ANATOL UGORSKI – A pianistic thinker

Anatol Ugorski is one of the very few pianists who experienced a meteoric rise in fame who also kept up and even refined his deep pianistic beliefs. Deeply rooted in the often-cited “Russian tradition” he is also a highly individualistic virtuoso personality. His distinctive commitment to 20th century composers like Messiaen and Boulez is characterized in an anecdote from 1967 when he attended one of the few guest concerts of Pierre Boulez in the Soviet Union. Ugorski was so enthusiastic in public about the Boulez program featuring Schoenberg, Berg and Webern that he experienced reprimands and threats from the official censorship authorities afterwards.

Technical perfection, musical intelligence and courage are the hallmarks of Anatol Ugorski’s personality. Since his meteoric rise to fame in the 90’s, Ugorski’s interpretations, informed by his personal beliefs have stimulated discussion around the performer’s relationship with the score. Now his complete recordings on Deutsche Grammophon are presented together for the first time, including the first international release of his Scriabin Sonatas 2, 3, 5 & 9 as well as rare Chopin recordings.

Ugorski’s interpretations are informed by his personal beliefs. An intrinsic aspect of his artistic personality is that he challenges audiences and critics to discourse; for example, his reading of the Arietta from Beethoven’s op. 111 stimulated scholarly discussion over his intense Larghissimo taking more time for the movement than almost all other interpreters. Some considered his tempo to be a wholehearted intellectual testing of the musical material, others were outraged by the freedom he took with his interpretation. Unaffected by such debates, Ugorski holds to the musico-philosophical mantra that there is no supreme interpretative rule or ‘definitive’ interpretation, only the “truth of the moment.”

When it comes to biographical details, Ugorski has always been reluctant to provide personal details about himself. Why? “The music is more important.”

ANATOL UGORSKI – A pianistic thinker

Anatol Ugorski is one of the very few pianists who experienced a meteoric rise in fame who also kept up and even refined his deep pianistic beliefs. Deeply rooted in the often-cited “Russian tradition” he is also a highly individualistic virtuoso personality. His distinctive commitment to 20th century composers like Messiaen and Boulez is characterized in an anecdote from 1967 when he attended one of the few guest concerts of Pierre Boulez in the Soviet Union. Ugorski was so enthusiastic in public about the Boulez program featuring Schoenberg, Berg and Webern that he experienced reprimands and threats from the official censorship authorities afterwards.

Technical perfection, musical intelligence and courage are the hallmarks of Anatol Ugorski’s personality. Since his meteoric rise to fame in the 90’s, Ugorski’s interpretations, informed by his personal beliefs have stimulated discussion around the performer’s relationship with the score. Now his complete recordings on Deutsche Grammophon are presented together for the first time, including the first international release of his Scriabin Sonatas 2, 3, 5 & 9 as well as rare Chopin recordings.

Ugorski’s interpretations are informed by his personal beliefs. An intrinsic aspect of his artistic personality is that he challenges audiences and critics to discourse; for example, his reading of the Arietta from Beethoven’s op. 111 stimulated scholarly discussion over his intense Larghissimo taking more time for the movement than almost all other interpreters. Some considered his tempo to be a wholehearted intellectual testing of the musical material, others were outraged by the freedom he took with his interpretation. Unaffected by such debates, Ugorski holds to the musico-philosophical mantra that there is no supreme interpretative rule or ‘definitive’ interpretation, only the “truth of the moment.”

When it comes to biographical details, Ugorski has always been reluctant to provide personal details about himself. Why? “The music is more important.”

028947999232
The Complete Recordings On Deutsche Grammophon [Box Set]
Artist: Anatol Ugorski
Format: CD
New: Not in stock
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Available Formats and Editions

