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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Mikhail_Pletnev-Liszt_Sonata_Pieces-1990-DeBT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
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▄░▓███████▄▄▄░ ARTiST.... Mikhail Pletnev ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Liszt: Sonata Pieces █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Melodiya Record Company ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Classical ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-04-16 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 1990-00-00 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 219 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 5 / 66:21 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 108.66 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
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▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Sonata for Piano in B minor 34:31 ████▓▄ ░
░ ▄▓████ 2 Mephisto-Waltz No. 1, S 541 (Der Tanz in 11:48 ████▓▄ ░
░ ▄▓████ Der Dorfschenke) ████▓▄ ░
░ ▄▓████ 3 Les Ann¿ªes De P¿¿lerinage - Troisi¿¿me 7:16 ████▓▄ ░
░ ▄▓████ Ann¿ªe: L'Italie, S 163 - 4. Les Jeux ████▓▄ ░
░ ▄▓████ D'Eau ¿ñ La Villa D'Este (Allegretto) ████▓▄ ░
░ ▄▓████ 4 Les Ann¿ªes De P¿¿lerinage - Deuxi¿¿me 6:20 ████▓▄ ░
░ ▄▓████ Ann¿ªe: L'Italie, S 161 - 02. Il Penseroso ████▓▄ ░
░ ▄▓████ (Lento) ████▓▄ ░
░ ▄▓████ 5 Hungarian Rhapsody No. 15 "Rakoczy March" 6:26 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 66:21 MIN ████▓░
░▓███████▄ TOTAL SIZE: 108.66 MB▄█████▓░
▀░▀████████▄ ▄█████▀░▀▀
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░▓█████▓░╟─────────────────────────────────────RELEASE NOTES╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Those lovers of Liszt who have not heard of ║▀░▓████░▀▄
▄▀░████▓░▀║ Mikhail Pletnev should sit up and take note! If ║▀░▓████░▀▄
▄▀░████▓░▀║ any pianist can lay claim to having a technique ║▀░▓████░▀▄
▄▀░████▓░▀║ capable of comparison with that of Horowitz, it ║▀░▓████░▀▄
▄▀░████▓░▀║ is Pletnev. But he uses the instrument very much ║▀░▓████░▀▄
▄▀░████▓░▀║ as a pseudo-orchestra, finding a range of ║▀░▓████░▀▄
▄▀░████▓░▀║ tone-colours that is wholly remarkable. Maybe he ║▀░▓████░▀▄
▄▀░████▓░▀║ isn't a particularly original musician, but his ║▀░▓████░▀▄
▄▀░████▓░▀║ grasp of the instrument's sonority, coupled with ║▀░▓████░▀▄
▄▀░████▓░▀║ a refined and searching musicality, ensures that ║▀░▓████░▀▄
▄▀░████▓░▀║ everything he does has a pristine clarity that ║▀░▓████░▀▄
▄▀░████▓░▀║ quite transcends that of most other pianists. ║▀░▓████░▀▄
▄▀░████▓░▀║ The Liszt Sonata is a little inflated here. ║▀░▓████░▀▄
▄▀░████▓░▀║ Bolet's ruminative and dour preoccupations on ║▀░▓████░▀▄
▄▀░████▓░▀║ Decca belong to another world, as does Brendel's ║▀░▓████░▀▄
▄▀░████▓░▀║ ability to convince one of the formal sincerity ║▀░▓████░▀▄
▄▀░████▓░▀║ of the piece (Philips). Pletnev gets by partly on ║▀░▓████░▀▄
▄▀░████▓░▀║ counterbalancing nai'vety with masterfully ║▀░▓████░▀▄
▄▀░████▓░▀║ controlled crescendos, but at times the two do ║▀░▓████░▀▄
▄▀░████▓░▀║ not seem entirely interrelated. As on the rest of ║▀░▓████░▀▄
▄▀░████▓░▀║ the disc, there are a number of controversial ║▀░▓████░▀▄
▄▀░████▓░▀║ things, such as supplementing the left-hand ║▀░▓████░▀▄
▄▀░████▓░▀║ writing and the highlighting of motifs not ║▀░▓████░▀▄
▄▀░████▓░▀║ normally heard (one can almost hear a timpani ║▀░▓████░▀▄
▄▀░████▓░▀║ section towards the end of the Sonata). ║▀░▓████░▀▄
▄▀░████▓░▀║ Looking at my notes on his performance of the ║▀░▓████░▀▄
▄▀░████▓░▀║ First Mephisto Waltz, I must admit to being ║▀░▓████░▀▄
▄▀░████▓░▀║ bowled over. This is simply the most technically ║▀░▓████░▀▄
▄▀░████▓░▀║ perfect, most thrilling and least-strained ║▀░▓████░▀▄
▄▀░████▓░▀║ performance I have ever heard. Most other 'great ║▀░▓████░▀▄
▄▀░████▓░▀║ technicians' sound laboured in comparison. The ║▀░▓████░▀▄
▄▀░████▓░▀║ right hand chromatic scales have a superhuman ║▀░▓████░▀▄
▄▀░████▓░▀║ evenness and Pletnev's icy nonchalance holds one ║▀░▓████░▀▄
▄▀░████▓░▀║ in the palm of his hand. ║▀░▓████░▀▄
▄▀░████▓░▀║ Mikhail Pletnev, who won the 1978 Tchaikovsky ║▀░▓████░▀▄
▄▀░████▓░▀║ Competition, trained solely in Russia, and this ║▀░▓████░▀▄
▄▀░████▓░▀║ may explain why his approach to the "Jeux d'eaux ║▀░▓████░▀▄
▄▀░████▓░▀║ a la villa d'Este" is somewhat inappropriate. The ║▀░▓████░▀▄
▄▀░████▓░▀║ fountains in his reading seem to have been turned ║▀░▓████░▀▄
▄▀░████▓░▀║ onto full power, with water gushing under ║▀░▓████░▀▄
▄▀░████▓░▀║ pressure, rather than trickling and bubbling so ║▀░▓████░▀▄
▄▀░████▓░▀║ as to intoxicate. This is too fast and too ║▀░▓████░▀▄
▄▀░████▓░▀║ emphatic. After the gloom of "II penseroso", this ║▀░▓████░▀▄
▄▀░████▓░▀║ CD finishes with an exuberant charge through the ║▀░▓████░▀▄
▄▀░████▓░▀║ Fifteenth Hungarian Rhapsody (the Rakoczy March). ║▀░▓████░▀▄
▄▀░████▓░▀║ All is carefully worked out, but the rhythmic ║▀░▓████░▀▄
▄▀░████▓░▀║ impetus is ineffective and lacking in fluency, ║▀░▓████░▀▄
▄▀░████▓░▀║ with some pretty vile glissandos contributing to ║▀░▓████░▀▄
▄▀░████▓░▀║ an overall impression of cheapness. The piano ║▀░▓████░▀▄
▄▀░████▓░▀║ sound is a faithful representation of the ║▀░▓████░▀▄
▄▀░████▓░▀║ artist's tone, and I hope that there will be many ║▀░▓████░▀▄
▄▀░████▓░▀║ more Pletnev CDs to follow. J.M-C. ║▀░▓████░▀▄
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▀░▓███████▄▄║ -- Katharine Graham ║▄▄███████▓░▀
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