Mikhail Pletnev plays Schumann Kreisleriana - live 1983

[@yoelganor3240]

Such a fresh and really unique and actually reinvented rendition of this extraordinary musical piece!

[@micaelabonetti949]

Che meraviglia, finalmente Schumann con tutti i suoi colori, emozioni, follia, dolcezza!

[@paulmetdebbie447]

A complete reinvention of the piece. I love it! Pletnev is breathing music.

[@3047L-r1g]

extraordinary... simply extraordinary. this absolutely ranks among the most fascinating and revealing interpretations of Schumann's masterpiece. the slow movements are simply incomparable - such depth and incredible intensity, such musical intelligence that cannot be explained and cannot be taught. Pletnev is simply a phenomenon. I wish Schumann could have heard him.

[@marcorotondi7613]

+304712 L Si Ti do ragione questa e' la piu bella Interpretazione della Kreisleriana che esista.....le Tue parole descrivono alla perfezione le mie idee e sensazioni.... non saprei che dire di altro se non che Pletnev e' uno dei miei preferiti in assoluto. marco rotondi

[@naceslak7962]

Well said

[@nelidaferraz6497]

Amazing.! Pletnev succeed in establishing what could sound like dialogues between the cat and the almost taken by craziness Kreisler. The tempo lento deeply meditative pulls everything together. .Pletnev ‘ s interpretation shows it clearly in the brilliant final when serenity , positiveness is finally achieved . Great rendition to deepest Schumann piano composition. Beautiful and thrilling.

[@ИринаШ-ш6у]

В исполнении Плетнева не верится, что это рояль и человеческие руки, кажется, что музыка льется с небес! Браво, маэстро !!!

[@markdenemark7298]

Проще, но преданнее тексту и глубже... без выпендрёжа kzbin.info/www/bejne/d5jOaIWgaJZ5qMU

[@arakelandmusic]

​@@markdenemark7298как раз на ссылке,что Вы скинули сплошной выпендрёж

[@светланаавласович-ш1я]

Выдающееся исполнение, совершенно индивидуальное и убедительное (для меня))... особенно если учесть почти еще юношеский возраст исполнителя.

[@markdenemark7298]

kzbin.info/www/bejne/d5jOaIWgaJZ5qMU Проще, но глубже...

[@Nekoandpiano]

Oh, thank you! I heard only a much later version of his Kreisleriana. On the concert in Moscow in 2006 i guess. It was very different from this one. It was really interesting to hear this much more passionate version.

[@carlosginzburg5694]

Por fin ha nacido un pianista que ha desentrañado detalladamente para todos en cada grase musical la gran riqueza oculta de Schumann Muchas gracias. Pletnev !!

[@wnaenni]

Ein Hochgenuss!

[@yoelganor3240]

Absolutely exquisite!!!

[@robertflynn6686]

That is such good playing. Bravo to pletnev then and now. I thinks he loves Schumann. Just a thought , 🤔 Reminds me today of Cateens playing. They should do the Chopin concerti together with pletnev as conductor.1

[@edcoelhovieira]

17:00 oh my God!!!!

[@micaelabonetti949]

For me Nr 4 is a sort of arch key of the hole Kreisleriana, and Pletnëv is unique. Unique. Profound, disturbing intensity...

[@pierredevarro5001]

Exclusive!

[@TheEdie1958]

Intermingling of improvisation , imagination, intuition jazz inflections ethnomusicologist with traditional Classical music repertoire. Richard Strauss family and the blue Danube music legacy.

[@duwir5959]

he is the only pianist I know, who has the golden tone of Gilels.

[@samuel723]

What

[@duwir5959]

@@samuel723 sleepy Sam weak Up, what? Oh no. hey? What?

[@RaineriHakkarainen]

Gilels Kempff Radu Lupu Artur Rubinstein the Golden tone players Really!!

[@mrsnooz1]

Who the fck gives this a thumbsdown?

[@larryprimeau7738]

yes

[@takashi.m-y2z]

他の方のレビューを見ていたら「最悪！」とか、作品に対する冒涜だという趣旨のものがあり、それはわかるなあと思いました。 この演奏は「作曲者の意図をねじ曲げてピアニストの自己顕示、の場として曲を利用している」といわれても仕方がない面があると思います。 今ではプレトニョフもいろいろ経験を積み、ある種の名人、大家と評価されているのではないでしょうか。 当時の彼はチャイコフスキー・コンクールの優勝者とはいえ、まだ手探りの若手ピアニスト。その彼がシューマンでこれだけアグレッシブな演奏をしているというのは、やはり非常に面白い。まだまだ荒削りでミスタッチも少なくないのも耳につきます。にもかかわらず、彼がこの曲と向き合ってイメージしたものははっきりわかる、というのが僕がこの演奏が好きな理由です。

[@АблаевЖандаурен]

Такое оркестровое звучание

[@turidemarcodeeustachijs3926]

Per M. --- lei non conosce Le considerazioni filosofiche del gatto Murr! Pletnev invece sì!

