I had the privilege to hear Pletnev perform this live in New York some years ago, at the Metropolitan Museum of Art. I’m elated to see that most commentators here recognize what an extraordinary experience it is. When I was there in the hall, I actually wept. I’ve heard many pianists, but since Vladimir Horowitz died (and even while still alive) true tone painters are exceedingly rare. This is total mastery of the range of sonority of which the piano is capable. And he does it with no wasted motion, no swooning and mooning. (But did I hear him humming?) Pletnev does indeed make some wholesale alterations to the score, but he does so within the tradition of players of this caliber and ilk. Specifically, it was Horowitz himself whose recordings and performances of this work from the 1940s were a showcase for his own abilities, also with some vast departures from Mussorgsky’s original.
Extraodinary originality of Pletnev! He adds notes in the base, adds transitions, adopts ideas of Ravels orchestration, plays a totally different pedal than is traditionally played (deliberately unclear at many places to create a monstrous sound), silently depresses base notes to create extra resonance of simpathetic strings, create an effect of real bells ringing from the cathedral by dislocating voices on the time line and more ... I wish I heard this live! He's really one of the very few original pianists. Hats off!
Sr. Pletnev, no tengo las palabras para mostrar mi admiración ante tan gran interpretación. Es usted el ELEGIDO en este vasto e infinito universo. Muchas gracias de alma
Mussorgsky wrote this in memoriam of his late dear friend. Pletnev is one of the rare performers who acknowledge this, and doing so brings out a poignancy and profundity lost when played as merely a virtuosic concert show piece.
I've listened to many versions, but this one is one of a kind. Took me a while to accept it. mr Pletnev is like a surgeon. His face says it all, he is master of his craft. The way he moves his hands ... scissors, knife, needle ... Oh, the patient is going to be just fine. He makes no mistakes.
@@normhall1622 I like them both but kissin I prefer. I suppose I've been used to how it sounds and how I play it but fair play to pletnev for finding new harmonies etc. He obviously spent a lot of time working it out
diesen Pianist hat wirklich etwas mitzuteilen. Pletnev hat alle "Zutaten" für DEN Pianisten. Und es bedarf vieler Eigenschaften. Vorallem fasziniert mich sein Klang, dann seine Disziplin vereint mit Freiheit. ...seine Phantasie, sein Struktursinn, seine Emotionalität. Ein Pianist der wirklich gestaltet, nicht nur "spielt"
Yes, yes! You are correct! Nowadays music academies grind out cookie cutter pianists who play with impeccable virtuosity and no soul, emotion, or intelligence! Plus, they encourage the pianists to grimace, gyrate, and contort like a dying cow to convey whatever to the audience.
Marvellous performance. I particularly like the slightly off-beat E flats around 27:50...sounds much more bell-like. Pletnev is the only pianist I've heard that does this.
I just love how he plays this chord at 19:47 . It sounds so damn cold and cruel, terrifying... The hut on hen's legs was also stirring, especially in the middle part, he perfectly catches the image of a gloomy forest. The great Gate of Kiew was played with all Russian force. It's stunning how he delays the chords in the left hand and creates a bell sound, never heared that before. Incredible, just incredible...
This just has to be the best interpretation I have ever heard. I love the extra things he adds to it: they really enhance the original, rather than detract from it, unlike other interpretations I've heard. I thought the Great Gate could never be played on a piano as powerfully as Ravel's orchestration; Pletnev proved me very wrong.
Because that Promenade is almost an exact restatement of the first Promenade and is meant to be a reprise. Some people don't like to play it because it really is almost the same as the first promenade, and even Ravel didn't orchestrate it. It's just that it's too similar.
Good grief, this is so glorious that I just can't figure out why the audience doesn't rise, en masse, at the end, and levitate the whole room with their applause. If this isn't the last word in "Pictures at an Exhibition" on the piano, it's pretty darn near. "The Old Castle" is so moody and even wayward; the returns of the promenade are so fresh (as if our gallery-walker were still affected by the picture or pictures just previous); the market is full of such colorful bustle; the cattle are so knee-deep in mire as they plow and lurch forward; the unhatched chicks are so peckingly witty, not merely "cute"; and the clang of the city's bells, pealing out above the great gate, is so enormous and devotional. I almost want to say that, hearing this, it all makes sense to me: where the savagery in Russian composers come from. And I mean that as a compliment. It's a wonderful savagery, and I'm thinking of passages in Prokofieff, places in Tchaikovsky, and some of the really blood-on-the-floor moments in Shostakovich. I love how Pletnev just really lets go and let fly with the pedal sometimes, coloring long sections with muddled impressionistic sonority. Gosh, it's rare to hear a pianist of such tremendous technique who uses it not for showing off, but completely in the service of the composer.
