Sergei Rachmaninoff - 6 Moments Musicaux, Op.16 (Pogorelich)

Sergei Rachmaninoff (1873 - 1943)
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6 Moments Musicaux Op.16 (1896)
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Ivo Pogorelich (1958 - )
Recorded in 2001
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6 Moments Musicaux, Op.16, is a set of solo piano pieces composed by the Russian composer Sergei Rachmaninoff between October and December 1896.
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Each Moment Musicaux reproduces a musical form characteristic of a previous musical era. The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations.
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1.Andantino in Bb minor (0:00)
The first piece presents a theme in common time with a typical nocturne figure for the left hand. The second part is marked con moto, and is a variation of the first theme in the unusual configuration of 7/4 time. This part ends in a cadenza. The third section presents the last variation of the theme, again in common time, but in the fastest tempo yet, Andantino con moto. The piece ends in a coda that returns to the first tempo, and repeats portions of the previous three parts. It ends with a perfect authentic cadence into Bb minor.
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2.Allegretto in Eb minor (10:16)
The second piece is in the quick tempo of allegretto. This piece represents a typical nineteenth-century étude, with a melody interspersed between rapid sextuplet figures. It is in strict ternary form with a coda: identical beginning and ending sections, and a contrasting middle section. The second section radically changes dynamics, constantly changing from piano to fortissimo and even sforzando.
The piece ends is a slow coda in Adagio which closes with a plagal cadence in E♭ minor.
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3.Andante cantabile in B minor (14:45)
The continual gauntlets of number two are relieved by the third piece in the set, an "introspective rêverie." Drawing on the previous illustration of a "generic hybrid", this piece is described as a mixture between the song without words and funeral march genres, to create what is called the "most Russian" piece of the set, containing both sonorous bass and a solid melody, characteristics of Russian music.
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4.Presto in E minor (25:56)
The piece begins with a fortissimo introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a "rising quasi-military" idea. The middle section is a brief period of pianissimo falling figures in the right hand and rising scales in the left. The third section is marked Più vivo and is played even faster than the intro. At this point the piece develops a very thick texture, with the original left hand figure played in both hands in varying registers. The technique of rapidly changing the octave in which a melody is played, is used to present the figure in a more dramatic form that increases the intensity of the ending. The ending, a coda in Prestissimo, is a final, sweeping reiteration of the theme that closes in a heavy E minor chord.
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5.Adagio sostenuto in Db major (29:03)
The piece is similar to the form of a barcarolle, a folk song with a rhythmic tuplet accompaniment.
Lacking any prodigious figures or difficult runs, the piece displays Rachmaninoff's capability for musical lyricism. Although the piece seems simple, the mood must be sustained by playing simultaneously restrained but dynamic triplet figures in the left hand. The melody, a chordal texture with frequent suspended tones, creates a difficult task in voicing, and placing the correct emphasis on the correct notes. Its relatively short melody lines are a direct contrast to Rachmaninoff's characteristically long lines, giving a shorter time to bring out the phrases.
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6.Maestoso in C major (35:17)
The last piece in the set is a quintessential nineteenth-century work, and has been described as an "apotheosis or completion of struggle." It appears to be inspired by the texture in the Präludium from Schumann's Bunte Blätter. Dynamics play a large part in this piece: the fortissimo marked at the beginning is maintained all throughout the first section, with only brief respites to mezzo forte. The middle section is wholly softer, and contains two areas with significant mounting tension. Here, Rachmaninoff manipulates the theme contrapuntally to develop a canonic effect.
Immediately before the coda, the thick texture and canon suddenly disappear and the piece becomes piano. Upon entering the coda, the work resumes the forte theme and amalgamates to a majestic ending played fortississimo.
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Although revolutionary and grand in style, they retain the charm of his early works, as mentioned by pianist Elizabeth Wolff: "They are typical of his early works, dense, rich in counterpoint, highly chromatic, poignantly nationalistic, deeply felt, and of course, exceptionally challenging to the pianist."

