John Roos’ Blog

In 1998, I was skeptical when I heard that Philips was releasing a series dedicated to the “greatest pianists of the 20th century.” This seemed like pure promotion and hype, taking advantage of the turn of the century to sell some CDs. But, when I started sampling these 2-disk sets, my attitude changed. Dramatically. In fact, became somewhat of an addict, acquiring about half of the 100 sets.

Most of these “best of” or “greatest hits” series don’t seem to work in the context of classical music. But the concept as applied to pianists by Philips was remarkably different. One reason is that so much of the piano repetoire consists of relatively short pieces. But piano also lends itself to both virtuosity and poetry. The bombastic and the serene. And the full range of expression and philosophies. So intimate and yet so grand. And there have been so many great pianists, with such a variety of personalities and approaches.

The Philips’ sets were outstanding ways to gain insight into the personalities, style, craftsmanship, and art of many great musicians. Part of the challenge, of course, was how the selections were made. And the series spawned a sizeable number of debates about the choices. About who was included, and who was not included. About how many disks should be given to each person nominated for this pantheon of pianistic brilliance. I have chosen to ignore most of these debates and focus on the glorious music, many brilliant performances, and the many gifted musicians featured.

I thought about this series again recently while listening to the first volume of the 2 sets given to Maurizio Pollini (Philips 456-937-2). There is no doubt that Pollini belongs in this pantheon. He gained worldwide attention by winning the Chopin Competition in 1960. Pollini is an intellectual, a real thinker. This philosophy has inspired him to explore an exceptionally broad repetoire.

Here is one of the many reasons why the Philips sets have proven so valuable. They provide much more than a sampling of the work of Pollini (and the other pianists selected). But the opportunity to sample their works over a wide range of repetoire, in one set. In one sitting. To let their personalities and approaches emerge.

The first volume given to Pollini features his spectacular recording of the Liszt B Minor Piano Sonata. Yes, this is thoughtful but it also is exciting, and full of just the right measure of dramatic flare. We hear Pollini’s famously pure touch and fiery dynamism. A display of his amazing virtuosity and command of the piano. This is a recording of a man who is not a machine but an artist.

He dispatches the notes seemingly without difficulty, displaying a mastery of a man who has moved beyond the notes to grasp the essence of the music. To let the notes sing, when singing was appropriate. To burst forth with violent cascades or dazzle with a rainbow of colors and shades.

This is a recording to treasure. To listen to, again and again. But is it the “best”? As I listened, I realized what a silly question this is. There are many other great recordings of the Lizst B Minor, not the least of which is by Martha Argerich (heard in one of the sets dedicated to her from this same “Greatest Pianists” series)? Is it the equal? But, listening to music played at this level of excellence, such questions really do not matter.

But the rest of this set demonstrates the remarkable range of his repertoire, displaying great sensitivity in Chopin, Schubert, and Schumann. He is poetically atmospheric in Book 2 of Debussy’s etudes.

Among other things, Pollini is noted for a commitment to contemporary literature of the piano. To composers ranging from Stockhausen to Boulez. The Philips set show this embrace with the 12 tone music of Webern’s Variations without apologies. Through this commitment, Pollini demonstrates why this is not just experimental music but important music, music worthy of great pianists, particularly those with probing minds.

Pollini also tackles the piano adaptations of 3 movements from Stravinsky’s Petroushka, with an appropriately festive air, dance-like, playful.

Pollini is well-represented on disc. Yet this “greatest pianists” set remains a great way to gain an appreciation of his artistry. This, along with the other sets in this series, no longer appear to be in circulation. Perhaps a tribute to my initial reaction, that this was inextricably linked to the turn of the century . . . And that they lost their value with time. Yet this and other sets in this series still retain are important documents. And, at least this one, is highly recommended.