....Agree....Many worlds into this amazing piano masterpiece...And Pletnev is an absolut wonderful genius....It`s art in finest definition from my point of view.
extraordinaire! plus personne n'ose jouer comme ça aujourd'hui, avec autant de créativité et de risques : quel dommage!! quelle force de conviction! c'est admirable
Mikhail Pletnev adds masterful brush strokes to one of the great piano compositions. I have experienced hearing none better. Also very well filmed - in keeping with the atmosphere of the music.
I have heard every great extant recording of this, one of the world's greatest piano solos, and I have to place this first,. In every section, and the promenade throughout, it is exquisite.
Just an incredible piano experience. I thank everyone. It is interesting to think how Ravel's orchestration might have pushed the few pianists capable of playing this to extremes that would have been otherwise unsought. This posting is a wonderful gift to the internet.
Your comment here is so refreshing; thank you! Spaseba! I left a long comment myself, which I hope give listeners a little added pleasure, if possible. But thank you for your thanks, and for rejoicing instead of finding fault. We need that kind of thing these days. M.V.
My sentiments exactly! Don't know if I'm on the same page as you, (I'm a trumpet player not qualified to critique pianist) but his interpretation and execution made me feel as if I was back in the orchestra! I was hypnotized. Awesome!
Promenade (1:27) No. 1 "The Gnome" (3:49) [Untitled] (Interlude, Promenade theme) (4:34) No. 2 "The Old Castle" (8:49) [Untitled] (Interlude, Promenade theme) (9:04) No. 3 "Tuileries" (10:04) No. 4 "Cattle" [Untitled] (Interlude, Promenade theme) (13:37) No. 5 "The Ballet of Unhatched Chicks in their Shells" (14:57) No. 6 "Samuel Goldenberg and Schmuÿle" Promenade (16:56) No. 7 "The Market at Limoges (The Great News)" (18:22) No. 8 "Catacombs" (21:42) No. 9 "The Hut on Fowl's Legs" (25:20) No. 10 "The Great Gate of Kiev"
When I first saw this, being an avid fan of Pletnev, but for any pianist for that matter, the pianism displayed so sincerely and heartily here is so rare it's diamond-like. Many poor fellows tend to think that the ending is riddled with mistakes...like Pletnev thinks he knows how it should sound. Boy does he! What people don't understand is the "mistakes" they hear are, if they would have the open mind, used as a technique to create the sensation of other orchestra instruments that would otherwise be being heard if it were not for the fact that this is a piano solo. That is not to say Pletnev carelessly makes mistakes. He garnishes his mistakes (which are hardly mistakes to my ears) like a master chef garnishes his famous dishes. Truely, they become less and less known as mistakes, but rather textures and hidden voices that the piano was designed to produce and speak. Also what is an ending to an amazing piece such as this without an absolutely and insanely thunderous finale. This rendition has no trouble blowing away the "day-lights" out of me. Pletnev takes the crown on this one...hands down...literally.
I might have a dream of Mussorgsky walking in the crowds of somecity in Russia , talking to his late friend . After listening to his incomparable performance , I may dream of Mussorgsky That dream is the ultimate in bliss for me that deeply love and respect and long for Mussorgsky From Tokyo of the Land of the Rising Sun 🇯🇵
"Wonders are many, and none is more wonderful than man" (Sophocles - Antigone) The end of this video brings that quote to mind. I love the way Pletnev stands up with his foot on the sustain pedal. It's a moment of shared exhilaration with the audience that seems to shout "Pick the fuckin' bones out of that!!!" For better sound seek out the recording of Pictures made by Pletnev in November 1989, at St. Martin's Church, East Woodhay, UK. One of the glories of recorded music.
Our lives are short , fleeting, less than100 years. However, this masterpiece that he plays with skilful and graceful has a eternal life, and will transcend times and space and races of people
The pictures that inspired this masterpiece were not very colourful, as far as I remember from seeing them on internet. Here the music is rendered in such a vivid colourful way. So I agree with this comment. Music is colours and I think that the scores must show it too (sharps and flats everywhere, I guess, and dynamics).
very individual, it's good to hear something different for a change....one might argue about some affectations...but in the end this is a convincing interpretation, bravo Pletnev!!