[@counterpointenthusiast]

The first thought I had when number one started was: what the hell, I guess this is gonna be one of those late Pogorelich recordings that I hate, because he completely dissects a piece until it has absolutely no listenability anymore. But boy was I wrong. This is incredible. While I still don't necessarily like number one, and three for that matter, this interpretation is truly special, and an unbelievable journey. Despite wether you like his playing or not, Pogorelich's interpretations are always technically astounding, new, and most importantly thought provoking. The fact that when he plays something conventionally, it's usually the best interpretation of it out there, and he still chooses to try out completely different things all the time makes it all the more impressive. By the way he highlights and veils certain details and voices he creates completely new pieces, that sound astoundingly modern, especially number two sounds like a twentieth century piece in a style that was never invented. It's probably my favourite of the set. He also showcases a superhuman dynamic control and dexterity, as well as achieving absolutely gorgeous fortissimo and triple f sounds. The only reason im not a fan of number 1 and 3 is, that with his slow, extreme rubato and improvisational approach, these slow pieces tend to fall apart a bit, and stop being coherent, even though each single moment is still beautiful. But I wouldnt want it played any other way in this recording. It fits the rest perfectly. As a last thought: I also especially enjoy his restraint in no 6. Very often he has these subito p/pp s that kind of sound like he swallows the note, and gives off this stumbling effect, which keep the texture and rhythm varied and interesting. But in the important parts he shows no hesitation and ends this set like it should be. With a bang. Thank you so much for sharing! And for everyone who's put off ny the beginning: Keep listening! It's worth it. A small recommendation for anyone looking for a more conventional interpretation of Pogorelich: His Haydn A-flat sonata, I feel, features most of his ideas he applies to this one but in an extremely subtle way, showing that he has absolutely mastered them to sound gorgeous, and is pushing the boundaries in sets like this.

[@Nodalema]

Brilliant comment. Exactly right

[@lagunagreg4019]

Extremely clear and perceptive comment. Obviously written by a musician of some ability.

[@Dylonely42]

How fortunate we are for being able to listen to Pogorelich’s performances for free…

[@fazergazer]

I’ve been playing and listening to these pieces for decades…and Pogo never ceases to amaze me…I always learn something new each time I listen to him. Thanks for sharing❤

[@z.d.davidson]

Pogorelich brings such a haunting, Brahmsian flavor to Rach, which makes him one of the most sumptuous interpreters since most play Rach kind of robotically in my opinion.

[@nss4472]

После Ашкенази❤ (который НЕ робот) слушать и принять эксклюзивно понятую интерпретацию очень трудно.😮😢 Да и вообще любую другую😂😊

[@nikol4y.l]

The way he brings out certain LH notes from 12:25 onwards is brilliant

[@RachManJohn]

Gold mine of a channel! Thankyou for this recording by the great broken Pogoreilich.

[@VeguldenZilverling]

Aha, a wild bunny spotted

[@Tis_Not_Ivo]

Thank you so much for this! One of my favourite recordings by Pogorelich!

[@sungjinlee2835]

I can’t agree with his interpretation most of the times, but somehow this sounds fascinating. What a magic.

[@ladivinafanatic]

Literally the same. Rach Op. 16 No. 6 is one of the very few things by Pogorelich I like.

[@nilskroehl]

6 is out of this world!

[@jaiachin9579]

Metronome and exercises

[@lagunagreg4019]

​@@jaiachin9579 Oh I don't think so

[@jaiachin9579]

Yes. Slow practice. Obviously, a beginner or lower intermediate level player would not tackle this easily. Its 32nd notes. 4 = an eighth. 8= 1 full beat. Take for instance the first measure in the 6th piece. You simply are on a C Major arpeggio slowly descending. Now, look for patterns. The first measure in the bass and treble,the highest note is E.@@lagunagreg4019

[@steveegallo3384]

The #3. - Andante Cantabile in B-minor" was already a Pinnacle.....but here, now, in Pogorelić's hands it becomes a Colossus of the Piano Canon for all time....Spellbinding Breathtaking....BRAVO, Maestro.....from Acapulco!

