Anatol Ugorski plays Schumann Gesänge der Frühe, op. 133 - live 2004

[@funklover24]

RIP Anatol Ugorski. We have lost one of the great poets on the piano. ❤💐

[@НадеждаБогданова-р7э]

Родная ДУША мне-Анатолий Залманович Угорский… Помню,Люблю, Благодарю. 7.12.2024.

[@justinandmaxgames5472]

The most deeply felt performance of this lesser-known masterwork I have ever heard.

[@thepianocornertpc]

Pollini is also very good.

[@Daniel_Zalman]

He is one of the very few pianist's that have the utmost sensitivity to the psychological impact of sound. The notes don't simply sing, the rhythm doesn't simply flow. With Ugorski, every note has a fleeting life.

[@Erik83474]

Absolutely!!!!

[@ZiadKreidy]

You're absolutely right. I had heard him many times in concert.

[@lucacompiani2290]

Very true

[@brozors]

The more I listen to this recording, the more I think this is one of the greatest performances by a pianist.

[@Fritz_Maisenbacher]

AT LAST someone who understands WHAT he is playing ...... and with the last Beethoven , these pieces are something like the utter border of possible , the ultimate message of beauty and torture together , something which can easily burn or break any conscience or soul , as Schumann himself was . Thank you , Mr. Ugorski , you are healing here so many wounds of incompetence by other pianists .

[@fabriziopelli4577]

I would just add the goldbergs, the art of fugue, Brahms’ symphony no. 4 and nothing else. These are what i imagine the paradise to BE. A place where these are playing in loop.

[@Fritz_Maisenbacher]

@@fabriziopelli4577 Ah .... thank you Fabrizio. Always nice to meet someone who understands. And to your list : the five last quartets of Beethoven.

[@Vortragskunst]

Well said!

[@k2024-b8n]

and the last three sonatas of Beethoven, played by Annie Fischer.

[@jurriaanmeiresonne5895]

The daughter of Anatol "Dina Ugorskaja" who died 19 September 2019 played this Schumann opus 133 on 12 Mai 2018 in the Klosterkirche, Münsterlingen Schweiz. Also shared on KZbin. An very emotional performance and an important document to remember "Dina" forever.

[@Vortragskunst]

Dina was great. I won't forget a nice evening with her and her husband in a small restaurant in Vienna. And I love her interpretation of this masterwork! R.I.P.

[@nikb6176]

The first piece is just heart wrenching, Schumann was a poet to the very end. Bravo Anatoli!

[@eole123456789]

Unbelievable. Never heard this piece played like this before.

[@andyschnabel5225]

What a heartfelt and profound set of miniatures, right up there with the Klavierstücke of Brahms and the Bagatelles of Beethoven. The first piece always sounds to me like a man sitting on the riverbank, staring soullessly at the the dawn and watching the world dissolving.

[@PetarKrokar]

unbelievable touch and understanding of the pieces. Cosmic!

[@aurelbetz2172]

As much as I love Chopin, he seems almost conventional compared to some of Schumann's pieces such as sonata No.1 or this piece. It sounds like an exploration of a new harmonic sound world. Very deeply emotional and personal presaging some dystopian film noir music. The pianist is a new discovery for me and I agree with the previous positive comments about him.

[@DieBSC]

Sehr gelungene Interpretation.

[@lucas__machado]

There’s so much in that 1st piece

[@RosemaryThomas1]

So beautiful!!

[@k4ir0s]

The most beautiful interpretation by far

[@Escursionifriuli]

Non lo conoscevo, lo trovo bellissimo e ottimamente eseguito.

[@rubenflorio2574]

La mejor interpretación de una de las últimas piezas de Schumann, al final de su vida, en su etapa de sombras y desorientación. Ugorski subraya la intensidad de los pasos en el vacío, los recuerdos brillantes del reciente pasado musical, las vueltas en círculo, el desasosiego del gran compositor.

[@sameester]

Wow. This version is so much better than any others I’ve heard

[@samifaheem1266]

Sami Faheem Too right!

