John Ogdon 5 Rachmaninoff Preludes 1987 Canterbury Festival
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- เผยแพร่เมื่อ 8 ก.พ. 2025
- No copyright infringement is intended, if any still exists. Posted solely for the artistic exposure of this performance of five Rachmaninoff preludes by John Ogdon. Canterbury Festival 1987
Rachmaninoff op 23 #4, #5, #6
Rachmaninoff op 32 #5, #12
Thanks for posting. Ogdon is most beautiful when caught unawares. Like a dazzling butterfly in an unexpected garden.
Thank you so much for posting this, Ogdon's incomparable pianism, and a great man greatly missed
I love to hear many different pianists play my favorite piano pieces and to introduce me to those I’m not familiar with….they each have so much to offer, and I benefit from hearing what they have to say, how they believe each piece speaks to him or her. And, once in awhile, I’ll hear a pianist make me feel as though I’m hearing a well known piece for the very first time. This includes John Ogdon.
Brilliant ! It is a Great Pleasure to Listen ! !
A great artist , a great musician and a great pianist . It is so sad that through no fault of his own , and let me emphasise through no fault of anyone else , much of his adult life was blighted by illness . The poetry of his playing in the D major prelude is incomparable, as is that in the E flat major, taken unusually slowly though it is
+cstoreyqc we can t help our illnesses.
+chad414 I'm not quite sure what your point is ? As I said , it was through no fault of his own
@@cstoreyqc
I don't think he understands English!
Ogden’s close friends-top tier pianists-steed in a documentary I watched some years ago that his wife’s extravagant taste and desire to throw endless large parties in their super expensive home kept him on the road without much rest to make money. He apparently didn’t have the social aptitude to stop the nonsense.
Thrilling!
I despair at musicians or listeners who say that Ogdon performances when not great should not be played or listened(not this work). A man is both strong and weak. When u cover up an aspect of a man u fool yourself and u make others think that it is wrong to go through life without ever displaying weaknesses. Weaknesses let u know there are dangers. it prepares ppl that they may have to face them. It encourages ppl to share and open with their own problems. perhaps these ppl have problems and it is a reflection of themselves and how they portray themselves. An insecurity. There is nothing insecure about letting the world know u have admitted to your weakness or demons.
Absolutely right. He was a genius now so sadly ignored by many. I recall seeing him at Slough in 1980s when he was giving limited performances again. So humble and gentle in the way he introduced a work to the audience, simply saying " I hope you enjoy it" and the giving a tear jerking performance just knowing what he was going through. Still gives me a lump in mythroat listening to these downloads. Thanks to all
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16:21
Ogdon was a genius manipulated by his peer group, Brenda Lucas included. Some manipulated for compelling reasons. Others did not. Ultimately his peer group failed him, whatever the reasons.
@Steve Gilmore: Sounds like you know the inside story - - how did his peer group manipulate him, and what were the compelling reasons and non-compelling?
Indeed, his wife has a lot to anser. She enjoyed and revelled in his rise to fame more than John himself.
It is great, but a shade 'driven'. Sofronitsky anytime. Also the melody line, often though singing, is rarely warm. There is also more available dimensional colour in SR than just going from forte to f f f
Much as I love him. He's uneven. Nonetheless, yes, there is calm and vision here, but it's as if John himself is only half aware of what he's about. The penultimate chord of the 23#4 is for example a bit crude.
The tremendous almost autistic lucidity gives us some wonderful spatial insights eg in 32#5 near the end. It's just the melodic line which is often a bit unyielding. For the minatory 32#12, Horowitz, for example is more minatory. It's interesting to see that in fact there *is* one Prelude for each key. In the end the interest may lie in the music less than the execution.