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Maurizio Pollini (5 January 1942 – 23 March 2024) was an Italian pianist and conductor. He was known for performances of Beethoven, Chopin, Debussy, and the Second Viennese School, among others. He also championed works by contemporary composers, including Pierre Boulez, Karlheinz Stockhausen, George Benjamin, Roberto Carnevale, Gianluca Cascioli and Bruno Maderna. Several compositions were written for him, including Luigi Nono's ... sofferte onde serene ..., Giacomo Manzoni's Masse: omaggio a Edgard Varèse, and Salvatore Sciarrino's Fifth Sonata.

Pollini was a left-wing activist in the 1960s and 1970s, and he remained politically engaged in his later life. He maintained some separation between these ideals and his consummate musicianship.

As a conductor he was instrumental in the Rossini revival at the Rossini Opera Festival in Pesaro, conducting La donna del lago from a new critical edition in 1981. He also conducted from the keyboard.

Life and career

1942–early 1960s: Upbringing, studies, and competitions

Pollini was born in Milan to Gino Pollini, perhaps the first architect—a rationalist—to bring modern architecture to Italy in the 1930s, and his wife Renata Melotti, a sister of the Italian sculptor Fausto Melotti.<ref name="ABC Classic FM">Шаблон:Cite web</ref>

From age seven, Pollini studied piano with notable local teacher Carlo Lonati. He remembered that Lonati allowed him to play what he loved. When Lonati died, his student Carlo Vidusso became Pollini's teacher.Шаблон:Sfn From age 13 to 18, Pollini was Lonati's student.<ref>Шаблон:Cite book</ref> Vidusso trained Pollini strictly at the Milan Conservatory, preparing him for competition.Шаблон:Sfn There Pollini also studied composition and conducting.Шаблон:Sfn

In 1957 he took second prize, after Martha Argerich, in the 1957 Geneva International Music Competition at the Conservatoire de Musique de Genève.Шаблон:Sfn He won both the 1959 International Ettore Pozzoli Piano Competition in Seregno Шаблон:Sfn and the 1960 International Chopin Piano Competition in Warsaw at the age of 18. He selected among the most formidable of the possible etudes the "Octave", "Winter Wind", and "Waterfall", which Шаблон:Ill assessed as qualifying Pollini "for either the madhouse or victory".Шаблон:Sfn Arthur Rubinstein, leading the jury, declared "that boy can play the piano better than any of us".<ref name="AR">Шаблон:Cite news</ref>Шаблон:Efn

After these successes, Pollini did not perform for one year. He limited his concertizing in the 1960s to study, broadening his musical experience and expanding his pianistic repertoire.<ref>Шаблон:Cite book</ref> This led to erroneous rumors that he had become a recluse.<ref name="AR2">Шаблон:Cite news</ref> He taped performances of Chopin's etudes and recorded Chopin's First Concerto with the Philharmonia Orchestra under Paul Kletzki for EMI.<ref>Шаблон:Cite book</ref> He had a "crisis of confidence", Peter Andry described, when the Philharmonia offered him a concert series.<ref name="peter andry">Шаблон:Cite book</ref>

He studied with Arturo Benedetti Michelangeli for six months in the early 1960s. Michelangeli's repertoire was select and polished by rigorous practice.Шаблон:Sfn Шаблон:Efn Pollini obtained "a precise technique and emotional restraint".<ref>Шаблон:Cite book</ref> Some expressed concern that Michelangeli's influence led to Pollini's style becoming "mannered and cold"<ref name="peter andry" /> or "drier, more cerebral".Шаблон:Sfn While known for exceptional technique, Pollini was criticized for emotional conservatism.<ref>Schonberg, Harold. The Great Pianists from Mozart to the Present (1987 edition)</ref> John Rockwell summarized Pollini's "hard‐edged and modern" style as one of "coolness, intensity and virtuosity", noting his tonal control and "sheer dexterity".<ref name="NYT1977" />

