Ivo Pogorelich

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Ivo Pogorelich (2015)

Ivo Pogorelich ( Serbo-Croatian : Ivo Pogorelić / Иво Погорелић ; born October 20, 1958 in Belgrade , Yugoslavia ) is a Croatian pianist .

Pogorelich rose to be the first star of the classical music scene in the early 1980s . His concerts and unorthodox work interpretations have divided audiences and music critics , with acknowledged pianistic mastery, from the beginning of his career to the present, into admirers and skeptics.

He became known through a scandal: some jurors at the 1980 International Chopin Competition in Warsaw distanced themselves from the jury's decision not to allow Pogorelich to participate in the final round. Nikita Magaloff , who, like Martha Argerich and Paul Badura-Skoda, was one of the protesting jurors, explained the unusual step of making the jury's internal information public by saying that Pogorelich is playing at the “highest level”, “like hardly anyone else in the world today can ".



Ivo Pogorelich, son of a double bass player , began his piano training at the age of seven in Belgrade. He continued it in 1970 at the Central Music School in Moscow as a student of Yevgeny Timakin and then moved to the Moscow Tchaikovsky Conservatory to study further in the classes of Vera Gornostajewa and Yevgeny Malinin . From October 1976 Pogorelich was also tutored by Aliza Kezeradze.

Pogorelich described the encounter with Kezeradze as a “turning point” in his life, as he found himself in an artistic “dead end” at the time, but it gave him new insights into the expressive possibilities of piano playing. His “conception and approach to the piano” had been “completely” changed by their influence. He assigned the pianist, with whom he was married from 1980 until her death in 1996, to his artistic "further development and his professional success".

Piano competitions

In 1978 Pogorelich won the Alessandro Casagrande Competition in Terni, Italy, and in 1980 the International Music Competition in Montreal . In the same year he took part in the Warsaw Chopin Competition and became known overnight. As a competitor, he did not get beyond the third round due to the four-time award of the highest, but also the four-time award of the lowest number of points, which caused some of the jurors, including Magaloff and Badura-Skoda, to public protests. Argerich was so angry that she left the competition jury with the words "He's a genius!" By resigning from her position she protested against the rating system, which "gave conservative style purists the opportunity to score someone who opened up a completely modern and new approach to Chopin's music". This scandal was reported in the media around the world. Harold C. Schonberg , the music critic of the New York Times , agreed with other experts in the assessment of the protesting jury members and commented appreciatively on Pogorelich's competitive performance: “He ignored the score and got everything wrong. [...] he is clearly a genius ”. The game of the "brilliantly equipped artist", for whom there are no technical limitations, is "full of architectural, dynamic and rhythmic extremes". Pogorelich, "unconventional in every way", scared the conservative jury members because he did not stick to the performance tradition.

The Warsaw Music Society , an organization to preserve the memory of Chopin, arranged a concert for Pogorelich after his departure from the regular competition, at which he was frenetically cheered by his mostly young audience. Following the concert, the Polish music critics honored him with the special prize for his extraordinarily original pianist talent .

In February 1981 Pogorelich recorded his first record for Deutsche Grammophon under the name Chopin Recital . The sound carrier, advertised as Pogorelich's “Answer to Warsaw”, was sold 20,000 times in Germany within a month of its publication. The music label then signed Pogorelich.

Years after the Chopin Competition, Pogorelich explained that the events in Warsaw had been "magical", but that he is now happy that the time of hysteria is behind him. His success has nothing to do with eccentricity, as often falsely portrayed in the press. In Warsaw, his “attitude and attitude towards Chopin's music” had been misinterpreted by the public. The jury's decision bothered him and demotivated him, but his approach to the great composers leaves no room for compromises, he tries to get as close as possible to their intentions. In interviews and the documentary Why Competitions, Pogorelich also repeatedly points out the political dimension on which, in his opinion, the competition decision of 1980 was based. On the occasion of a concert in Warsaw in 2008 he demanded that "the minutes of the jury's decision at that time be disclosed".


