Nous devons défendre la République, la magnifier, la restaurer dans ses valeurs, dans ses principes, dans sa sécurité. Both are highly sophisticated and stylized, but the Barcarolle feels like his swan-song – possibly the most richly charged and all-encompassing miracle he ever created, sensual and colourful, and nostalgic for something he imagined might have taken place, but never did. Daraus freilich macht Grimaud kein Geheimnis. May Her Chopin and Rachmaninov are volcanic, a force of nature. Or rien de tout cela ne figure dans le texte. Il nous semble de bon sens de prévoir la même possibilité pour les employeurs dans les domaines sensibles à propos de ceux de leurs salariés qui constitueraient une menace pour la sécurité. I was rediscovering things, not inventing them.
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La réalité est tout autre. Joshua Nolan, un ancien Marine qui a perdu sa femme et sa fille lors des conflits, se retrouve malgré lui shérif de Defiance, l’un des rares endroits où les humains et les extraterrestres parviennent à cohabiter. II faut agir de manière courageuse et responsable. Ordre du jour de la prochaine séance. It’s a transfigured and idealized nocturne, while the Polonaise-Fantaisie is more like a ballade than a Polonaise. I hadn’t touched Chopin since I was 17 years old. Jean-Jacques Bridey , président de la commission de la défense nationale et des forces armées.
Death – there’s no denying it – lies at the very heart of life. The only thing that enables our consciousness to grasp this and, having endured the realization, to be liberated from it is love.
Each in his own way, Chopin and Rachmaninov have meditated upon this unfathomable mystery and transfigured it with music. There is nothing more final than death; and yet, by a striking paradox, it is only death that enables the spirit to find its way back to the central point where life regains its urgency.
That urgency was tested by Chopin and Rachmaninov in the extreme with their Second Sonatas, works that open out to infinity: What is it that makes these pieces so beautiful? For a start, the fact that one has the impression of hearing the two composers sing of their sorrow from a distance. They are singing not only of the deaths of those close to them, or even their own serue They understand that truth in music, reflecting that of all existence, comes not from simulating happiness but from defining its tragedy in a burst of flame.
And thus the promise of reconciliation between time and space becomes a struggle of desperate intensity. The dissonant chord of sorrow and uptoobx is sounded by death and can only be resolved by death. They disclose the soul of true love, defiande love is the cause of great sorrow. When it is gone, all the heart can do is repeat to itself: Of what, then, does their music sing?
They disappear as themselves only to live again in the form of the eternal spirit. In the end, an appeal: Death in Greek is « destiny », the individual portion of it that each receives as his or her share. Thus it is at once a legacy and a projection. It is the signature of our personal fate, but is also what unites us with others, what signifies that we are really only human in our own confrontation with destiny – and in our piety when faced with the death of others. It is useless to flee from death, which is by definition inexorable.
What is important is to maintain the sense of defiance that it instigates by defiancr life in the extreme. What can this music offer us in our distress?
The precarious, dissonant harmony of these works, evoking the divorce of sorrow from existence, is the sign of a cry that has found its rhythm. It prepares for death yet protects against it, because, ultimately, these works tell us so much about death that they open our eyes to an eternity within us. They convert anguish into hope, transfigure our vision of sorrow, and offer us the chance of a reconciliation.
Thus they don’t perpetuate grief: When this comes about, suddenly death seems like the reverse side of a music of purest essence. Finally, it seems that the music of Chopin and Rachmaninov is filled with new things: It knows where to hide the dead, it comes on their behalf and before long we shall all be together in a meadow filled with flowers, with fruit and with music.
What led you to record this particular programme? The piano repertoire is a little like what I imagine Africa to have been to those intrepid Victorian explorers: All your records have had a « concept ». Credoreleased last year, dwelt on the 19th-century German notion of universalism.
What’s the concept this time?
Defiance – Saison 1 Integrale BDRIP FRENCH
I would have to say « death and transcendence », but this CD has come about in a more spontaneous, stream-of-consciousness way than Credo did. I hadn’t touched Chopin since I was 17 years old. I’d played him all through my childhood and my time at the Paris Conservatoire, but then I’d stopped.
For years since, people had been telling me I should play him again, and Serir always replied that I hadn’t turned my back on him, and that it was a matter of when, not if.
And the thought that came into my mind as I listened to Pollini was: The urgency with which he conveyed Chopin’s Second Sonata – his singing poignancy – rekindled uptoobx flame in me. I decided then and there to re-engage myself with the world of Chopin, and realized that the B flat minor Sonata would be a wonderful piece to pair with the Rachmaninov.