[@takashi.m-y2z]

まず、この音源をあげてくださったことに感謝します。 僕の記憶に間違いがなければ、これはNHKFMて放送されたプレトニョフ初来日のライブ演奏だと思います。今から４０年位前の事。僕はまだ高校生でした。僕もたまたま、この放送をカセットテープに録音しておりました。そして、そのあまりに独創的な解釈に驚いて何度も聴きかえすうち、クライスレリアーナといえばこの演奏が耳について仕方がないほどになってしまった。特に第4曲ラングサムの異常な解釈。僕のカセットテープはとっくの昔に伸びて聞けなくなってしまいましたが、覚えていました。第4曲の聴こえるか聴こえないかわからないようなかすかなはじまり。遅いテンポ。遠くの風景がだんだん近づいてきて中間部になってもゆっくりしたテンポが保たれたまま、はじめの主題が戻ってきて最後はフオルティシモで終わる。それまで徐々に近づいて輪郭がはっきりしてきた風景が突然遠くにいってかき消されてしまったように終わり、茫漠とした沈黙が残る、という衝撃的な解釈。この演奏によって受けた驚きと感動というのは非常に強く残っていました。楽譜からも演奏の伝統からも大きく逸脱した解釈だと思いますが、しかし、僕はこの演奏によって、はじめてシューマンの音楽というのが少しわかったような気がしたものです。 今では、クライスレリアーナの第4曲や第６曲を非常にゆっくりしたテンポで弾くピアニストも見受けられますが、当然ながらプレトニョフとは違う。 再びこの演奏にめぐり合えた喜びは何ものにも代えがたい。ありがとうございました。

[@radovanlorkovic3562]

Sehr empfunden und phantasievoll, aber zu frei im Tempo; eine Karikatur gegenüber Schumanns schlichtem Charakter. Pianistisch fabelhaft.

[@turidemarcodeeustachijs3926]

Radovan Lorkovic ....... il Tempo.... ma per favore..... vai a suonare l ' Hanon', che è meglio!

[@cynic150]

Play as fast as possible. That is their philosophy. But that is not Schumann, in my opinion.

[@michieldpiano]

Mine is better

[@musicandliterature47]

Typical Pletnev, alas! Erratic, patently narcissistic, self-indulgent, irreverent, shamefully unfaithful to the score (with respect to tempo, dynamics, and rhythm, which is to say: pretty much everything), this performance borders on the delirious and is for this reason fundamentally unmusical. I personally find it simply intolerable - and therefore, in market terms, uncompetitive. If you wish to hear excellent and idiomatic interpretations of this piece, I would recommend those of Claudio Arrau (whose affinity for Schumann is well known), Hélène Grimaud (whose youthful recording of this work on the Denon label, although rarely mentioned these days, remains one of the best), Mitsuko Uchida, Vladimir Horowitz, and Imogen Cooper. Pletnev’s playing generally provokes vigorous criticism from listeners and reviewers alike, even from those who are at first willing to accept his idiosyncrasies and to go along with his excesses. If you don’t believe me, just peruse the customer reviews of his various recordings that appear on Amazon’s website. The comments by Todd R. Peckarsky are particularly pertinent. Also pertinent in this regard is the review of Pletnev’s recording of Schumann’s glorious “Etudes symphoniques, opus 13” by Bryce Morrison in the May 2004 issue of Gramophone magazine. Here is the Internet link to this review: www.gramophone.co.uk/review/schumann-etudes-symphonique-op-13.

[@ADGO]

That's a pity because this isn't the sort of work in which to find anything intolerable. It's wild, imaginative and viscerally thrilling, and there's a reason why not many succeed in bringing out its just about endless expressive possibilities. In fact the only thing that might be intolerable is a bland performance of the piece, such as by a few of the pianists you mentioned. Aside from Pletnev I'd recommend Natan Brand and Tatiana Ryumina who are both wildly expressive.

[@Yenna]

Arrau is boring...

[@3047L-f6m]

of course, you are under the critics' spell: any musician who dares to take risks and go against any markings of the urtext, no matter how interesting and revealing his ideas, is criticised as "self-indulgent", "irreverent" and "shamefully unfaithful". this is why Pletnev, one of the most interesting living musicians, almost comparable to the great pianists of the 20th century, isn't getting half of the attention he deserves -- because today he sounds "different". what you and these critics don't realize is that you are complete ignorant of historical performance practice of the romantic period. I don't even know where to begin because it's so obvious you know literally nothing; you clearly haven't listened at all to historical recordings or even read Schumann's letters, Hoffmann's works, etc. you truly expect Schumann, one of the most poetic human beings of all times, to regard the score as an end in itself and to play his Kreisleriana in exactly one way? I honestly believe you simply don't know what to hear for in Kreisleriana, or in any other work for that matter. and the very fact that you mentioned Grimaud alongside giant Horowitz, apparently because she's faithful to the score so she MUST be great, speaks for itself...

[@edcoelhovieira]

I mean I don`t even need to to further massacrer this unfounded comment. It`s all said.... I ve had the privilege to listen to Pletnev on life performances and I can recall them as the few who were spiritually breathtaking and this interpretation from Kreileriana doesn`t prove any different

[@edcoelhovieira]

One last commen: read Kater Murr before saying this rendition of Kreisleriana is self indulgent.

[@raphaelkreutzer8063]

Horrible!