Interprétation exceptionnelle.Tout est nuances subtiles, une interprétation sublime à découvrir absolument! Ce pianiste donne à l'oeuvre une dimension nouvelle!
Para mi es excelente la descripción en idioma de piano de toda la exposición dando vida con la variedad y bien colocado el sistema de grabacion, saludos a los melómanos del mu do desde MEXICO, CDMX .
Well that was completely different from what I've become accustomed to. Not surprisingly with Pletnev, it's really good and impressive, even though the degree of change is so great that I'm not about to say it's better than a more traditional interpretation such as Kissin's. I'm sure I'll return for another listen someday.
This piece is extraordinarily demanding. It is of a musical nature that prohibits inferior pianists. For years my favorite recording of Pictures was Richter's Sophia recording. Nobody else interested me. Pletnev is awesome.
I'm agree with the guy that says that Pletnev it's painting. It's clearly like this. The moves of the hand are like he is not playing a piano, but paint a picture.
The competing virtuoso for this magnificent piece is Svitoslav Richter's Sofi performance in the 1950's which is so creative in every moment. Would love for their to be a recorded video performance of Richter's performance.
Pletnev is not trying to show off how good he is. He shows how superb the original composition was and ends up showing how good he is.
I am absolutely agree with you🎉🎉🎉
I had the privilege to hear Pletnev perform this live in New York some years ago, at the Metropolitan Museum of Art. I’m elated to see that most commentators here recognize what an extraordinary experience it is. When I was there in the hall, I actually wept. I’ve heard many pianists, but since Vladimir Horowitz died (and even while still alive) true tone painters are exceedingly rare. This is total mastery of the range of sonority of which the piano is capable. And he does it with no wasted motion, no swooning and mooning. (But did I hear him humming?) Pletnev does indeed make some wholesale alterations to the score, but he does so within the tradition of players of this caliber and ilk. Specifically, it was Horowitz himself whose recordings and performances of this work from the 1940s were a showcase for his own abilities, also with some vast departures from Mussorgsky’s original.
Extraodinary originality of Pletnev! He adds notes in the base, adds transitions, adopts ideas of Ravels orchestration, plays a totally different pedal than is traditionally played (deliberately unclear at many places to create a monstrous sound), silently depresses base notes to create extra resonance of simpathetic strings, create an effect of real bells ringing from the cathedral by dislocating voices on the time line and more ... I wish I heard this live! He's really one of the very few original pianists. Hats off!
Sr. Pletnev, no tengo las palabras para mostrar mi admiración ante tan gran interpretación. Es usted el ELEGIDO en este vasto e infinito universo. Muchas gracias de alma
Мой любимый пианист! Все так обдуманно! Сразу видно играет композитор!
I keep coming back to listen to this recording every few months. It's one of the gems on UA-cam.
Mussorgsky wrote this in memoriam of his late dear friend. Pletnev is one of the rare performers who acknowledge this, and doing so brings out a poignancy and profundity lost when played as merely a virtuosic concert show piece.
this is a masterclass of how to play piano. Thanks Mr Pletnev,
Best interpretation of this master piece! Great Pletnev!
ART DUO oh god, I cannot agree with you more!!!!!
Die BESTE Mussorgsky-Interpretation, die ich je gehört habe! BRAVO!!!
The Artist-Painter- Pianist-Conductor-Musician-Composer co-create this magic piece! This is MIKHAIL PLETNEV!!!
I've listened to many versions, but this one is one of a kind. Took me a while to accept it. mr Pletnev is like a surgeon. His face says it all, he is master of his craft. The way he moves his hands ... scissors, knife, needle ... Oh, the patient is going to be just fine. He makes no mistakes.
Me too. I love Kissin on this and it took me some time to love Pletniv.
@@normhall1622 I like them both but kissin I prefer. I suppose I've been used to how it sounds and how I play it but fair play to pletnev for finding new harmonies etc. He obviously spent a lot of time working it out
diesen Pianist hat wirklich etwas mitzuteilen. Pletnev hat alle "Zutaten" für DEN Pianisten. Und es bedarf vieler Eigenschaften. Vorallem fasziniert mich sein Klang, dann seine Disziplin vereint mit Freiheit. ...seine Phantasie, sein Struktursinn, seine Emotionalität. Ein Pianist der wirklich gestaltet, nicht nur "spielt"
Yes, yes! You are correct! Nowadays music academies grind out cookie cutter pianists who play with impeccable virtuosity and no soul, emotion, or intelligence! Plus, they encourage the pianists to grimace, gyrate, and contort like a dying cow to convey whatever to the audience.