[@lagunagreg4019]

Pogorelich was certainly one of the most individual players of his generation. I can see why opinions vary about his playing of these 6 pieces. Some of his ideas don't necessarily work artistically. But you can't deny that the guy was an absolutely awesome player. The risks he takes, the tremendous Daring! It seems like this is gone from modern playing almost entirely. As much as the second piece, as one example, offends people in its phrasing, the delicate lace work that he is able to produce at a breakneck speed is absolutely enviable. Nobody plays it like that, I'm sorry they don't because it's just gorgeous. The dynamic palate is not the one that people use for these pieces ordinarily, but I think it makes them vastly more dramatic, powerful, and compelling. say whatever you like about the playing, but I dare you to try and play It this way. Almost nobody can do it.

[@adhdaf]

thumbnail is at 27:56, but it appears an entire measure was skipped.. can't say I blame the pianist tho 😂

[@PianoHypnoshroom]

I believe the sheet music is the first edition of the work, while the recording plays a revised edition, which may be why there are differences between the sheet music and the playing.

[@Pogorelicc]

27:04 - 27:09 Pogorelich’s LH is stupendously clean!!!

[@annamariamanfredi6624]

Splendida Musica, tra le più sensuali mai scritte. Meravigliosa esecuzione. Grazie ❤

[@nss4472]

Слишком концептуально! 😂 Настолько, что уже перестаёт быть наиболее милой и искренней Русской Музыкой - такой, какую написал юный гений Рахманинов❤🎉

[@DanutaBoron-wm1ju]

Pan Iwo intryguje .🌹🌹🌹🌹

[@mariocrunk8182]

This guy was something else.

[@Dylonely42]

Thank you for your video.

[@eel9]

BRAVISSIMO POGOROLICH WHAT AN AMAZING RECORDING

[@Bosco1.d4]

what a nice piece

[@junerichardson3377]

Measure 2, right hand. Is that supposed to be an A-natural, because that's what the pianist plays.

[@JaquesCioran]

брутално! браво маестро!

[@Lauren-ks4ep]

the only interpretation I want to hear is Pogorelich

[@r.i.p.volodya]

Good God! What's he doing with the tempo of no1?! "Andantino" not "Adagissimo"!!

[@_mochiii_]

Noice No 4 on top!

[@alvarojosetasconospina3583]

SUBLÍME MAESTRO POGORELICH ETERNO UNIDOS ALISSA NIKOLAIEVNA KEZERÀDZE Y SERGUEI RACHMANINOV..

[@mtnaparticip.1161]

6 almost sounds like Scriabin lol

[@zavilov]

Rachmaninoff once performed all of scriabn's solo output as an hommage, i am sure it stuck with him. There are inumerable examples of earlier pieces that he has taken bits and pieces from and made his own. So yes i can also understand how this seems a correct assessment.

[@viettranquoc8244]

Rebel

[@andremoreira4115]

Wtf happened in no 3??

[@sausagetitz3743]

Presto E minor

[@dalethomasdewitt]

Aside from a different scale this no better than morse code for creating music. (in spite of circus 1900s dexterity) Inspiring, but math masquerading as cerebral pastel is anemic at best. The rhythmic polythemes pressage scriabin. (In the left hand lower range)

[@justinstacey7005]

Pearls before swine.

[@GNGianopoulos]

What is this even???

[@Dylonely42]

?

[@matswessling6600]

why do he butcher no 1?

[@jojaspismusic8531]

Nr 1 unbearable unlogic rubato for me....😢

[@Dizzyfingers2]

This has to be THE worst interpretation of these masterpieces for piano ever.

[@bobjazz2000]

Too slow. And too fast.

