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2 of 2 people found the following review helpful
5.0 out of 5 stars Martha was right, 12 Mar. 2012
By 
Stephen Goodliffe "Stephen" (Christchurch New Zealand) - See all my reviews
This review is from: Chopin: Preludes Op.28 (Audio CD)
It irritates me when a pianist is tagged "controversial", usually be ultra-conservative Gramophone critics, who prefer to award rosettes and Record of the Year awards to interpretations which they consider "safe", whatever that means. Pogorelich does in fact deserve the 'genius' description which Martha Argerich gave him, for one good reason ; every piece on his fourteen DG discs makes the listener consider it afresh, as if hearing it for the very first time. Forget so-called too slow or too-fast tempi - like Daniel Barenboim, Pogorelich COMMUNICATES extraordinarily through the recorded medium. His Chopin has that supremely important quality - marvellous phrasing. Only one quibble -all of his discs are very short!! Time for a box-set, I think; 14 discs could probably fit on 8 or 9!
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3 of 3 people found the following review helpful
5.0 out of 5 stars Unique Interpretaion of 24 Preludes, 6 Mar. 2008
By 
Scriabinmahler (UK) - See all my reviews
(TOP 1000 REVIEWER)   
This review is from: Chopin: Preludes Op.28 (Audio CD)
This is totally captivating performance of 24 preludes from the begining to the end. Some pieces are played in dangerously slow tempo to create sustained tension. Fast pieces display Pogorelich's mind-blowing dexterity. Only second to Rubinstein's stunning account (1946 mono).
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10 of 12 people found the following review helpful
4.0 out of 5 stars Mixed impressions, but a fun ride on the whole, 21 May 2002
By 
C.D.D. NEUMANN (Edam, Netherlands) - See all my reviews
This review is from: Chopin: Preludes Op.28 (Audio CD)
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Some play the fast stuff well, some the slow. And some - the best - both.
Pogorelic, who is ever endeavouring to bring something new to the music, fits the first category. In faster music (or in music which he chooses to play fast) his interpretation is often original and enjoyable. Take, for instance, the number g# prelude (presto) - I think I prefer only Ashkenazy's version to this one, which is also quite outspoken and individual. Pogorelic makes the left hand come out unusually strongly, which I find interesting, though perhaps I would not like it played thus to the exclusion of other versions, for very long. For the prelude in g (molto agitato), roughly the same holds true: very individual interpretation, hugely fast and with almost exaggerated emphasis on the left hand, very rhythmic - and certainly enjoyable, to me.
Equally admirable displays of technique as well as originality are offered by the C prelude (agitato - perhaps a bit wilfully eccentric), the D (allegro molto - merrily whimsical), f# (molto agitato), b (presto con fuoco - also not without caprice), and d (allegro appassionato - but this one I found a bit 'unstructured', even messy).
But what of the slower preludes? Here, I find Pogorelic much less satisfactory, and, frankly, rather boring. The b (lento assai) and e (largo) show him searching for an own voice, for that special quality which he knows how to bring to many fast preludes, but not to these relatively simple, straightforward two. He takes resource to playing them very slowly, but without enough authority and vision to make it work. The result is that they are merely slow. They offer no special rewards whatever.
The prelude in a (lento) is equally disappointing, with its ugly emphasis on the b-g line in the left hand, at the very beginning, and its slightly off-beat right hand - compare this to Kissin's version, which is slower but played with far more authority. Kissin's b and e preludes are also less contrived and, therefore, more honest and straightforward. Especially the largo is a great deal better off in his skilful and sensitive Russian hands.
On the whole I do not feel that Pogorelic' preludes rank with the best. But the fact stands that some among them are interesting and unusual - which latter quality one often seeks in vain, in today's piano playing, but, it must be said, should never be imposed on the music purely for its own sake. That way danger lies, and Pogorelic has not managed to escape it in all cases.
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Chopin: Preludes Op.28
Chopin: Preludes Op.28 by Ivo Pogorelich (Audio CD - 1997)
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