@@Oldman808
Простите меня за
детский ,наивный
вопрос: а Вы взаправду видели
такую корову?
Я удивилась такому сравнению-жалко
корову.
Marvellous performance. I particularly like the slightly off-beat E flats around 27:50...sounds much more bell-like. Pletnev is the only pianist I've heard that does this.
It's a playing of great conductor ,not just a good pianist.....
I TOTALLY agree! Perfect rubato!
yes!
It's a very nice touch that makes the piano come to life.
You should check out Andsnes's performance!
I just love how he plays this chord at 19:47 . It sounds so damn cold and cruel, terrifying... The hut on hen's legs was also stirring, especially in the middle part, he perfectly catches the image of a gloomy forest. The great Gate of Kiew was played with all Russian force. It's stunning how he delays the chords in the left hand and creates a bell sound, never heared that before. Incredible, just incredible...
This just has to be the best interpretation I have ever heard. I love the extra things he adds to it: they really enhance the original, rather than detract from it, unlike other interpretations I've heard. I thought the Great Gate could never be played on a piano as powerfully as Ravel's orchestration; Pletnev proved me very wrong.
This may be the best Pics I've ever heard. Pletnev's playing is so clean, and his phrasing is unique but natural.
God, I love Pletnev. He just makes every piece he plays his.
do you know whay dont pletnev play the fifth promenade? between the picture of the judes and the marche de limoges
Because that Promenade is almost an exact restatement of the first Promenade and is meant to be a reprise. Some people don't like to play it because it really is almost the same as the first promenade, and even Ravel didn't orchestrate it. It's just that it's too similar.
ThePumpkin506 Thanks guy!! :D
.....I am agree , Pletnev is a genius.
me too, i love him too
What an incredible sound and imagination!! Big applause to both the composer and Pletnev!!!
Очень люблю его слушать!!!
Просто здорово!!!
29.04.2021.Благодарю,Вас!
Y menià toje nravitsa bolsce,mne sponmit scto sliscial v San Serg b monastir.
In memoriam! Too few know that about this piece. Salutes maestro!
Напоминает живопись, но не на холсте, а прямо в жизни.
This is simply the best performance of this music I have ever heard. The control, the quality of the sound is impressive, astonishing!
He is professional composer
Good grief, this is so glorious that I just can't figure out why the audience doesn't rise, en masse, at the end, and levitate the whole room with their applause. If this isn't the last word in "Pictures at an Exhibition" on the piano, it's pretty darn near. "The Old Castle" is so moody and even wayward; the returns of the promenade are so fresh (as if our gallery-walker were still affected by the picture or pictures just previous); the market is full of such colorful bustle; the cattle are so knee-deep in mire as they plow and lurch forward; the unhatched chicks are so peckingly witty, not merely "cute"; and the clang of the city's bells, pealing out above the great gate, is so enormous and devotional. I almost want to say that, hearing this, it all makes sense to me: where the savagery in Russian composers come from. And I mean that as a compliment. It's a wonderful savagery, and I'm thinking of passages in Prokofieff, places in Tchaikovsky, and some of the really blood-on-the-floor moments in Shostakovich. I love how Pletnev just really lets go and let fly with the pedal sometimes, coloring long sections with muddled impressionistic sonority. Gosh, it's rare to hear a pianist of such tremendous technique who uses it not for showing off, but completely in the service of the composer.
....Agree....Many worlds into this amazing piano masterpiece...And Pletnev is an absolut wonderful genius....It`s art in finest definition from my point of view.
try Gavrilov
I was going to make a comment but you put it so superbly. Thank you!
Послушайте ещё пианиста и дирижёра Ашкенази, он также прекрасно исполняет " Картинки"
Имела счастье слышать вживую.
This will live with you. A majestic performance.
Pls describe how it was live on stage
Incredible performance, and great video too. Thanks for uploading!
extraordinaire! plus personne n'ose jouer comme ça aujourd'hui, avec autant de créativité et de risques : quel dommage!! quelle force de conviction! c'est admirable
Magnificently played. Pletnev is fabulous.
The "bells" at the end are absolutely incredible!
Mikhail Pletnev adds masterful brush strokes to one of the great piano compositions. I have experienced hearing none better. Also very well filmed - in keeping with the atmosphere of the music.
The best performance of this masterpiece I've ever seen!
