Prokofiev: Piano Sonata No. 6 in A / Ravel: Gaspard de la nuit
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Edition: Music CDAudio: German (Unknown); German (Published)
CD Release Date: 1990-10-25
Music Label: Polygram Records
Music reviews of Prokofiev: Piano Sonata No. 6 in A / Ravel: Gaspard de la nuit
Music Review: one of Pogorelich's best recordings
Rating: 5 Stars
Back in the 1980s, I remember asking a composer friend what he thought of Ivo Pogorelich. As he was a stickler for musicians observing composers' markings, I expected him to dislike Pogorelich, whose interpretations were very controversial at the time; however, to my surprise he replied that he was "undecided." Apparently, he had liked some of the recordings, but others he wasn't so crazy about. Years later, I tend to feel the same way, except that I have stronger feelings both ways--some of his recordings I really love, and would take with me to my desert island, while others I have definitely found to be more challenging.
My chief complaint against Pogorelich is that he has a tendency to drag the music. I once attended a performance of Chopin's 24 Preludes at Carnegie Hall, in which he played some of the pieces so slowly, and with so many pauses, that at times the music seemed to lose all forward momentum. I mention this because listeners should be warned that he does have a tendency to do this on some of his recordings as well (although not on this one here). For example, his Brahms Intermezzi are very slow, not misguided--he definitely understands the ruminative nature of the music, but due to his slow pacing, some may feel that he compromises or retards the overall musical structure. (His Mozart Sonatas are even worse, as he approaches them in the same "romantic" manner as his Brahms.) Yet, at other times, as with his recording of Schumann's dazzling Toccata, he is absolutely incredible--and I mean, phenomenal. In fact, to my mind he is the only pianist to have ever bettered the legendary early Horowitz recording of the Toccata (previously released on the EMI label).
In addition to his Schumann, I have also enjoyed his Scarlatti, Bach, Haydn, and Beethoven, and only wish that he would record more Scriabin, for which he has a special affinity. Yet, of all his recordings, it is to this recording of Ravel's Gaspard de la Nuit that I have returned most over the years, and even after repeated listening, I am still utterly transfixed by it. Simply put, it contains some of the most riveting and imaginative piano playing that I have ever heard--and my piano listening goes as far back as De Pachmann in the early 1900s (albeit on recordings, of course).
One can only wonder what Ravel would have thought of it, having been--as a teacher--quite a strict taskmaster. Certainly, Ravel's students, or friends, such as Robert Casadesus and Jacques Fevrier, play the piece more formally, and with a more authentic French piano touch and sensibility. Indeed, when this recording first appeared, I remember my girlfriend at the time--a graduate of the Curtis Institute--saying that she found the French pianist Jean-Phillipe Collard to be "more sensitive" in this piece, and that is probably true. I also recall that in the first Penquin Guide review, the reviewer didn't even award Pogorelich a full three stars. He thought that there was something narcissistic about the playing--finding his attention drawn more to the extraordinary quality of pianism rather than to Ravel's music. Yet today, many years later, this recording--along with the very fine Prokofiev 6th sonata that accompanies it--has acquired an enduring status, and is considered by many to be a true classic.
While there may indeed be touches of narcissism in some of Pogorelich's other recordings--I must respectfully disagree with the Penquin Guide and say that I do not find that to be the case here. Admittedly, Pogorelich may employ a greater expressive range than some very notable Ravelians, such as Casadesus, Monique Haas, Francois, or Collard, but I would argue that the wildly imaginative nature of Ravel's writing more than justifies him doing so. And it is astonishing just how well he is able to realize--both technically and musically--the fantastical sound world of Ravel's nightmarish visions. Indeed there are times when I feel that he has surpassed everyone in this piece, with the possible exception of Haas and Fevrier, both of whom I adore in this music. (I should mention that Fevrier didn't record Gaspard until late in his career in 1971, when he was 71 years old, and his technique wasn't quite what it had been in earlier years. Nevertheless, Fevrier had a special authority in this music, having known the composer and worked with him on his Concerto for the Left Hand, and I would strongly urge students of Ravel to seek out these wonderful and uniquely instructive recordings: Ravel-L'Oeuvre Pour Piano Volume 1-Jacques Fevrier and Ravel-L'Oeuvre Pour Piano Volume 2. You can also listen to Fevrier's Ravel on You Tube.)
If you are searching for a more recent digital performance, either to compare the Pogorelich to, or perhaps to buy as part of a complete set of Ravel's piano music (instead of the Prokofiev coupling), I would also strongly recommend either Jean-Efflam Bavouzet or Jean-Yves Thibaudet. Both pianists are excellent in this music, although I am undecided about which one I like better. However, I definitely prefer Thibaudet's performance of Ravel's Prelude. Bavouzet's rendition is beautifully played, but too broadly concieved, while Thibaudet is the only pianist I've heard other than Samson Francois to recognize the subtle jazz-like inflections within the piece (although I have never heard anyone play the Prelude more beautifully than Francois.) In addition, over the years I have also treasured a single disc of Ravel's piano music played by Mikail Rudy on the EMI label, which unlike the Pogorelich recording, was awarded a Rosette by the Penguin guide.
Then again, if you don't mind decent analogue sound, you might do well to consider Jean-Phillipe Collard: not only is his set superbly well played, and thoroughly idiomatic, but it is also now attractively available at a discount price. Moreover, it is interesting to note that in one particular movement of Miroirs--I'm sorry but I've forgotten which one it is--Collard's timing is exactly the same as the composer's recording, that is, to the very second.
In closing, I would be remiss if I did not add that the great Italian pianist, Arturo Benedetti Michelangeli, was also remarkable in Gaspard. My only problem is that he was never afforded a particularly good sound quality, despite having recorded the work, I believe, three times (the "Vatican" recording being the worst of the lot). And in such richly textured music, poor sound quality is a definite negative, despite the amazing stature of Michelangeli's playing.
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