Ivo Pogorelich (2015)

The coverage of the 1980 Chopin Competition, Pogorelich's first recording and the published press photos, in which he looked more like a “ New Wave rocker” than a musician of the classical genre, generated interest far beyond the regular audience of classical piano music. Joachim Kaiser explained how to “encourage an audience to buy concert tickets” was reserved for “only three serious pianists” in the second half of the 20th century: “ Wladimir Horowitz , Friedrich Gulda and - Ivo Pogorelich”. The media response to the concerts was exceptionally enthusiastic. The young pianist, who was awarded an “aura of elegant dreaminess and arrogance”, was able to “demand fabulous fees” and “expect the halls to be always sold out”. Pogorelich limited himself to a small repertoire. Kaiser located this in his "meticulous sense of responsibility for great music". Pogorelich “only addresses the public with original interpretations”.

The reporting didn't just focus on the musical performance. In a summary of the Spiegel on the press reviews of the early 1980s, a focus on Pogorelich's external attributes becomes clear. In addition, comparisons were made with celebrities from other genres, including Kinski , Wilde and Nureyev . The Independent even referred to him as " Mick Jagger of the classical concert stage". Pogorelich was stylized as the first "pop star of the classical scene" through such media attributions. Pogorelich supported this ascription with provocative statements: "I am the pianist who is written about the most, I get a review when I dust my piano" and by breaking new, unusual ways of public relations for a classical musician. He was u. a. depicted as a model for men's fashion in the magazines Esquire , Vogue and Égoïste and appeared regularly on television as a talk guest. In Germany he was at Bio's Bahnhof , in the tele-illustrated and Willemsen's week . In Great Britain, Don Featherstone dedicated an episode of the South Bank Show to him and showed Pogorelich in a home setting at his castle in Scotland with Aliza Kazeradze working on a score. After Pogorelich's appearance in Los Angeles at the Hollywood Bowl in 1985 in front of 25,000 spectators, there were rumors of a film role that he would play alongside Bo Derek and Josep Carreras . Its proximity to the international high society , the jet set and Geldadel reported not only the features section , in the 1980s was Pogorelich in any media up to the Boulevard presence. As a result, he achieved a level of awareness that no classical musician has ever achieved in this breadth. Pogorelich said that public attention is not unimportant for a pianist and that he himself tinkered with his image, eccentric and arrogant, like "a toy" at a young age. Through a negative attribution, society can accept “an extraordinary person” more easily and “forgive success”. He is not interested in why people come to his concerts, but in what they would take away from them. Kaiser attested that Pogorelich was “not just eccentric” and that he was aware of his fame. He is musically "admirable about the matter", he takes "every note deadly serious". The audience appreciates this with the “Pogorelich phenomenon”, a “concentrated, fascinated, devoted [em]” listening. Looking back at the early years, the music critic Helmut Mauró sees Pogorelich's “real impact” in the piano playing. He explains that it was not only Pogorelich's "brilliant dexterity [...] of a male-powerful paw" that was convincing, but above all his pianistic ability "to condense a state of concentration to such an extent that it is energetic contemplation and ultimately transcendence". At that time, Pogorelich's otherness was "glamorously concealed" through the filter's attractive and "youthful appearance", but is still overwhelming to this day through "thoughtful and creative stubbornness, coupled with artistically lived narcissism".

After his brilliant career start, Pogorelich appeared in all the major concert halls in the world during the first two decades of his musical life and played with the most renowned orchestras, such as a. with the Boston Symphony Orchestra , the London Symphony Orchestra , the Chicago Symphony Orchestra , the Vienna Philharmonic and the Berlin Philharmonic . He limited himself to about 60 concerts per year, in accordance with his maxim "Art takes time". Pogorelich continued to cause a stir not only with his piano playing, but also with comments about other musicians. He criticized in interviews a. a. Svyatoslaw Richter , Glenn Gould , Vladimir Horowitz, Luciano Pavarotti and emphatically Herbert von Karajan , whom he described as an "artistic ruin". The "controversial keyboard lion", to whom music critics attested a preference for the extreme, had fallen out in Vienna in 1984 during an orchestral rehearsal for Tchaikovsky's first piano concerto with the conductor due to different ideas about the tempo. The concert announced for the following day took place without Pogorelich.