DISC: 1

1. Tema Vivace (Original Version)
2. Variation 1 Alla Marcia Maestoso (Original Version)
3. Variation 2 Poco Allegro (Original Version)
4. Variation 3 L'istesso Tempo (Original Version)
5. Variation 4 Un Poco Più Vivace (Original Version)
6. Variation 5 Allegro Vivace (Original Version)
7. Variation 6 Allegro Ma Non Troppo E Serioso (Original Version)
8. Variation 7 Un Poco Più Allegro (Original Version)
9. Variation 8 Poco Vivace (Original Version) 1
10. Variation 9 Allegro Pesante E Risoluto (Original Version) 1
11. Variation 10 Presto (Original Version) 1
12. Variation 11 Allegretto (Original Version) 1
13. Variation 12 Un Poco Più Moto (Original Version) 1
14. Variation 13 Vivace (Original Version) 1
15. Variation 14 Grave E Maestoso (Original Version) 1
16. Variation 15 Presto Scherzando (Original Version) 1
17. Variation 16 Allegro (Original Version) 1
18. Variation 17 (Original Version) 1
19. Variation 18 Poco Moderato (Original Version) 2
20. Variation 19 Presto (Original Version) 2
21. Variation 20 Andante (Original Version) 2
22. Variation 21 Allegro Con Brio - Meno Allegro - Tempo I (Original Version) 2
23. Variation 22 Allegro Molto: Alla "Notte E Giorno Faticar" Di Mozart (Original Version) 2
24. Variation 23 Allegro Assai (Original Version) 2
25. Variation 24 Fughetta Andante (Original Version) 2
26. Variation 25 Allegro (Original Version) 2
27. Variation 26 (Original Version) 2
28. Variation 27 Vivace (Original Version) 2
29. Variation 28 Allegro (Original Version) 3
30. Variation 29 Adagio Ma Non Troppo (Original Version) 3
31. Variation 30 Andante, Sempre Cantabile (Original Version) 3
32. Variation 31 Largo, Molto Espressivo (Original Version) 3
33. 3
34. Variation 32 Fuga Allegro - Poco Adagio (Original Version) 3
35. 3
36. Variation 33 Tempo Di Minuetto Moderato, Ma Non Tirarsi Dietro (Original Version) 3
37. Promenade. Allegro Giusto, Nel Modo Rustico, Senza Allegrezza, Ma Poco Sostenuto - Attacca (For Piano) 3
38. Gnomus. Sempre Vivo (For Piano) 3
39. Promenade. Moderato Commodo Assai E Con Delicatezza - Attacca (For Piano) 3
40. The Old Castle. Andantino Molto Cantabile E Con Dolore (For Piano) 3
41. Promenade. Moderato Non Tanto, Pesamente - Attacca (For Piano) 4
42. The Tuileries Gardens. Allegretto Non Troppo Troppo, Capriccioso (For Piano) 4
43. Bydlo. Sempre Moderato, Pesante (For Piano) 4
44. Promenade. Tranquillo - Attacca (For Piano) 4
45. Ballet of the Chickens in Their Shells (For Piano) 4
46. Samuel Goldenberg and Schmuyle. Andante. Grave-Energico - Andantino (For Piano) 4
47. Promenade. Allegro Giusto, Nel Modo Russico, Poco Sostenuto - Attacca (For Piano) 4
48. The Market-Place at Limoges. Allegretto Vivo, Sempre Scherzando - Attacca (For Piano) 4
49. The Catacombs Sepulchrum Romanum. Largo - Attacca (For Piano) 4
50. Con Mortuis in Lingua Mortua. Andante Non Troppo, Con Lamento (For Piano) 4
51. The Hut on Fowl's Legs Baba-Yaga. Allegro Con Brio, Feroce - Andante Mosso - Allegro Molto - Attacca (For Piano) 5
52. The Great Gate of Kiev. Allegro Alla Breve. Maestoso. Con Grandezza (For Piano) 5
53. Russian Dance (Scene 1) 5
54. Petrouchka's Room (Scene 2) 5
55. The Shrovetide Fair (Scene 4) 5
56. Track 56
57. Maestoso - Allegro Con Brio Ed Appassionato (Original Version) 5
58. Track 58
59. Arietta Adagio Molto Semplice E Cantabile (Original Version) 5
60. Track 60
61. Andante Con Moto (Original Version) 5
62. Track 62
63. Allegro (Original Version) 5
64. Track 64
65. Andante (Original Version) 5
66. Track 66
67. Presto (Original Version) 6
68. Track 68
69. Quasi Allegretto (Original Version) 6
70. Track 70
71. Presto - Andante Amabile E Con Moto (Original Version) 6
72. Poco Moto (Original Version) 6
73. Rondo a Capriccio in G, Op.129 "Die Wut Ãœber Den Verlornen Groschen" for Piano 6
74. Track 74
75. Lebhaft (Original Version) 6
76. Track 76
77. Innig (Original Version) 6
78. Track 78
79. Mit Humor (Original Version) 6
80. Track 80
81. Ungeduldig (Original Version) 6
82. Track 82
83. Einfach (Original Version) 6
84. Track 84
85. Sehr Rasch (Original Version) 7
86. Track 86
87. Nicht Schnell (Original Version) 7
88. Track 88
89. Frisch (Original Version) 7
90. Track 90
91. Lebhaft (Original Version) 7
92. 1
93. Balladenmässig, Sehr Rasch (Original Version) 7
94. 1
95. Einfach (Original Version) 7
96. 1
97. Mit Humor (Original Version) 7
98. 1
99. 1
100. Wild Und Lustig (Original Version) 7
101. 1
102. Zart Und Singend (Original Version) 7
103. 1
104. Frisch (Original Version) 7
105. 1
