A rendition that is a bit quirky in some respects, but as you say, also playful (but also appropriately "virtuosic" and without compromising the work's grandeur!) and which brings out new things as all intelligent and individual interpretations of a work do! Bravo Pletnev.
Fantastic. I have loved these variations since I first heard them as an 18 year old student. Murray Perahia's great recording is near perfection. And now Pletnev reinvents this work with wit, ingenuity, sheer intelligence. Novelty on novelty. Pletnev is superb. Wonderful, wonderful Pletnev.
NOT TRUE! Mikhail Pletnev the most powerful Loudest pianist ever=Prokofiev piano concerto no 1! But better piano sound than Pletnev=Wilhelm Kempff Radu Lupu Emil Gilels Artur Rubinstein Vladimir Ashkenazy! More Genius=THE GENIUS RANKING=1:Alexei Lubimov 2:Grigory Sokolov 3;Solomon Cutner; 4:Sviatoslav Richter 5:Maurizio Pollini 6:Stanislav Igolinsky!!
@@RaineriHakkarainen What's this noobish ranking, another wanabee waking up in the morning believing he knows everything without being able to play one note.
Fascinating. The recording sound is a little gray and unrewarding, but Mr. Pletnev come through. So, what is this thing? A theme by an English baroque composer, transformed into variations by a romantic German, and played by a Russian who by now has heard it all (i.e., Scriabin, Prokofiev, Shostakovich). Somehow the rather prim little seesaw rhythm of the original holds up, refusing to be utterly forgotten; the layers of sturm und drang are gradually (and rather modestly, in this performance) woven on and in; and the Russian orchestral colorist in Pletnev pulls out inner voices sounding like the clarinet, flute, oboe. And in a later variation you'd even swear that Tchaikovsy has brought out his celeste and harp, followed by a delicate carillon crossed with a little organ you grind by hand. After hearing Pletnev's "Pictures at an Exhibition," I'm surprised that a bit more of his humor didn't find its way in, here, but of course this piece is a far, far cry from the savageries of "Pictures." Still, Pletnev is clearly having fun, and refusing to blow this piece up to some scale of grandeur that it doesn't really claim to possess. And again, it may be the muted quality of the sound reproduction here, but he even wisely refrains from making too much of a grandiose fuss over the fugue, but simply traverses it without great clamor or dynamic variation, leaving the simply marvel of Brahms' inventiveness, and that nutshell of a see-saw idea perseverating on, intact, like a contented little tune you can't stop whistling. It's as if all the nationalities and styles have come together and reached a nice little agreement. I like it! M.V.
"Refusing to blow this piece up to some scale of grandeur that it doesn't really claim to possess"? This is generally acknowledged as one of the grandest of all pieces in theme and variations form for piano. What are you talking about?
@@galanis38 I think he meant exactly because it already is a grand piece, it needs no blowing up. And wisely Pletnev doesn't do that, just displays the natural sponteneity that the piece has, perhaps even more so than other pianists have done.
Sotto Voce soft voice the lullabies, Sonatas, Nocturnes like a heartbeat and the film Song of Love with Katherine Hepburn and Robert Walker as Brahms. Introspective and Ingenious your piano virtuosity.
if you compared it to Arrau, thans it seems a different score. But I like Pletnevs way also and his tone, unbelievable. Only Gilels has also this golden tone (Pletnev admiring Sviat. Richter).
UNIQUE! Inimitable! I can't help but wonder what Brahms would think, can't you? A fascinating, engrossing experience certainly, but not good a role model for students.
Una esecuzione orrenda e poco fedele allo spirito della musica di Bramhs. Tempi fuori di testa, interpretazione fuori stile, variazioni del tutto scollegate fra loro, mano destra che è sovrastata da linee melodiche forzate alla mano sinistra…. Ascoltare Sokolov se ci si vuole riconciliare con questo capolavoro.
I couldn't agree more! This is just awful! I really don't understand all the positive comments. I respect everyone's opinion, but I sure did expect a lot more negative comments.
As usual when hearing Pletnev, I discovered all kinds of new things in the music. Love it, very playful.
A rendition that is a bit quirky in some respects, but as you say, also playful (but also appropriately "virtuosic" and without compromising the work's grandeur!) and which brings out new things as all intelligent and individual interpretations of a work do! Bravo Pletnev.
Fantastic. I have loved these variations since I first heard them as an 18 year old student. Murray Perahia's great recording is near perfection. And now Pletnev reinvents this work with wit, ingenuity, sheer intelligence. Novelty on novelty. Pletnev is superb. Wonderful, wonderful Pletnev.
So much depth, subtlety, caprice. A stunning performance
I love Brahms so much! His music is everything I need!
Fantasticno izvodjenje!Cudesni Mihail Pletnjov!