In the mid-1990s, Pogorelich increasingly withdrew from regular concert operations. On the one hand he was burdened by the civil war in his home country as the son of a Serbian mother and a Croatian father, on the other hand he had to struggle with health problems. After the death of his wife due to illness in 1996, he said he gave up the concert activity completely because he could not bear to touch a piano and needed time to regain his creativity. In the late 1990s, Pogorelich returned to the concert stage to get involved with charity concerts for social and cultural institutions in his broken home country . As a UNESCO special ambassador, he gave concerts all over the world and collected donations for the construction of a mother and child hospital in Sarajevo . In the same way, he campaigned for the historical reconstruction of the destroyed Dubrovnik and other charitable organizations. Pogorelich told the press that the images of human suffering in his home country made him sick and that it was impossible to just watch.

In 1999 and regularly from 2003 Pogorelich made guest appearances again on German concert stages. As in previous years, he was committed to youth work and revived the festival for the promotion of young artists in Bad Wörishofen , which he founded in 1989 and held annually until 1996, for one season. Pogorelich had already set up a foundation in Croatia in the mid-1980s that supports and promotes talented young musicians in various ways and initiated a piano competition in Pasadena in 1993 , in which he appeared as the "namesake and sponsor of the prize money". In 2006 he gave a concert with the “Junge Philharmonie Thuringia”, a “promising young orchestra”, at the art festival in Weimar. He serves as honorary president of the annual Manhattan International Music Competition in Carnegie Hall , which was held for the first time in 2016 and where Pogorelich made his debut in 1981. Occasionally, Pogorelich gives master classes to young musicians .

Pogorelich has been giving concerts on European and East Asian stages since 2010 and performs regularly with orchestral and solo programs. In December 2017 he could be heard for the first time after 28 years of absence in his native city of Belgrade. He has the habit of playing himself on stage in casual clothing until a few minutes before the start of the concert after the audience has admitted and using a score during his concerts .

In spring 2015, Pogorelich's recordings from the publication years 1981 to 1997 were reissued by Deutsche Grammophon . The 12 recordings are still “among the best-selling from the label's piano catalog” to this day. In May 2015, the CD collection was awarded the " Golden Tuning Fork " by the French music magazine Diapason . In November 2016, Idagio, an internet platform for classical music, published for the first time a multi-month recording of Pogorelich after 1998 with works by Beethoven. In April 2019, Pogorelich signed a recording deal with Sony Classical .

Pogorelich's repertoire ranges from the baroque to the classical and romantic periods to the 20th century. To this day, he has remained true to his postulate from the early years of studying a limited number of compositional works intensively over a long period of time. Pogorelich lives in Lugano .


Pogorelich is known for his "idiosyncratic mannerist style of interpretation " of classical piano compositions, which exceeds the "limits of faithfulness to the work " with regard to tempo specifications . Through his individual design of the "dynamic rules" and the timing of the original composition, he creates "unusually strong contrasts" and "subtle nuances" of the " tone color dynamics ". He “does not see himself as a true attorney for the score, he is rather looking for the essence that stands behind it” and that “maybe not even the composer was aware of”. His radical interpretations are therefore described either as an experience or as an imposition, as “ingenious” or “undiscussable”. The "alienation techniques with which Pogorelich performs the original works" repeatedly raise the question in concert reviews: "How much creative freedom can an interpreter take?"

Pogorelich's 2015 recital program polarized as in previous years and was received very differently by music critics. The Guardian called his lecture "pathetic" and "deeply unmusical". In the Süddeutsche Zeitung , on the other hand, the same program was rated as “hard clay pebbles, piled up with both hands to form mountains of expressionistic visual power” and Pogorelich was described as the opposite of a “key charm” or “courtesy artist”. His art is "the encounter with art, the process of recreation, [...] of understanding and reviving" the sound worlds, the "thinking and feeling" of the old masters.

