Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini
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Music CD Cover
Edition: Music CDCD Release Date: 1996-02-13
Music Label: Deutsche Grammophon
Soundtracks:
- Three Movements From 'Petrushka': 1. Danse russe. Allegro giusto
- Three Movements From 'Petrushka': 2. Chez Petrouchka
- Three Movements From 'Petrushka': 3. La semaine grasse. Con moto - Allegretto - Tempo giusto - Agitato
- Piano Sonata No. 7 In B Flat Major: 1. Allegro inquieto - Andantino
- Piano Sonata No. 7 In B Flat Major: 2. Andante caloroso
- Piano Sonata No. 7 In B Flat Major: 3. Precipitato
- Variations For Piano: I. Sehr massig
- Variations For Piano: II. Sehr schnell
- Variations For Piano: III. Ruhig fliessend
- Second Sonata For Piano: 1. Extremement rapide
- Second Sonata For Piano: 2. Lent
- Second Sonata For Piano: 3. Modere, presque vif
- Second Sonata For Piano: 4. Vif
Free Music Notes for Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini
Free Music Review: What to make of Boulez's 2nd sonata?
Hit: 4 Stars
Here is Pollini, the phenomenally gifted pianist in the music of four 20th-century greats. We start off with Stravinsky, a composer who plainly disliked the piano and left behind very little solo piano music. These transciptions are not original piano music perhaps but they're no throwaways, requiring fiendish virtuosity that Pollini has in spades. Then we get Prokofiev's 7th sonata written during WWII. Pollini gives one of the best readings of this piece in the catalogue, close to matching the great Sviatoslav Richter.
The Webern variations are lucid and beautiful as well and then we come to the biggest piece and the biggest hurdle of this CD. I'm talking about the mammoth Boulez Sonata. A 30 minute piece of rhetoric and brutality and the kind of modernism that falls on deaf ears for most listeners. Boulez was still very young when he wrote it and he moved on from this idiom very quickly onto the more silky smooth terrain of Le marteau sans maitre in the coming years.
I have read that this particular sonata was Boulez confronting the legacy of the massive Hammerklavier by Beethoven. But while Ludwig van was interested in building up a massive structure, ( far larger than Boulez ), full of vision and philosophical intent, Boulez is interested in destruction. You listen to this piece and get the idea that Boulez really didn't care how it sounded but only in the mathematical processes of it's creation. Pollini has championed this piece for a long time even though it seems more like a relic of the initial postwar era, rather than an immortal barrier breaker like Beethoven's Hammerklavier.
I have been much more fascinated by Boulez's later works but putting this piece on from time to time to annoy and frustrate the listening habits of people with no sympathy for modernism is always fun to do. That would certainly bring a smile to Boulez's old mug.
Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini Poster
Pollini is so much a part of the contemporary music scene that it's amazing to realize that the earliest material on this disc (Stravinsky and Prokofiev) dates to the 1940s. These two performances retain their power to startle and amaze, both through Pollini's seemingly effortless virtuosity and through the immediacy of his musical conceptions. This Prokofiev is a close rival even to Richter's. Webern, from six years later, is so colorful and well organized that it makes the difficult music almost easy to listen to. Not many listeners will put up with Boulez's obscurities, but there is still plenty to make the disc worthwhile. --Leslie GerberClassical Music CDs
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