[@Fritz_Maisenbacher]

3:24 wohhh ..... fantastic agogics here in this second piece .... this broken respiration, sudden shoutings of pain, moments of delirant passion ...... fantastic M.Ugorski ! ... 4:10 I'm shaking ...

[@Fritz_Maisenbacher]

11:34 Here , Ugorski knows ..... every note , every chord is a mark in the deep landscape of madness and disaster . And, in this ocean of beauty, ...... pain , pain , and more pain , with , insight glimpses of the most high value, the incandescent light of other universes, the heart lava of Robert Schumann ...... 14:08 .................

[@petermerelis]

you've said it best

[@jeongkim108]

Deeply moving!

[@jrk9357]

"IV Bewegt" is is interpreted in a heavenly way ❤

[@TheMightyFork_]

The poet sings

[@momeara7482]

Beautiful interpretation.

[@yvesfloreancigplasse1730]

Super

[@lucas__machado]

The pianist obviously consider this set as a whole and that's what really makes a difference with the other recordings

[@777rogerf]

Yes, lesser performances, however technical competent, consist of a string of singularities, whereas, in every part of Anatol Ugorski's monumental performance, the feeling and meaning of the work as a whole is fully expressed.

[@marie-francehily8336]

Divinement BEAU;

[@gerardbegni2806]

Rhis is the last album of Schumann before joining the Endenich astylum. There is a terrible feeling of erenity, and thae aparent raising lines are in c fat based upon a general dscending curve. What h in mind this poor man when writing thr title "Gesänge der Frühe", whuch means "Songs or dan" just before diving in an endless night?

[@jeffsmith1798]

This is a great question. Perhaps we will never know for sure. I believe dawn here means several things. The piece ushers in some very novel use of harmony for that time. Dawn in the sense of ushering in the new. I also feel that dawn here meant some sense of solace to Schumann. From the very opening of this piece there is a sense of supreme solace that carries through the entirety of this piece. The artist finds solace in his art.

[@gerardbegni2806]

@@jeffsmith1798 You are right, this is an unanswered question. This man was diving, and knew that he was diving . Remember his jump in Rhine river, and his ask to be kept away from his children since he feared to hurt them in an sudden access of madness. This man was diving, and knew that he was diving. What do you have in mind when you know that you are diving?Personally, it happened to me to have a loo large burden of severe concerns on my shoulders, thinking that I ever could emerge from all this buarden. believe me, you have quite astonishing ideas during the days and reams during the night in such conditions. But at least I overcome all theses concern each after the other and I remember these odds thoughts, which had nothing to do with what could believe to have in such s circumstances.

[@Nodalema]

Ugorski. You have excellent taste.

[@ADGO]

Ugorski is great. Listening to a lot of pianists and different music too. Judging, well, probably not so healthy :)

[@zinam5795]

He was always VERY good ! .... From the Leningrad Konservatory time.... in the class of prof. Nadezhda Golubovskaja.... Bravo!!!

[@zinam5795]

..... Poor Robert Shuman !!!. He was VERY healthy ,when played with many harmony...especially LAST finale 7-akkord!!!

[@zinam5795]

.... His daughter 's follow him.....

[@Fritz_Maisenbacher]

@@zinam5795 Schumann was NOT healthy . He was crazy . Mad .

[@belleepoque4597]

The degraded sputtering of a fractured mind? How do music critics manage to fail at assessing artistic contributions? I liken this unto Liszt's later offerings: shearing away everything superfluous and getting at the heart of Schumann's musical genius, similar to the way Liszt progressed from something like his b minor sonata to Nuages Gris. The voiceleading, harmonic progressions, melodic development is all so tightly constructed, cutting away everything extraneous, and also so deeply personal to the point of almost being painful to bear witness to. The end result is so deeply moving. The critics can stuff it.

[@haruki31717]

もう引退されてしまったのだろうか 録音だけでしか聴けないのだろうか でも、この作品をウゴルスキの演奏で聴くことができる喜びをかみしめています

[@k4ir0s]

Wow. He plays with such emotion and spontaneity, similar to how Brendel plays Schubert.