[@tomaxi007]

Sorry, but when you hear and see the notes, you can't understand why Pogorelich does so much differently than the composer wants. I am a supporter of free interpretation, but not a supporter of ignoring signs of dynamics, tempo and important unwritten rules, like the beginning of a bow, which should be set with a small accent in any case, what doesn't work is what Pogorelich does with beginnings of phrases . He does what he wants, but not what the composition prescribes, so that the content is completely missed. In my opinion he is absolutely overrated just because he allows himself such antics. It's as if an actor pronounces emphasis in a sentence incorrectly, and thus is no longer understood at all. Perhaps as a game of the game, to express by force something new, but I do not even trust Pogorelich. I have already heard him live in concert, but there he played very level-headedly and without these antics. Please listen Lazar Berman !

[@DL-jz1bm]

I love Lazar Berman, and not just in his interpretation of this opera, which by the way is my reference point. And I understand your point, and we may even agree. But ... I think there is nothing wrong in exploring compositions from any angle, even if it's irreverent or completely disrespectful of what the composer meant. You may end up with an incoherent interpretation of the opera as a whole, but you may also discover something. You might say, yes but all of this should be kept for yourself and not delivered to the public as a recording, but for listeners who are not musicians these recordings could represent the same kind of exploration value it has for the pianist when he studies the opera. And then ... the listener can go back to Lazar Berman perhaps with even more love.

[@user-ys2wu5xd3b]

I've compared number 6 by Berman, Luganskyi and couple more pianists. They play 32s notes so heavy, that I can barely hear the melody, which is beautiful! This one is really good, he sounds like there're 2 people performing on 2 instruments. I enjoyed a lot! Given Rachmaninov's love to multilayered music, I think he would like this performance...

[@memsens7077]

Lazar is beautiful, but believe me, If you can reach, what Ivo’s soul can express as an artist - you will just know he is transcendental. so your remarks is futile. Music will be just dead, sorry for your frustration and good luck with your research of the « correct way ». We love Ivo 😊

[@neilkilleen3911]

Hmmm I’ve been working on no. 5 for awhile. I strongly dislike what he did to it. A mess of strange unmusical tempo fluctuations, odd note emphasis. Worst he missed out on playing most of the beautiful inner voices written into the score. I really have no idea why his conception makes musical sense to him. Frustrated…

[@steveegallo3384]

@neilkilleen3911 -- No, you are wrong. If you still don't beieve, then listen to Pogo's Brahms.......A new universe unfolds.....Cheers from Acapulco!

[@neilkilleen3911]

@@steveegallo3384 I don't think you can tell me (reasonably) that I can't have my reaction !!! I'm afraid that this Universe is not for me. Have a look at the score, show me Rachmaninov's markings that indicate the interpretation that Mr P dished up (to quote Percy Grainger). Oooh Aculpulco! One day 🙂 Rather annoyingly, Mr R did not leave us with a recording of this piece...

[@steveegallo3384]

@@neilkilleen3911 -- I shall NOT be "reasonable." And if you somehow do manage a Reaction, then for all our sakes REPRESS IT! "Markings"? Did that stop Horowitz' "Pictures at an Exhibition"? Or Rubenstein's off-the-wall "Fire Dance"? Or Cortot's "Pathètique"? You should leave Yellowknife, come south and visit Acapulco....Learn a thing or two.......

[@neilkilleen3911]

@@steveegallo3384 by definition, if I’ve reacted, it’s too late to repress it ! Is Acapulco full of sun sea and sand and sangria ??

[@neilkilleen3911]

Well I listened again, it was even more horrendous this time. I guess I’m not coming to Acapulco …😢

[@bortkiewicz985]

Terrible. Has almost nothing to do anymore with Rachmaninow. Too much cocaine I guess... It's tragic. There were great recordings with him in the past, for example Gaspard de la nuit.

[@MomradCarko_39_05]

What is blud wafflin about

[@ph7205]

오마이갓! 포고렐리치의 연주인가요?

[@mixla3493]

Yes

[@ph7205]

@@mixla3493 Thank you!!