Ivo Pogorelić (alsoIvo Pogorelich; born 20 October 1958) is aCroatian pianist. He is known for his sometimes unorthodox interpretations, which have brought him a sizable following and both praise and criticism from musical experts.[1][2] A musician of wide repertoire, his recordings include works by a variety of composers from the early 18th through 20th centuries.[3]
"First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice ... and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation"
Pogorelić was born inBelgrade,Yugoslavia, to a Croatian father and a Serbian mother; he became a Croatian citizen after the breakup of Yugoslavia.[5] Pogorelić received his first piano lessons when he was seven and attended theVojislav Vučković Music School inBelgrade until he was 12, when he was invited to Moscow to continue his studies at the Central Music School with Evgeny Timakin. He studied alongside the pianistMikhail Pletnev, with whom he formed a lasting friendship. He later graduated from theMoscow Conservatory, where he studied withVera Gornostayeva andYevgeny Malinin. In 1976 he began working intensively with theGeorgian pianist and teacherAlisa Kezheradze, who passed on to him the tradition of theLiszt–Siloti school. They were married from 1980 until her death in 1996 from liver cancer.
Pogorelić won the Casagrande Competition inTerni, Italy in 1978 and theMontreal International Musical Competition in 1980. In 1980 he entered theX International Chopin Piano Competition in Warsaw but was eliminated in the third round, prompting jurorMartha Argerich to resign from the jury in protest, calling Pogorelić a "genius". This action by Argerich, herself a pianist of international renown, precipitated a major scandal in the world of classical music.[1] Her action was supported by two other jurors, who declared that it was "unthinkable that such an artist should not make it to the finals". Other judges spoke out about their disapproval of what they considered Pogorelić's eccentricities. JurorEugene List stated, "He doesn't respect the music. He uses extremes to the point of distortion. And he puts on too much of an act."[2]Louis Kentner had previously resigned from the jury after his own students were eliminated in the first stage saying, "if people like Pogorelić make it to the second stage, I cannot participate in the work of the jury. We have different aesthetic criteria."[6][2]
Pogorelić gave his debut recital in New York'sCarnegie Hall in 1981. He debuted in London the same year. Since then, he has played many solo recitals worldwide and has played with some of the world's leading orchestras including theBoston Symphony Orchestra, theLondon Symphony Orchestra, theChicago Symphony Orchestra, theVienna Philharmonic, and theBerlin Philharmonic. Pogorelić soon began recording forDeutsche Grammophon and in 1982 he became one of their exclusive artists. He has made recordings of works byBach,Beethoven,Brahms,Chopin,Haydn,Liszt,Mozart,Mussorgsky,Prokofiev,Rachmaninoff,Ravel,Scarlatti,Schumann,Scriabin andTchaikovsky.
Following the death of his wife in 1996, Pogorelić took a long leave from giving concerts[citation needed]. In 2019, he released his first album in 21 years, featuring piano sonatas by Beethoven (Nos. 22 and 24) and Rachmaninoff (Sonata No. 2, revised version).[1]
Pogorelić's performances have sometimes been controversial. His interpretations were well-received by concert audiences but not by all critics. Pogorelić's name is often attached with "controversy" and "eccentricity" in printed media.[2]
His early recording of Prokofiev'sSixth Sonata received high praise, including a Rosette award in thePenguin Guide to Recorded Classical Music[citation needed].New York Times criticHarold C. Schonberg criticized Pogorelić for his unusually slowtempos in Beethoven'sOp. 111 Sonata, and said that Pogorelić "seems desperately trying to be theGlenn Gould of Romantic pianism (with some of Gould's eccentricities but none of his particular kind of genius)".[7] Twenty years later, after Pogorelić's return from his extended absence, New York Times criticAnthony Tommasini reviewed a performance of the same piece, writing, "Here is an immense talent gone tragically astray. What went wrong?"[8]
In 1986, Pogorelić established a foundation inYugoslavia to further the careers of young performers from his homeland. In 1988, he was named anAmbassador of Goodwill byUNESCO, the first classical pianist ever so appointed. He no longer occupies this position (as of August 2009).
From 1989 to 1997, the Ivo Pogorelić Festival inBad Wörishofen gave young artists the opportunity to perform with renowned artists. In December 1993, Pogorelić founded the "International Solo Piano Competition" in conjunction with the Ambassador Foundation inPasadena, California.[3] Its mission is to help young musicians develop their career with the first prize of US$100,000.
In 1994, he helped to provide medical support for the people ofSarajevo by setting up a foundation that organized charity concerts. He has helped to raise money for the rebuilding ofSarajevo, for theRed Cross, and for the fight against illnesses such ascancer andmultiple sclerosis.
Pogorelić suffered chronicrheumatic fever during his childhood andhepatitis when he was 21, which left him with a legacy of extreme care for his health. He practises the samebiodynamic exercises created for Russian ballet dancers in the 1920s, takes long walks daily, goes to bed when night falls, and rises at 5:30 a.m.[9]
Pogorelić currently resides inLugano, Switzerland.[10]
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