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So the Rachmaninov was there in your mind first? Rachmaninov’s Second Sonata has been a work-in-progress throughout my life. It was the springboard that provided me with my first understanding of both the exhilaration and the responsibilities of life as an artist. When was that, more precisely? When I was My father had bought me the Horowitz recording, and I was transfixed by it, and knew I had to record it too.
I learned it in three weeks, and recorded it when I was 15, but never performed it again – until this year. In my teens I was a very restless, very fast learner: I would learn and play something, then quickly move on – the opposite of how I operate now, because now I tend to let things marinate, to live with pieces for an extended period of time and then have trouble leaving them behind.
Coming back to that work now is like returning to a familiar landscape that’s been transformed by a change of season and light, the light being different by virtue of the evolution in my own perspective.
There are several versions of the Rachmaninov, and they differ radically. Which have you gone for? Well, having lived with the work privately for nearly 20 years, and having reflected on the merits of the different versions of the work since taking it into my public repertoire, I’ve come to this point. The first version – of – is for me about what I call psychological marasmus: But it has many digressions that are somewhat detrimental to its architecture – its proportions, the way the big arc is shaped – which is to me one of the most essential aspects of a composition.
The version he rewrote in is purer in structure, more harmonious, more direct. That said, too many of the first version’s « fulgurances » – the lightning flashes – were cut out in the second version. So although the text I decided on for this recording is basically the version, I’ve restored what to me are some very convincing passages from The physical laws of nature are present in composition, as in everything else we do – something strongly mathematical and involving harmony in the sense that some things feel right and others just don’t.
I just found myself impelled by some exterior force to restore certain passages. I was rediscovering things, not inventing them. But Horowitz made his own version. Where do you stand on that? Horowitz’s recorded interpretation is absolutely brilliant, but he made choices in his version which would not be mine. But the fact that he did make his own version – and that Rachmaninov gave it his blessing – made me feel I was not necessarily being presumptuous in making my own, that I would not be committing sacrilege.
And we shouldn’t forget that as a touring pianist Rachmaninov was influenced by the fact that what concert presenters in the United States in the ’30s and ’40s thought the public wanted was very different from what audiences wanted when the piece first saw the light of day, in Russia before the Revolution and the First World War. How do you relate Rachmaninov and Chopin in terms of pianism? You can find many good reasons for juxtaposing Chopin and Rachmaninov, two of the pre-eminent composer-pianists of music history who devoted all of their lives to the creation and performance of large bodies of work for the instrument.
They are to me the two princes of the piano. No, he’s not a prince, he’s a magician. No, something to do with lacking an aristocratic quality of expression – and I don’t mean inheritance or lineage and certainly not intrinsic value. I want to say a certain nobility of heart in artistic terms. No, for the same reason. Brahms and Schumann are both of a different vein. And how do the emotional worlds of Chopin and Rachmaninov chime?
Their works on this record fully reflect the theme of death and transcendence.
As Anton Rubinstein observed, Chopin’s work was a « poem of death » for far deeper reasons than the fact that it contains a funeral dfiance. I don’t get any feeling of death, as the last crashing cascade of notes dies away in the Rachmaninov – I get a feeling of triumph.
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That’s the transcendence I’m talking about. Successful though he was, Rachmaninov was haunted in exile – something must have died in him when he left Russia, never to defiahce. His first exile had been from St. Petersburg when he was twelve, and his sister had died when he was very young.
He had many serrie for nostalgia. For me the sonata’s first movement – like all first movements – contains its essence, and it indicates that he was plagued by his own inner dark visions.
The second movement also conveys that darkness alternating with lines of pure nostalgia, its counterpoint, bittersweet but still hopeful. But the triumphant Finale?
The finale is only triumphant in that it succeeds in overcoming that state of psychological marasmus and transforms faint hope into defiant vital energy and even impish humor. Finales are seldom essential in the way opening movements are – they’re often celebrations of what has been said. The first movement is the core, the nucleus from which all else evolves.
And this is true of Chopin’s Sonata, too. His first movement reflects the revolt and supplications of a tragic struggle against hopeless destiny. His Scherzo is the menacing game of the forces of darkness at work; the Funeral March is an echo of all humanity’s irrevocable pain; the Finale is like a hallucinating shiver, a glacial wind sweeping over a cemetery, taking away the souls with an inflection of regret. How do you approach that last movement technically? With Maurizio Pollini you hear every note distinct, but with Yevgeny Kissin it’s just washes of colour.
Is it a matter of with pedal, or without, for you? But that has to be a matter of gradation – it must still be clear. It may seem like a flow of magma, but it also has clear patterns.
How does the Barcarolle fit into your scheme?