Because of his work interpretations, Pogorelich is almost ritually adored by his regular audience, “young and young at heart piano lovers”. Pogorelich is "the most radical and exciting thinker of the great pianists", "the grandiose opposite of the classical circus", his concerts the "art of perfect freedom". Because of his “fundamental mistrust of the compositional guidelines”, Pogorelich's interpretations would “make the music think about itself”.

His mastery of the highest technical difficulties is generally recognized, especially with Maurice Ravel's Gaspard de la nuit and the encore Islamej von Balakirew, which he still favored to this day . As a “brilliant technician” he has “all touch nuances”.

Recordings (selection)

Sound carrier


  • Ivo Pogorelich recital. Bach - Scarlatti - Beethoven. JS Bach: English Suites No. 2 in A minor BWV 807 and No. 3 in G minor BWV 808. D. Scarlatti: Sonatas in C major K.487, E major K.20, E minor K.98, g -Moll K.450, D minor K.1, C major K.159. Beethoven: Piano Sonata No. 11 , For Elise . (Deutsche Grammophon, 2005. Bach recording, Vicenza, Italy in October 1986, Scarlatti and Beethoven recordings in Schloss Eckartsau , Austria in January 1987.)
  • Ivo Pogorelich in Castello Reale Di Racconigi. Chopin - Haydn - Mozart. Chopin: Polonaise No. 2 in C minor, Op. 40, Piano Sonata No. 3 , Nocturn No. 2 in E flat major, Op. 55, Prelude in C sharp minor, Op. 45, Hayden: Sonata in A flat major, Hob.XVI: 46. Mozart: Sonata No. 11 in A major KV 331. (Deutsche Grammophon, 2007. Recorded in Turin, Italy in April and May 1987.)
  • Ivo Pogorelich - RECITAL - Beethoven / Chopin / Scriabin. Chopin: Sonata No. 2 in B flat minor, Polonaise in F sharp minor , Preludes No. 21 in B flat major, op.28 . Beethoven: Piano Sonata No. 27 op.90 , Piano Sonata No. 32 in C minor op.111 , Alexander Scriabin: Etude No. 2 in F sharp minor op.8, Deux Poémes in F sharp major and D major op.32. ( Naxos , 2009. Photo taken at Villa Contarini , Italy between August 2 and 14, 1987.)

Awards (selection)

  • 1978: 1st prize at the Casagrande competition in Terni, Italy
  • 1980: 1st prize at the Montreal International Music Competition
  • 1980: extraordinarily original pianist talent , special award from the Polish music critics
  • 1981: Orlando (National Croatian TV and Radio Award for the best performance at the Summer Festival in Dubrovnik)
  • 1993: Abrassador Award for Excellence from the Worldwide Church of God , Pasadena.
  • 1985: Vladimir Nazor Award from the Croatian Ministry of Culture
  • 1990: Rosette of the Penguin Guide to Recorded Classical Music for the recording of the Piano Sonata No. 6 in A major op. 82 by Sergei Prokofjew.
  • 1997: Porin Award for Lifetime Achievement (National Croatian Music Prize)
  • 1997: ECHO Klassik in the category Instrumentalist of the Year for the recording of pictures from an exhibition by Modest Mussorgsky
  • 1999: Order of the Croatian Morning Star with the face of Marko Marulić
  • 2002: Milka Trnina Award from the Society of Croatian Musicians
  • 2015: Golden tuning fork from the French music magazine Diapason
  • 2016: Order of Prince Branimir with a collar

Literature (selection)

