he played the Chopin 2nd Concerto, he absolutely filled the hall with his sound. You know, people have this idea Chopin has to be delicate, but we don’t have to play Chopin in his own way. I love that story of Chopin listening to Liszt play the Études in a very fiery way, and afterwards he said, 'I’d like to steal from Liszt his way of playing my music.’”


After 50 years, does he still find things to discover in Chopin? He looks surprised. “But it is such a privilege to play Chopin! Everything is so perfectly calculated, but to reveal the beauty of his sound is always difficult. Also, he is fascinating because he can seem very modern to me. Look at his concentration, which confused people at the time. One of his preludes was only nine bars long, but a friend persuaded him to repeat four bars, and he wrote over it, 'to Monsieur X, who’s often right!’”

With Pollini, it’s clear that “the classics” and “modern music” aren’t opposed, they all form part of a great tradition. Next year, the Royal Festival Hall is hosting “The Pollini Project”, a five-concert series that brings together all Pollini’s favourite music, from Bach through late Beethoven and Romantics like Schumann, to modern “classics” by Boulez and Stockhausen. All “difficult” music, all allusive and complicated. But for Pollini, that’s the secret of its appeal. “The complexity in the music makes the intensity. Think of the really complex pieces in the history of music – Bach’s Art of Fugue, the Prolation Mass by Ockeghem (a 15th-century Flemish composer), Beethoven’s Great Fugue, Boulez’s Second Sonata, which I will play in London. There is enormous emotion in this music! The complexity does not go against the emotion, they go together in the most magical way.”
Maurizio Pollini’s recital is at the Southbank on Mon, the day his Bach CD is released by DG. The Pollini Project goes on sale on March 8, www.southbankcentre.co.uk.

Pollini’s Chopin: what to buy

Pollini’s catalogue of 80-plus recordings for Deutsche Gramophon includes some wonderfully poetic Schumann, late Beethoven sonatas, and an unrivalled version of Boulez’s immense, angry 2nd piano sonata. But the heart of it is his Chopin recordings. His 1985 recording of the Preludes (DG 413 7692 7) reveal the strange magic of these radical pieces, and the Etudes of 1986 (413 7942 9) are dazzling. A more recent Chopin recording from 2008 (477 7626) is worth buying just for the four Mazurkas, which are rhythmically fascinating in a way impossible to define.

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