Good God, this is amazing. Slava Pletnev!
Wonderful! What a great interpretation. Love Mussorgsky. Love Pletnev. Thanks for posting.
Господи, как же это прекрасно. Не хочется подбирать эпитетов. Просто наслаждаться.
I have heard every great extant recording of this, one of the world's greatest piano solos, and I have to place this first,. In every section, and the promenade throughout, it is exquisite.
My students loved this version of this piece.
Just an incredible piano experience. I thank everyone. It is interesting to think how Ravel's orchestration might have pushed the few pianists capable of playing this to extremes that would have been otherwise unsought. This posting is a wonderful gift to the internet.
+Bob Loosemore .....I am absolut agree with you...this is for me a extasis of pure art.
Your comment here is so refreshing; thank you! Spaseba! I left a long comment myself, which I hope give listeners a little added pleasure, if possible. But thank you for your thanks, and for rejoicing instead of finding fault. We need that kind of thing these days. M.V.
@christube131what exactly is the ravel effect?
Its the way his orchestral version expanded how we experience the original as if Ravel had co-written it with Mussorsky!@@cubycube9924
My sentiments exactly!
Don't know if I'm on the same page as you, (I'm a trumpet player not qualified to critique pianist) but his interpretation and execution made me feel as if I was back in the orchestra! I was hypnotized. Awesome!
Promenade
(1:27) No. 1 "The Gnome"
(3:49) [Untitled] (Interlude, Promenade theme)
(4:34) No. 2 "The Old Castle"
(8:49) [Untitled] (Interlude, Promenade theme)
(9:04) No. 3 "Tuileries"
(10:04) No. 4 "Cattle"
[Untitled] (Interlude, Promenade theme)
(13:37) No. 5 "The Ballet of Unhatched Chicks in their Shells"
(14:57) No. 6 "Samuel Goldenberg and Schmuÿle"
Promenade
(16:56) No. 7 "The Market at Limoges (The Great News)"
(18:22) No. 8 "Catacombs"
(21:42) No. 9 "The Hut on Fowl's Legs"
(25:20) No. 10 "The Great Gate of Kiev"
thank you :)
спасибо!
Very nice of you...
curious that he misses out the promenade between 6 & 7
Thanks
The last one is absolutely amazing. Intense!
Maestro Pletnev”Knocked it out of the park “ with this performance!
Excellent. One of the greatest pianists of all time.
I’m not usually a fan of Pletnev’s interpretations, but this is amazing!!!
When I first saw this, being an avid fan of Pletnev, but for any pianist for that matter, the pianism displayed so sincerely and heartily here is so rare it's diamond-like. Many poor fellows tend to think that the ending is riddled with mistakes...like Pletnev thinks he knows how it should sound. Boy does he! What people don't understand is the "mistakes" they hear are, if they would have the open mind, used as a technique to create the sensation of other orchestra instruments that would otherwise be being heard if it were not for the fact that this is a piano solo. That is not to say Pletnev carelessly makes mistakes. He garnishes his mistakes (which are hardly mistakes to my ears) like a master chef garnishes his famous dishes. Truely, they become less and less known as mistakes, but rather textures and hidden voices that the piano was designed to produce and speak. Also what is an ending to an amazing piece such as this without an absolutely and insanely thunderous finale. This rendition has no trouble blowing away the "day-lights" out of me. Pletnev takes the crown on this one...hands down...literally.
What? This piece was written for piano solo.
Outstanding dynamics and phrasing. What a touch. I'm spellbound.
I love the way he stands up at the end with his foot still on the pedal!
Fantastic Piano Sound!
ОБОЖАЮ М.П. МУСОРГСКОГО !!!
I might have a dream of Mussorgsky walking in the crowds of somecity in Russia , talking to his late friend .
After listening to his incomparable performance ,
I may dream of Mussorgsky
That dream is the ultimate in bliss for me that deeply love and respect and long for Mussorgsky
From Tokyo of the Land of the Rising Sun 🇯🇵
Браво держать у ног стихию и есть искусство.Браво.
Que potencia!!! Mussorgsky estaba desquiciado!!!
Esta interpretación es excelente y muy interesante.
Let me acknowledge the sound/recording engineer for an awesome job. I heard big church bells! :)
so good. so seductive. love this performance!
shit, this is ......mind boggling performance. I an stunned to my bones!!!!!