Mid-1960s–1970s: Early career and musical and political collaboration

Шаблон:Quote box

Beginning in the mid-1960s, Pollini gave recitals<ref>Jean-Pierre Thiollet, 88 notes pour piano solo, "Solo nec plus ultra", Neva Editions, 2015, p.50. Шаблон:ISBN.</ref> and appeared with orchestras in Europe, the United States, and the Far East. His American debut was 1968.<ref name="Britannica">Шаблон:Cite encyclopedia</ref> He first toured Japan in 1974.<ref name="NHK">Шаблон:Cite news</ref> Once wary of becoming pigeonholed as a specialist, especially of Chopin,Шаблон:Sfn he had "clearly avoided that [specialist] tag" by the 1970s, Rockwell noted, surveying Pollini's discography in its then range from Mozart to Nono.<ref name="NYT1977">Шаблон:Cite news</ref>Шаблон:Efn

Especially in the 1960s and 1970s, Pollini was active as a left-wing musician. His collaborative work with Claudio Abbado and Luigi Nono was informed by their shared ideals.<ref>Шаблон:Harvnb; Шаблон:Harvnb</ref> He was also musically and politically associated with Giacomo Manzoni and Шаблон:Ill.Шаблон:Sfn Pollini worked with Nono in such works as Como una ola de fuerza y luz (1972), which mourned the death of Luciano Cruz, a leader of the Revolutionary Left Movement in Chile.Шаблон:Sfn He performed with Abbado at La Scala in Milan in concerts for students and workers, aiming to build a public among them in the spirit that art should be for everybody.<ref name="AR2" /> The two concertized for the Russell Tribunal.Шаблон:Sfn At least one of Pollini's recitals was concluded upon audience unrest and police intervention when he attempted to make a statement about the Vietnam War.

He was able to separate his politics from his musicianship, for example in his work with Karl Böhm.<ref name="Brachmann">Шаблон:Cite news</ref>

Файл:Maurizio Pollini 75.jpg

Pollini in 1975

Nono wrote ... sofferte onde serene ... for Pollini in 1974–1976. It was a meditative soloistic piece on recent losses among their family and friends. Pollini's 1977 live performance was amplified against a magnetic tape recording of himself. Nono thereby explored pianistic envelope ("Sometimes I cut off the attack, so that the sound manifests as a resonance without time") and the sounds of Venice (where "one constantly hears the sound of bells").Шаблон:Sfn Nono cited an attraction to Pollini's technique in particular. He sought to amplify and project details of Pollini's sound ("certain nuances of his touch"). They worked together for three days in the recording studio at Radio Milano with audio engineer Marino Zuccheri.Шаблон:Sfn The work remained in Pollini's repertoire; he later played it in London at the Southbank Centre's "Fragments of Venice" festival (2007) and in Salzburg (2019).Шаблон:Sfn

Pollini took up Boulez's "weighty" Second Sonata in the 1970s.Шаблон:Sfn In 1977, he played Bartok's Second Concerto under Boulez with the New York Philharmonic. Harold C. Schonberg wrote that he "had not heard a stronger account".Шаблон:Sfn

1980s–2024: Later career and conducting

Pollini also conducted when he played piano concertos such as Mozart's.<ref name="Brachmann" /> He played a "defining role" in the Rossini Opera Festival at Pesaro, conducting La donna del lago from a new critical edition in 1981. The occasion was a "landmark" in the post-war Rossini revival. He was praised for his interpretive insights into Rossini's orchestration, motivic development, and harmony. But he was criticized for his inflexible literalism and quick tempi, which drove Шаблон:Ill to tears. Scholars cited historical evidence and showed him autograph manuscripts to persuade him to allow more ornamentation and rubato, Шаблон:Lang hallmarks, particularly in the elaborate fioritura of cadential passages. He relented only in the final rondò, "Tanti affetti in tal momento", for which Rossini prepared three ossia for particular singers. Pollini insisted that the singers adhere to these sources.Шаблон:Sfn