So interesting. Stunningly inventive, imaginative. Capricious. Occasionally mad, and sometimes maddening.
amazing, mindboggling!
Beautiful, Mikhail!
Very sophisticated and subtle. I think Brahms would be fully satisfied. Best performance in my opinion. IMHO.
This is indeed a great performance! But, please also listen to Solomon’s variation #23. I enjoy both Serkin and Katchen too.
@@Oldman808Julius Katchen is leaps and bounds above all the rest for this piece.
@@epicaunleashed8764 Yes, I am a big fan of Katchen.
He is such a creative interpreter ! He plays like no other pianist ...
NOT TRUE! Mikhail Pletnev the most powerful Loudest pianist ever=Prokofiev piano concerto no 1! But better piano sound than Pletnev=Wilhelm Kempff Radu Lupu Emil Gilels Artur Rubinstein Vladimir Ashkenazy! More Genius=THE GENIUS RANKING=1:Alexei Lubimov 2:Grigory Sokolov 3;Solomon Cutner; 4:Sviatoslav Richter 5:Maurizio Pollini 6:Stanislav Igolinsky!!
@@RaineriHakkarainen What's this noobish ranking, another wanabee waking up in the morning believing he knows everything without being able to play one note.
Speechless!
Fascinating. The recording sound is a little gray and unrewarding, but Mr. Pletnev come through. So, what is this thing? A theme by an English baroque composer, transformed into variations by a romantic German, and played by a Russian who by now has heard it all (i.e., Scriabin, Prokofiev, Shostakovich). Somehow the rather prim little seesaw rhythm of the original holds up, refusing to be utterly forgotten; the layers of sturm und drang are gradually (and rather modestly, in this performance) woven on and in; and the Russian orchestral colorist in Pletnev pulls out inner voices sounding like the clarinet, flute, oboe. And in a later variation you'd even swear that Tchaikovsy has brought out his celeste and harp, followed by a delicate carillon crossed with a little organ you grind by hand. After hearing Pletnev's "Pictures at an Exhibition," I'm surprised that a bit more of his humor didn't find its way in, here, but of course this piece is a far, far cry from the savageries of "Pictures." Still, Pletnev is clearly having fun, and refusing to blow this piece up to some scale of grandeur that it doesn't really claim to possess. And again, it may be the muted quality of the sound reproduction here, but he even wisely refrains from making too much of a grandiose fuss over the fugue, but simply traverses it without great clamor or dynamic variation, leaving the simply marvel of Brahms' inventiveness, and that nutshell of a see-saw idea perseverating on, intact, like a contented little tune you can't stop whistling. It's as if all the nationalities and styles have come together and reached a nice little agreement. I like it! M.V.
"Refusing to blow this piece up to some scale of grandeur that it doesn't really claim to possess"? This is generally acknowledged as one of the grandest of all pieces in theme and variations form for piano. What are you talking about?
@@galanis38 I think he meant exactly because it already is a grand piece, it needs no blowing up. And wisely Pletnev doesn't do that, just displays the natural sponteneity that the piece has, perhaps even more so than other pianists have done.
Hey, "philosopher"!! Or a petty musicologist, or both! Learn to read Music!
Fascinating, and so compellingly odd. This will definitely require several listens.
Sotto Voce soft voice the lullabies, Sonatas, Nocturnes like a heartbeat and the film Song of Love with Katherine Hepburn and Robert Walker as Brahms. Introspective and Ingenious your piano virtuosity.
Grandissimo pianista
if you compared it to Arrau, thans it seems a different score. But I like Pletnevs way also and his tone, unbelievable. Only Gilels has also this golden tone (Pletnev admiring Sviat. Richter).
insane ~ in the best possible way ;o)
Quelle beauté !
Son una chulada ,cuando escuchaba a. las. Niñas del grad complementa ,lindísimas😂
Я в шоке . Непостижимок совершенство.
Anche io . PERFEZIONE
UNIQUE! Inimitable! I can't help but wonder what Brahms would think, can't you?
A fascinating, engrossing experience certainly, but not good a role model for students.
Why not a good role model?
beyond imagination!
Una esecuzione orrenda e poco fedele allo spirito della musica di Bramhs. Tempi fuori di testa, interpretazione fuori stile, variazioni del tutto scollegate fra loro, mano destra che è sovrastata da linee melodiche forzate alla mano sinistra…. Ascoltare Sokolov se ci si vuole riconciliare con questo capolavoro.
I couldn't agree more! This is just awful! I really don't understand all the positive comments. I respect everyone's opinion, but I sure did expect a lot more negative comments.
20:37
Of course Serkin so owns this piece. But this is interesting to listen to.
Rudolf Serkin the second-rated player! Serkin his piano sound like the black and white Tv picture!!
How about Solomon
What! Pletnev cannot play a proper trill!
19:06 dry, unsensitive, just like a serial killer who don't want to see the pain of his victim