"Wonders are many, and none is more wonderful than man" (Sophocles - Antigone)
The end of this video brings that quote to mind. I love the way Pletnev stands up with his foot on the sustain pedal. It's a moment of shared exhilaration with the audience that seems to shout "Pick the fuckin' bones out of that!!!"
For better sound seek out the recording of Pictures made by Pletnev in November 1989, at St. Martin's Church, East Woodhay, UK.
One of the glories of recorded music.
How can I find it? Thanks
sublime, una esecuzione incredibilmente sublime
One of the best interpretations i ever heard. Gonna share.
Absolutely stunning level of mastery of a music.
Браво!
Surely an extraordinary pianist ... and watching him play makes listening even more enjoyable. Thanks for this opportunity :o)
Born from the abysses of a desperate soul (Moussorgski, and M. Pletnëv), pierces my own soul...
Thank you very very much for reuploading this lost one :)
The wonderfulness of this masterpiece is irreplaceable , off the charts.
Our lives are short , fleeting, less than100 years.
However,
this masterpiece that he plays with skilful and graceful has a eternal life, and will transcend times and space and races of people
incredible, just blew my mind.
He is not playing, he is painting!!!!
Vero...bravo.
Sono colori gettati nello spazio , solo il Maestro Pletnev però ha la Tavolozza!
Marco Rotondi
The pictures that inspired this masterpiece were not very colourful, as far as I remember from seeing them on internet. Here the music is rendered in such a vivid colourful way. So I agree with this comment. Music is colours and I think that the scores must show it too (sharps and flats everywhere, I guess, and dynamics).
Indeed, he is one of the rare tone painters around today.
very individual, it's good to hear something different for a change....one might argue about some affectations...but in the end this is a convincing interpretation, bravo Pletnev!!
in a lonely word simply wonderful.great interpretation.
Me encanta esta interpretación. Hasta ahora solo había escuchado la versión orquestada.
Mussorgsky escribió esta suite para piano solo originalmente, más adelante fue orquestada por Ravel, y bueno, esa es la versión más popularizada.
Magnificent interpretation, rendering the piano FUBAR
БРАВО !!! ПРЕВОСХОДНО !!! ВЕЛИКОЛЕПНО !!!
Interprétation exceptionnelle.Tout est nuances subtiles, une interprétation sublime à découvrir absolument! Ce pianiste donne à l'oeuvre une dimension nouvelle!
Gesù .... questa esecuzione è straordinaria mai ascoltato così in ogni singola parte questo è un film musicale
His interpretation is just amazing.
Fabuleux morceaux j'adore.
This performance in one word "incredible "
I love that when Pletev starts playing he does not sit rearrange his seat and concentrate! He just arrives and plays!!
Simply beautiful.
One must remember that in a concert hall, the pedaling does not sound as muddled as here. An exceptional performance!
La mas sensible interpretación. Gran maestro Pletnev.
He is God of the sense of sounds balance.
Para mi es excelente la descripción en idioma de piano de toda la exposición dando vida con la variedad y bien colocado el sistema de grabacion, saludos a los melómanos del mu do desde MEXICO, CDMX .
Величайший пианист.
Csak azt akartam elmondani, hogy szeretem ezt a darabot. Ekkora cécót...
제가 들어본 것 들 중에 ... 최고로 좋아요...
Grazie, grazie, grazie Maestro Pletnev.
Best sound ever!
Well that was completely different from what I've become accustomed to. Not surprisingly with Pletnev, it's really good and impressive, even though the degree of change is so great that I'm not about to say it's better than a more traditional interpretation such as Kissin's. I'm sure I'll return for another listen someday.
Alquimista de sonoridades!
Брависсимо!!!!!
This piece is extraordinarily demanding. It is of a musical nature that prohibits inferior pianists.
For years my favorite recording of Pictures was Richter's Sophia recording. Nobody else interested me.
Pletnev is awesome.
Try Gavrilov.
Excellent!
Grande pianista! Peccato che Musorgskij avava scritto un altro spartito..!!!
I'm agree with the guy that says that Pletnev it's painting. It's clearly like this. The moves of the hand are like he is not playing a piano, but paint a picture.
The competing virtuoso for this magnificent piece is Svitoslav Richter's Sofi performance in the 1950's which is so creative in every moment. Would love for their to be a recorded video performance of Richter's performance.
Really, really, really good!
Love how he transitioned from the Two Jews to Limoges. I haven't heard anyone else do it that way and it rocks!
masterful playing!
This guy plays it so much better than I do.
Una Verdadera Exhibición de INTERPRETACIÓN PIANÍSTICA.