He tempered this approach somewhat in a 1983 reprise featuring Katia Ricciarelli (Elena), Lucia Valentini Terrani (Malcolm), and Samuel Ramey (Duglas) with the Chamber Orchestra of Europe, which Sony recorded.Шаблон:Sfn Шаблон:Efn For this production, his friend Gae Aulenti stage directed and designed the sets.Шаблон:Sfn

Файл:BoulezPollini2009.jpg

Pollini with Pierre Boulez in Paris (2009)

At the 1983 Venice Festival of Contemporary Music, among those celebrating Webern's birth centenary, Pollini played the Piano Variations.Шаблон:Sfn Celebrating J. S. Bach's 1985 tricentenary, he performed the The Well-Tempered Clavier, Book , in concerts. He recorded it in 2009.<ref name="Pennock">Шаблон:Cite web</ref>

In 1987, he received the Vienna Philharmonic's Honorary Ring while playing Beethoven's piano concertos with them in New York conducted by Abbado.<ref name="DG Beethoven">Шаблон:Cite web</ref><ref>Шаблон:Cite news</ref> In 1993–1994, he played his first complete Beethoven sonata cycle in Berlin and Munich. He continued this in New York City, at La Scala, in London, Paris and Vienna.<ref name="DG Beethoven" />

He juxtaposed old and new music at the 1995 Salzburg Festival in the "Progetto Pollini" concert series, at Carnegie Hall (2000–2001) in "Perspectives: Maurizio Pollini", and at London's Royal Festival Hall (2010–2011) in the "Project Pollini", a five-concert series ranging from Bach to Boulez and Stockhausen (with Schoenberg's Op. 19 as an encore).Шаблон:Sfn Throughout his career, Pollini championed less popular, often more recent works.<ref name="theguardian.com">Шаблон:Cite news</ref> He financed these projects with the prize money of the Ernst von Siemens Music Prize<ref name="Brachmann" /> On Mozart's 250th birth centenary at the 2006 Salzburg Festival, he changed the second half of the program to Webern's Piano Variations and Boulez's Second Sonata. Some among the audience left at intermission, after the Webern, or during the Boulez.Шаблон:Sfn

Pollini continued politically identifying with the left, although he later questioned some Italian leftists' tactics. In 2010, he spoke out against Silvio Berlusconi,<ref name="theguardian.com"/> concertizing in opposition to constitutional reforms. He offered low-cost, student tickets to his concerts.<ref name="Brachmann">Шаблон:Cite news</ref>

In March 2012, Pollini canceled his US appearances, citing his health.<ref>Шаблон:Cite web</ref> He toured Central Europe in 2014, performing at the Salzburg Festival<ref>Шаблон:Cite web</ref> and debuting at the Rheingau Musik Festival with Chopin's Preludes and Debussy's Preludes, Book I, in the Kurhaus Wiesbaden.<ref name="Blum">Шаблон:Cite news</ref>

Maurizio Pollini died on 23 March 2024, aged 82.Шаблон:Sfn<ref>Addio a Maurizio Pollini Шаблон:In lang</ref> He is survived by his son, pianist and conductor Шаблон:Ill.<ref>Шаблон:Cite magazine</ref>

Recordings

Pollini's first recordings for Deutsche Grammophon (DG) in 1971 included Stravinsky's Trois mouvements de Petrouchka and Prokofiev's Seventh Sonata. They are considered landmarks of twentieth-century piano discography. He recorded Chopin's Etudes, Opp. 10 and 25 in 1972,<ref name="Brachmann" /> and Schoenberg's solo piano Шаблон:Lang in 1974 for the same label.<ref name="Dictionary for the Modern Pianist">Шаблон:Cite book</ref> He recorded the entire Beethoven piano sonatas cycle in 2014.<ref name="DG Beethoven 2014">Шаблон:Cite web</ref> DG celebrated Pollini's 60th birthday (2002) with a 13-CD commemorative edition<ref name="Clements">Шаблон:Cite news</ref> and his 75th (2017) with a complete 58-CD edition.<ref name="DG Complete Recordings">Шаблон:Cite web</ref>