[@zinam5795]

..... I agree with you....

[@Fritz_Maisenbacher]

0:45 some years ago, I tryed to play this on my piano, late in the night, but I always felt in tears. This was not possible or acceptable. I renounced.

[@lucas__machado]

This set really is something both musically and humanly. It requires everything from the interpreter.

[@Fritz_Maisenbacher]

@@lucas__machado Musically and humanly, I didn't have the nobleness required. This was too high for my soul.

[@Fritz_Maisenbacher]

Do you see how much pianists had the nerve to play these pieces ? Quite Nobody. No Horowitz, Richter, Rubinstein, Arrau, or HJ Lim, Yuja Wang & Co. .... how strange, isn't it ? As everybody would be panicked by this score .... (my personal hope for nowadays : please, Kate Liu, play it ...)

[@haruki31717]

Pollini?

[@Fritz_Maisenbacher]

@@haruki31717 Yes, you are right, Pollini played it for Deutsche Gramophon. But it is such a disaster ...... The italian master seems to think to his next fitness lesson ... he understands nothing, nothing of what he plays .... such a superficiality, kaum zu glauben ....

[@nikb6176]

@@Fritz_Maisenbacher the Pollini recording is a travesty. Uchida recorded a fine account though

[@Fritz_Maisenbacher]

@@nikb6176 Too fine. Much too fine ...; This is a dramatic score. Not some asiatic decoration.

[@brkahn]

Peut-être pas les pianistes de cette classe, mais depuis les premiers enregistrements de Karl Engel et Jean Martin au début des années 1970, il y en a eu beaucoup d'autres. J'en compte 18 sur la page française de Wikipedia: fr.wikipedia.org/wiki/Gesänge_der_Frühe et il y en a encore d'autres ici sur KZbin. Que cette partition ait été ignorée pendant si longtemps lui confère à la fois un côté table rase et une relation sans doute très personnelle pour ceux et celles qui osent s'y confronter. Cela rend toutes ces versions différentes et intéressantes à leur manière, et c'est rafraichissant d'entendre des pianistes pas parmi les plus grands s'approcher autant de ce que Schumann a voulu (plutôt: aurait pu vouloir) exprimer. Pour moi (qui suis de toute façon très difficile concernant Schumann), cela provoque un effet assez déstabilisant: j'oscille constamment entre renacler et être bouleversé. A ma surprise, celles qui m'ont le plus touché sont celles de Jörg Demus et de Laurent Cabasso. Aussi Alexander Lonquich. Jean Martin, bien sûr, mais...

[@charlespalourde9209]

Hi ADGO is it possible to have access to a downloadable file in good quality of this live? Thanks!

[@extanegautham8950]

best version. sad there is no recording avail. anyone know how to download off of y.t.? it seems like you cant do it anymore...

[@ADGO]

You can still download from YT. Just keep searching for a site on Google, or download an app for your browser that will save videos with one click.

[@fredhoupt4078]

Was not familiar with this Schumann gem nor the pianist. Pleasantly surprised.

[@charlespalourde9209]

Anyone knows if this live is available on a CD?

[@cynic150]

the slow start was interesting, but hten i have never heard this before. After that it became very turgid.

[@michelvoisin4842]

Le son fait tout, avec une immense respiration.

[@pianoplaynight]

I don't understand his phrasing in n 2...or did he have a memory lapse? It's like stuttering..

[@barryguerrero7652]

I'm glad I don't know a lot about piano 'stuff', so I don't have to ascribe the success here to a bunch of psychological psycho-babble. To me, it's just really good music that I really like, played really well.

[@fkbr]

:)

[@omegads3862]

This is more near to the old classical style, reminds of Mozart and Beethoven.

[@中神達哉-m4o]

ウゴルスキ には驚かされた

[@numestube]

Messiaen docet!

[@radovanlorkovic3562]

Übertrieben karrikiert.