  • David Dubal: Reflections from the Keyboard: The World of the Concert Pianist. Summit Books, New York 1981, ISBN 978-0-671-49240-3 . (English)
  • Joachim Kaiser : Great pianists in our time. 5th expanded edition, Piper Verlag, Munich 1982, ISBN 3-492-02810-1 .
  • Harold C. Schonberg : The Great Pianists. 1st updated paperback edition. Simon & Schuster, New York 1987, ISBN 978-0-671-63837-5 . (English)
  • Clauspeter Koscielny: In: Orpheus (Ed.) Volume 16: Ivo Pogorelich. Cool with sensuality. Clauspeter Koscielny Verlag, Berlin 1988, p. 179 ff., ISSN  0932-6111
  • Klaus Umbach : Banknote Sonata. The million dollar game with the classic. Ullstein Verlag, Berlin 1990, ISBN 3-550-06450-0 .
  • Elysa March: Great contemporary pianists speak for themselves. Dover Publications, New York 1991, ISBN 978-0-486-26695-4 . (English)
  • Ivo Pogorelich: In: Frankfurter Allgemeine Magazin (Ed.): Why do great pianists need role models? Frankfurter Allgemeine Zeitung , Frankfurt 1998.
  • Christoph Rueger (Hrsg.): Harenberg piano music guide. Harenberg Verlag, Dortmund 1998, ISBN 978-3-611-00679-1 .
  • Brockhaus music. People, epochs, technical terms. 2nd Edition. FA Brockhaus, Mannheim 2001, ISBN 978-3-7653-0374-6 .
  • Vladimir Arsenijević, Đorđe Matić, Iris Adrić: Leksikon YU mitologije. Postscriptum, Zagreb and Rende, Belgrade 2004, ISBN 953-99584-0-7 . (Croatian)
  • Hanno Rinke: Torn. A diary in letters. European Publishing House, Hamburg 2008, ISBN 978-3-434-50625-6 .
  • Jürgen Otten: The great pianists of today: With a detailed dictionary. Henschel Verlag, Berlin 2009, ISBN 978-3-89487-530-5 .
  • YuanpuÌ Chao, Ivo Pogorelich, YoÌ Morioka: Pianisuto ga kataru: gendai no sekaiteki pianisutotachi tono taiwa. (International title: The colors between black and white. ) Tankobon Softcover, Tankōbon 2014, ISBN 978-4-87198-584-0 . (Japanese)
  • Stephen Siek: A Dictionary for the Modern Pianist. Rowman & Littlefield, London 2016, ISBN 978-0-8108-8879-1 . (English)

Films (selection)

