Maurizio Pollini proves that one doesn’t have to be perfect

Por Edward Sava-Segal, 23 mayo 2017

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“the melody seemed to dissolve in the enveloping harmonic cloud, full of ornamentation”

Crítica hecha desde Carnegie Hall: Stern Auditorium, Nueva York el 21 mayo 2017

Chopin, Dos nocturnos, op. 27

Chopin, Balada núm. 3 en la bemol mayor, op. 47

Chopin, Balada núm. 4 en fa menor, op. 52

Chopin, Scherzo núm. 3 endDo sostenido menor, op. 39

Chopin, Scherzo núm. 1 en si menor, op. 20

Chopin, Balada núm. 1 en sol menor, op. 23

Chopin, Sonata para piano núm. 3 en si menor, op. 58

Maurizio Pollini, Piano

Complejo recital de Pollini con obras de Schönberg y Chopin

Jorge Baeza Stanicic, 8th December

Maurizio Pollini se mostró eficaz y admirable en la parte dedicada a Schönberg mientras que en las obras de Chopin hubo cierta variabilidad.

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Chopin y Debussy a través de la Prisca Sapientia de Maurizio Pollini

Leonardo Mattana Ereño, 11th February

Maurizio Pollini, acogido en Madrid por la Fundación Scherzo, desplegó toda su sabiduría en un discurso pianístico profundamente personal.

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Una leyenda viva: Maurizio Pollini y la mirada hacia el pasado

Tatiana Aráez, 8th February

Aunque de sobra es conocida la amplitud del repertorio pianístico de Pollini, este ingeniero del piano nos obsequió con un recital en el que se conjugaron dos cumbres del pianismo romántico: Schumann y Chopin.

***11

Half a Pollini is better than none at all

Alexander Hall, 1st March

Mystified by the headline? Then read on for a partial view of Maurizio Pollini's latest recital, celebrating his 80th birthday.

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A Grand Master returns: Maurizio Pollini at the Royal Festival Hall

Mark Pullinger, 12th March

Pollini's love for Chopin and Debussy was evident throughout an intimate recital as part of the Southbank Centre's in the International Piano Series.

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Intimacy and exuberance in Schumann and Chopin

Mark Thomas, 13th March

With plenty of sparkle and spritz, Pollini laces his performances of Schumann and Chopin with intimacy and introspection in a programme of contrasting emotions.

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Edward Sava-Segal

Edward has been living in New York for the last 25 years, one of the reasons being the extraordinarily rich cultural life in this city. He has studied piano and classical music in his early years. He switched later on to computer science and data architecture but he kept an unwavering interest in following the classical music phenomenon here in New York and in his travels. Edward occasionally reviews fine arts events for the most prestigious literary magazine in Romania, his home country.

At Carnegie Hall, Maurizio Pollini proves that one doesn’t have to be perfect