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Classical - Released December 2, 2014 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason - 4 étoiles Classica
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Classical - Released February 21, 2020 | Deutsche Grammophon (DG)

Hi-Res Distinctions Choc de Classica
Maurizio Pollini revisits Beethoven’s final three sonatas (Op. 109 to 111), forty years after recording the very same score for the first time, a score which sees the composer elevate the genre to dizzying levels of expertise. The Italian pianist explains that ever since January 1977 (the first time he recorded No. 32, Nos. 30 and 31 dating even further back to June 1975), he has continuously discovered an infinite number of details within the material and the structure over the course of the multiple times he has performed the three sonatas. Beethoven strays away from the conventions of the traditional sonata with these, something he had been doing since his Opus 27 (Quasi una fantasia, Moonlight), inserting various astonishing shapes. Thus, variation (Op. 109, Arietta of the Op. 111) and fugue (Op. 110, after that of the Opus 101) assume an innovative importance here, much like other unrestricted episodes where Beethoven appears to be expressing very personal emotions, initiating the Romantic era, where subjectivity reigns over structure. Recorded in concert, Maurizio Pollini brings a surprising amount of urgency (Op. 109) and lyricism (Op. 110) to this release that ensures its place as one of the best Pollini recitals in recent years (Beethoven, Debussy, Chopin). A must-listen. © Pierre-Yves Lascar/Qobuz
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Classical - Released January 1, 2011 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
This 2011 box set contains eight complete recordings of the music of Chopin by Maurizio Pollini. Pollini made these for Deutsche Grammophon between 1972 and 2008, covering the solo works of the Romantic, master composer, which is only fitting for a pianist who first gained wide attention after winning the Chopin International Competition in 1960. Pollini is known for his ability to give weight to Chopin's music, but still bring out its lyricism and refined beauty. © TiVo
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Classical - Released January 1, 2012 | Deutsche Grammophon (DG)

Distinctions Diapason d'or
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Full Operas - Released January 6, 2017 | Sony Classical

Distinctions 5 de Diapason
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Classical - Released October 7, 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Hi-Res Audio
Milanese-born pianist Maurizio Pollini has a flawless technique that, for his champions, seems to merge with the virtuosic aspect of Beethoven's music. Few would disparage his readings of the late Beethoven sonatas, which like the composer's other late music reside at the limits of playability; Pollini does wonderful things there. Likewise, for Pollini's detractors, he has a willful interpretive streak that can jangle the nerves if you don't connect with what he's doing. There's plenty of ammunition for both sides of the debate on this recording, comprising an attractive selection of four early sonatas, two of them grand four-movement pieces of symphonic scope, and two, the pair of Op. 14 works, small lyrical works that look forward to the Romantics. Pollini does very well with the outer pair, the Piano Sonata No. 4 in E flat major, Op. 7, which was the first sonata to depart decisively from Haydn's world, and the Piano Sonata No. 11 in B flat major, Op. 22, which in Pollini's hands really looks forward to the monumental accomplishments of Beethoven's middle period. The two smaller works of Op.14, however, are a good deal more troublesome. Generally taken as calm, pastoral, Mendelssohnian works, they become with Pollini nervous mutterings, with the major-key passages having the flavor of rushed little etudes. It's without question an original take, but there's a question as to whether it can stand up to precedent. Nevertheless, Pollini has lost neither technical flair nor boldness in his old age, and it's always worth hearing what he has to say. © TiVo
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Classical - Released January 1, 1972 | Deutsche Grammophon (DG)

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Both sets of Chopin's etudes can be as fiendishly difficult for the performer as they are mesmerizing for the listener, yet Maurizio Pollini makes them sound as if they pose no problems whatsoever for him in this 1972 recording. Every one of the etudes is played with easy precision, energy, and an entirely enjoyable musicality that demonstrates why Chopin's etudes are no mere exercises and are as suited to the recital hall as to the practice room. The melody of the famous Etude No. 3 in E major is lyrical and warm, which highlights precisely the challenge posed by Chopin in these brief pieces: bring out an effective melody while mastering an exact technique through repetition. The recording also shows why Pollini is one of the most respected Chopin interpreters of all time. © TiVo
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Solo Piano - Released January 25, 2019 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1985 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1976 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2009 | Deutsche Grammophon (DG)