106. Mit Gutem Humor (Original Version) 8
107. 1
108. Wie Aus Der Ferne (Original Version) 8
109. 1
110. Nicht Schnell (Original Version) 8
111. Track 111
112. Allegro Con Fuoco, Ma Non Troppo (Original Version) 8
113. Track 113
114. Adagio (Original Version) 8
115. Track 115
116. Presto (Original Version) 8
117. Track 117
118. Allegro (Original Version) 8
119. Track 119
120. Le Chocard Des Alpes (Book 1) 8
121. Track 121
122. Le Loriot (Book 1) 8
123. Track 123
124. Le Merle Bleu (Book 1) 8
125. Track 125
126. Le Traquet Stapazin (Book 2) 9
127. Track 127
128. La Chouette Hulotte (Book 3) 9
129. Track 129
130. L'alouette Lulu (Book 3) 9
131. Track 131
132. La Rousserolle Effarvatte (Book 4) 9
133. Track 133
134. L'alouette Calandrelle (Book 5) 9
135. Track 135
136. La Bouscarle (Book 5) 9
137. 1
138. Le Merle de Roche (Book 6) 9
139. 1
140. La Buse Variable (Book 7) 9
141. 1
142. Le Traquet Rieur (Book 7) 9
143. 1
144. Le Courlis Cendré (Book 7) 9
145. La Fauvette Des Jardins 10
146. Track 146
147. Giga, Bolero E Variazione. Studie Nach Mozart (Original Version) 10
148. Liebestraum No. 3 (Original Version) 10
149. Track 149
150. Clair de Lune (Original Version) 10
151. No. 2 Scherzo in E minor, MWV U71 (Original Version) 10
152. Track 152
153. Träumerei (Original Version) 10
154. Allegro Agitato (Original Version) 10
155. Track 155
156. Poème in F Sharp (Original Version) 10
157. Track 157
158. Poème in D (Original Version) 10
159. No.2 Prelude in C Sharp minor (Original Version) 10
160. Track 160
161. Prélude: Andante (Original Version) 11
162. Track 162
163. Nocturne: Andante (Original Version) 11
164. Moderato - Allegro Vivace (Original Version) 11
165. Track 165
166. Rondo Presto. "Perpetuum Mobile" (Original Version) 11
167. Moderato (Original Version) 11
168. Cantabile in B Flat 11
169. Fugue in a Minor 11
170. Original Version 11
171. Track 171
172. Allegro (Original Version) 11
173. Track 173
174. Andante (Original Version) 11
175. Track 175
176. Scherzo Allegro Molto E Con Fuoco (Original Version) 12
177. Track 177
178. Finale Allegro Con Fuoco (Original Version) 12
179. Track 179
180. Allegro Non Troppo, Ma Energico (Original Version) 12
181. Track 181
182. Andante Con Espressione (Original Version) 12
183. Track 183
184. Scherzo. Allegro (Original Version) 12
185. Track 185
186. Finale Introduzione. Sostenuto - Allegro Non Troppo E Rubato (Original Version) 12
187. Chaconne (Transcribed for Piano for the Left Hand By Johannes Brahms) 12
188. Track 188
189. Allegro Maestoso (Original Version) 12
190. Track 190
191. Andante Espressivo (Original Version) 12
192. Track 192
193. Scherzo (Original Version) 12
194. Track 194
195. Intermezzo Andante Molto (Original Version) 13
196. Track 196
197. Finale Allegro Moderato Ma Rubato (Original Version) 13
198. Aria (Original Version) 13
199. Variation I (Original Version) 13
200. Variation II (Original Version) 13
201. Variation III (Original Version) 13
202. Variation IV (Original Version) 13
203. Variation V (Original Version) 13
204. Variation VI (Original Version) 13
205. Variation VII (Original Version) 13
206. Variation VIII (Original Version) 14
207. Variation IX (Original Version) 14
208. Variation X (Original Version) 14
209. Variation XI (Original Version) 14
210. Variation XII (Original Version) 14
211. Variation XIII (Original Version) 14
212. Variation XIV (Original Version) 14
213. Variation XV (Original Version) 14
214. Variation XVI (Original Version) 14
215. Variation XVII (Original Version) 14
216. Variation XVIII (Original Version) 15
217. Variation XIX (Original Version) 15
218. Variation XX (Original Version) 15
219. Variation XXI (Original Version) 15
220. Variation XXII (Original Version) 15
221. Variation XXIII (Original Version) 15
222. Variation XXIV (Original Version) 15
223. Variation XXV (Original Version) 15
224. Fuga (Original Version) 15
225. Allegro Maestoso (Original Version) 15
226. Allegro Ma Non Troppo (Original Version) 16
227. Polonaise No.10 in F minor, Op.71 No.3 16
228. Polonaise in B Flat minor, Op. Posth 16
229. Polonaise in G Flat, Op. Posth 16
230. Polonaise in G minor, Op. Posth 16
231. Polonaise in B Flat, Op. Posth 16
232. Polonaise in a Flat, Op. Posth 16
233. Moderato (Original Version) 16
234. Introduzione. Allegro Molto - Allegro Vivace (Original Version) 16
235. Presto (Original Version) 16
236. Original Version 17
237. Original Version 17
238. Etude in a Flat, Op. Posth. " Méthode Des Méthodes " 17
239. Etude in D Flat, Op. Posth. " Méthode Des Méthode

