Live at Carnegie Hall インポート
Mikhail Pletnev made a belated Carnegie Hall debut as a pianist in November 2000. Listening to the recital on this CD confirms the wisdom of the pianist's decision to resign as music director of the Russian National Orchestra. In the Bach-Busoni "Chaconne", Pletnev's crescendi wash over the listener like tidal waves; the mighty edifice of the music seems to rise mysteriously and inexorably, on its own. The angry surges in the first movement of Beethoven's Sonata op.111 are perhaps overdrawn. But the concluding movement's variations glide by as if in a dream, suggesting the transformation of the earlier movement's passionate anger into a vision of paradise beyond the power of words to describe. In Chopin's Four Scherzos, Pletnev emphasises too many details and inhibits the music's lyrical sweep. But the charm and dazzling pyrotechnics of his encores help make this the first great piano recording of the millennium. After Rachmaninov, Scriabin, Scarlatti and Moszkowski, Pletnev's fifth and final encore was Balakirev's transcendentally difficult Islamey. The superhuman virtuosity, sonorous splendour and technicolour exoticism of this performance will knock your socks off. --Stephen Wigler
As one can expect, all the large-scale bombast in the Bach-Busoni Chaconne is delivered with high-voltage pianism in the Grand Old Manner. By sharp contrast, the second movement in Beethoven's last Sonata is given one of its dreamiest accounts, which evidently reveals Beethoven as one of the main initiators of the Romantic era. As far as the encores go, generously provided by DG on the supplementary disc, they are delivered with such panache and masterfulness that you are unlikely to find them bettered--irrespective of where you look. The Balakirev Islamey really has to be heard to be believed--other great modern versions by Gavrilov and Berezovsky somewhat pale by comparison.
This extraordinary live recital more than anything confirms Pletnev's position as one of the greatest living pianists. The only drawback is that the CD makes you envy those lucky souls who had the opportunity of being there on site. Luckily enough, DG's recording is a worthy second best.
REFERENCES: Most Works--This One; Chopin Scherzos--Pogorelich
This recording is basically the same recital he gave on his Fall/Winter tour of the US. I saw him perform this recital last December in Chicago and was blown away...., I found Pletnev's Chopin to be brilliant (passionate, yet crystalline). I'm not much of one for Bach/Busoni (I prefer my Bach unadulterated), but I must stand up and cheer for the way that Pletnev validated this piece.
Without getting carried away, I'll just say that his Beethoven reveals so much that other pianists either gloss over or don't even think to convey (this Beethoven is superior even to his studio recording of three popular sonatas). It is wild, majestic, lyrical, and real. I get goosebumps listening to this, Beethoven's final sonata.
Being that he's Russian, it's little wonder that his encores exhude tastes, smells, and visions of his homeland. Having spent some time in that part of the world, and having listened to other recordings of some of these works, I feel transported by Pletnev's playing in a way that no other pianist has managed to do for me.
This is a recording not to be missed, and one that I have played over and over again. Every time I listen, I hear something new, something unexpected that Pletnev has plumbed from the score. His touch, his pedalling, and his interpretation will be debated, I'm sure, as with Thibaudet's Debussy. However, everything he does makes sense and makes for an astonishing listening experience.
Pletnev is both majestic and humble, reminiscent of another Russian giant, the late Emil Gilels. Don't miss this one!