Title - 'Chopin: Etudes Op. 10'
Artist - Daniele Pollini
For those not in the classical know, Daniele Pollini is famous Italian pianist Maurizio Pollini’s son. He was born in 1978. He made his debut as a pianist at the Rossini Opera Festival in Pesaro in the summer of 1997.
He also participated in the Salzburg Festival and the Ruhr Piano Festival and made his successful debut in Paris and in the United States.
He has appeared as soloist with the Orchestra Regionale Toscana, with the Orchestra of the Musical Afternoons and with the National Radio Symphony Orchestra In 2003 he performed at the Maggio Musicale Fiorentino under the Zubin Mehta, and in 2004 he gave a concert at the Venice Biennale.
His interests also extend to electronic music. His training as a director is linked to the Accademia Musicale Chigiana conducting courses, taught by Gianluigi Gelmetti.
In 2002 he made his debut at the Ravenna Festival with the RAI Symphony Orchestra, with a program including the IV and VII Symphony by Beethoven.
Releasing July 6th, 2018 via Universal Music Italia / Deutsche Grammophon, this beautiful Chopin: Etudes Op. 10; Scriabin: Late Works Opp. 70-74; Stockhausen: Klavierstück IX follows incredibly in his famous fathers footsteps.
1. Chopin: 12 Etudes, Op.10 - No.1 In C Major
2. Chopin: 12 Etudes, Op.10 - No.1 In A Minor
3. Chopin: 12 Etudes, Op.10 - No.1 In E Major
4. Chopin: 12 Etudes, Op.10 - No.4 in C Sharp Minor
5. Chopin: 12 Etudes, Op.10 - No.5 In G-Flat Major
6. Chopin: 12 Etudes, Op.10 - No.6 In E-Flat Minor
7. Chopin: 12 Etudes, Op.10 - No.7 In C Major
8. Chopin: 12 Etudes, Op.10 - No.8 in F Major
9. Chopin: 12 Etudes, Op.10 - No.9 In F Minor
10. Chopin: 12 Etudes, Op.10 - No.10 In A-Flat Major
11. Chopin: 12 Etudes, Op.10 - No.11 In E-Flat Major
12. Chopin: 12 Etudes, Op.10 - No.12 In C Minor
13. Scriabin: Piano Sonata No.10, Op.70
14. Scriabin: Two Poèmes, Op.71 - No.1 - Fantastique
15. Scriabin: Two Poèmes, Op.71 - No.2 - En rêvant
16. Scriabin: Vers la flamme, Op.72
17. Scriabin: 2 Danses, Op.73-1. Guirlandes
18. Scriabin: 2 Danses, Op.73-2. Flammes sombres
19. Scriabin: 5 Preludes, Op.74 - No.1
20. Scriabin: 5 Preludes, Op.74 - No.2
21. Scriabin: 5 Preludes, Op.74 - No.3
22. Scriabin: 5 Preludes, Op.74 - No.4
23. Scriabin: 5 Preludes, Op.74 - No.5
24. Stockhausen: Klavierstück IX
Daniele Pollini's performance of Chopin's Etudes Op. 10, Scriabin's Late Works Opp. 70-74, and the album-ending, near 12 minute long Stockhausen Klavierstück IX, is a pure dream. He combines superb musicianship with flawless technique with every single note seemingly becoming a musical experience within itself.
In truth, I don't think I know of any other pianist who can play with as much lightness of tone as Daniele Pollini. His God-given/father-given talent enables him to makes it sound as if though his music is floating. In addition, he has a technique that enables him to run technical passages with such fluency that it can sound almost like a breeze of notes.
On Chopin: Etudes Op. 10; Scriabin: Late Works Opp. 70-74; Stockhausen: Klavierstück IX, Pollini is fluid, silky-smooth, yet crisp and clear, and always beautiful. The first track is absolutely inspired, as are the last, long Stockhausen track, in my humble opinion.
As for his impeccable work on the Piano Sonata No. 10, Op. 70, well, Pollini is once again in rare form here. Written by Alexander Scriabin in 1913 it was actually his final work in this form, and Pollini strives to honor these odes beautifully.
The piece is highly chromatic and atonal like Scriabin's other late works, although arguably less dissonant than most of his late works. Indeed, it is characterized by frequent trills and tremolos and, in life, is sometimes called his "Insect Sonata."
As for Pollini's final opus, Stockhausen has said the Klavierstücke "are my drawings", and Pollini, as always, works his own bright, melodic magic with these pieces. Interestingly enough, they actually originated as a set of four small pieces composed between February and June 1952. Stockhausen later formulated a plan for a large cycle of 21 Klavierstücke, in sets of 4 + 6 + 1 + 5 + 3 + 2 pieces, and so we have what we have all grown to know and admire here today.
Pollini, obviously through his fathers heavy, and soaring influence, simply goes where most pianists cannot in these pieces. They require a mix of virtuosity, technique, and poetry (many of the three all at the same time) and Pollini has it all in spades, trust me.
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