More Info:

ANATOL UGORSKI – A pianistic thinker

Anatol Ugorski is one of the very few pianists who experienced a meteoric rise in fame who also kept up and even refined his deep pianistic beliefs. Deeply rooted in the often-cited “Russian tradition” he is also a highly individualistic virtuoso personality. His distinctive commitment to 20th century composers like Messiaen and Boulez is characterized in an anecdote from 1967 when he attended one of the few guest concerts of Pierre Boulez in the Soviet Union. Ugorski was so enthusiastic in public about the Boulez program featuring Schoenberg, Berg and Webern that he experienced reprimands and threats from the official censorship authorities afterwards.

Technical perfection, musical intelligence and courage are the hallmarks of Anatol Ugorski’s personality. Since his meteoric rise to fame in the 90’s, Ugorski’s interpretations, informed by his personal beliefs have stimulated discussion around the performer’s relationship with the score. Now his complete recordings on Deutsche Grammophon are presented together for the first time, including the first international release of his Scriabin Sonatas 2, 3, 5 & 9 as well as rare Chopin recordings.

Ugorski’s interpretations are informed by his personal beliefs. An intrinsic aspect of his artistic personality is that he challenges audiences and critics to discourse; for example, his reading of the Arietta from Beethoven’s op. 111 stimulated scholarly discussion over his intense Larghissimo taking more time for the movement than almost all other interpreters. Some considered his tempo to be a wholehearted intellectual testing of the musical material, others were outraged by the freedom he took with his interpretation. Unaffected by such debates, Ugorski holds to the musico-philosophical mantra that there is no supreme interpretative rule or ‘definitive’ interpretation, only the “truth of the moment.”

When it comes to biographical details, Ugorski has always been reluctant to provide personal details about himself. Why? “The music is more important.”