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Classical - Released January 27, 2017 | Deutsche Grammophon (DG)

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Esteemed for almost 60 years as one of the greatest Chopin interpreters, Maurizio Pollini confirms his preeminence with this 2017 release on Deutsche Grammophon, and offers his first all-Chopin disc since 2012. Chopin's late works were composed between 1845 and 1849, and include the Barcarolle in F sharp major, Op. 60, the 3 Mazurkas, Op. 59, the Polonaise-Fantaisie in A flat major, Op. 61, the 2 Nocturnes, Op. 62, the 3 Mazurkas, Op. 63, the 3 Waltzes, Op. 64, and the Mazurka in F minor, Op. Posth. 68, No. 4; they are notable for their harmonic richness and freedom of melodic embellishment, characteristics that made them especially influential among his Romantic contemporaries. Pollini's fluid phrasing and control of expression and dynamics have always given his performances sophistication and a feeling of balance, though these are engaging renditions that are far from cerebral or clinical, claims that critics have sometimes laid at Pollini's door. Yet listeners can hear for themselves how polished and deeply felt these performances are, and appreciate the artistic wholeness of Pollini's conceptions, from the elegance of the "Minute" Waltz to the sublime melancholy of the posthumous Mazurka in F minor. Highly recommended for fans of great piano music. © TiVo
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Classical - Released January 1, 1999 | Deutsche Grammophon (DG)

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Classical - Released March 15, 1997 | Deutsche Grammophon (DG)

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Because Beethoven's late piano sonatas are universally revered, performances of these works often invite passionate disagreements about the proper way to interpret them. Such was the case with Maurizio Pollini's recordings (1975-1977), and the controversy surrounding them has never fully abated. While these performances are polished to an extent seldom realized on other recordings, it was this pristine quality itself that invited criticism. Pollini was alleged to have objectified the music and detached himself emotionally from his performances, leaving only cold, analytical readings without a trace of feeling. In defense, it should be pointed out that many previous performances were overly burdened with Romantic interpretations and pretensions, and that Pollini performed a great service by presenting the sonatas in as accurate and clean a manner as possible, without grandiose effects. His performances are astonishingly lucid and flowing, especially in the many contrapuntal passages that regularly appear as features of these works. The last five sonatas are admirably served by Pollini's control and precision, and whatever doubts are held about his emotional involvement may be dismissed when the slow movements of Opp. 109 and 111 are heard. These are sublime performances with a high level of immediacy and skill and are strongly recommended. © TiVo
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Classical - Released January 1, 2010 | Deutsche Grammophon (DG)

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Classical - Released February 23, 2018 | Deutsche Grammophon (DG)

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Why yes indeed, this is a very recent recording of Debussy by Maurizio Pollini (with his own son Daniele at his side for En blanc et en noir), made in late 2016 in Munich's sumptuous Herkulesaal. In it, the old lion of the piano unfurls for us the sumptuous and enigmatic musical tapestry of the Second Book of Debussy's Preludes, finished in 1912: a superlatively delicate pattern, more sketched and suggested than really followed, the pianist being enjoined not to "overdo it". Maurizio Pollini, 74 when the recording was made, can measure his performance out perfectly, and knows how to give the impression that the music is being written and improvised as he plays. And the album closes with En blanc et en noir for two pianos, of which Debussy wrote in 1915: "I have suffered greatly from the long drought imposed upon my brain by the war"; after months of silence, and his work editing Chopin, he entered a period of fevered creativity which continued with the two Books of the Études and the final sonatas. First entitled "Caprices en blanc et noir", the three pieces of En blanc et noir refer neatly to the instrument's keys and, as Debussy writes in 1916, "they aim to draw their colour, their emotion, from the simple piano, like Velasquez's greys". Grey, the fruit of the meeting of black and white... © SM/Qobuz
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Classical - Released January 1, 1984 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1987 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1984 | Deutsche Grammophon (DG)