Web links

Commons : Ivo Pogorelich  - collection of images, videos and audio files

Individual evidence

  1. a b Arkadiusz Luba: Pianist full of temperament. Deutschlandradio Kultur , March 12, 2015, accessed on November 6, 2015 .
  2. David Dubal: Reflections from the Keyboard: The World of the Concert Pianist. Summit Books, New York 1981, ISBN 978-0-671-49240-3 , pp. 293-299. (English) Interview with pianist Ivo Pogorelich .
  3. ^ Teddy Hoersch: Ivo Pogorelich. The classic punk? In: Keyboards , issue 2/1987.
  4. Bernhard Holland: Flamboyance and virtuosity are Pogorelich's trademarks. The New York Times , February 16, 1986, accessed July 3, 2015 .
  5. ^ A b Elizabeth Pond: Pianist Pogorelich. The Christian Science Monitor , August 27, 1981, accessed on October 31, 2015 (English): "This was the turning point."
  6. Haggai Hitron: Playing Himself to Tears. Haaretz , March 9, 2010, accessed on October 31, 2015 (English): "When Aliza came into my life I was 17 and at a dead end with my piano studies."
  7. ^ A b c Heinz Josef Herbort: "The problem of today's artists: they don't work enough". I want to be my audience . In: Die Zeit , No. 21/1981
  8. ^ Daniel B. Wood: Ivo Pogorelich: dissolving controversy by caressing the piano. The Christian Science Monitor , November 23, 1984, accessed on October 31, 2015 (English): "[…] my views and my approach to the piano."
  9. a b c d Manuel Brug: I am the product of a very strict upbringing. In: Die Welt , August 21, 2006; accessed on January 4, 2015.
  10. Bernhard Holland: Flamboyance and virtuosity are Pogorelich's trademarks. The New York Times , February 16, 1986, retrieved July 3, 2015 : “Mr. Pogorelich credits his subsequent development and success to her. "
  11. ^ Piano Sonata in B flat minor, Op. 35 mov. 3 Marche funèbre. Lento. Third stage, October 1980. In: YouTube . The Fryderyk Chopin Institute, December 4, 2015, accessed February 16, 2016 .
  12. ^ Piano Sonata in B flat minor, Op. 35 mov. 1 grave. Doppio movimento. Third stage, October 1980. In: YouTube. The Fryderyk Chopin Institute, December 18, 2015, accessed February 16, 2016 .
  13. ^ Zdenko Antic: Yugoslav Pianist: the Man "Who Killed Chopin". (No longer available online.) In: Open Society Archives at the Central European University . Radio Free Europe . Research and Analysis Department, November 11, 1980, archived from the original April 2, 2015 ; accessed on March 24, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / osaarchivum.org
  14. a b c Klaus Umbach : I want to leave my mark like Tito . In: Der Spiegel . No. 29 , 1981 ( online ).
  15. Douglas Kennedy: From Wunderkind to Guardian Angel. In: The Independent . May 19, 1995, accessed on October 10, 2015 (English): “He ignored the score and did everything wrong. Except for one thing: he's clearly a genius. "
  16. ^ Harold C. Schonberg: A virtuoso collection of New York recitals. The New York Times , November 2, 1984, accessed July 7, 2017 : “Pogorelich is unconventional in every aspect. [...] his playing is full of architectural, dynamic and rhythmic extremes. [...] a brilliantly equipped performer "
  17. Barbara H. Seemann: The Fryderyk Chopin Society. versus Poland, accessed October 31, 2015 .
  18. a b c d Donna Perlmutter: Pogorelich: Pianist Does It His Way. Los Angeles Times , February 17, 1986, accessed October 31, 2015 .
  19. Sabine Tomzig: In the Rolls-Royce for training. Hamburger Abendblatt , January 15, 1982, accessed on October 31, 2015 .
  20. Christophe Huss: Ivo Pogorelich, l'Icare du piano. Le Devoir , May 2, 2015, accessed October 31, 2015 (French).
  21. Ted Weiner & Don Lee: Episode 65: The Strange Case of Ivo Pogorelich. In: Radio Chopin. WDAV Classical Public Radio, accessed on October 31, 2015 (English): "In 1980 people wrongly interpreted my attitude and approach to Chopin's music"
  22. Genius or Jest? The Warsaw Voice , September 3, 2008, accessed October 10, 2015 .
  23. ^ Controversial pianist Pogorelich makes comeback. In: YouTube . Agence France-Presse , March 14, 2015, accessed March 29, 2015 .
  24. a b The delicate sound of thunder. The Telegraph , April 21, 1999, accessed October 10, 2015 .
  25. ^ Pianist Pogorelich wants to revisit the Warsaw scandal. Klassik.com , August 21, 2008, accessed October 31, 2015 .
  26. Donna Perlmutter: Pogorelich: Pianist Does It His Way. Los Angeles Times , February 17, 1986, accessed on November 1, 2015 (English): "[...] resembles a new-wave rocker more than a classical artist."
  27. a b c d Joachim Kaiser: Great pianists in our time. Piper Verlag, Munich 2017, ISBN 978-3-492-97735-7 . (E-book)
  28. Sabine Tomzig: debut in Hamburg cheered. Hamburger Abendblatt , January 12, 1982, accessed October 10, 2015 .
  29. Hans Josef Herbort: Whiz kid as a philosopher . In: Die Zeit , No. 5/1984
  30. Douglas Kennedy: From Wunderkind to Guardian Angel. The Independent , May 19, 1995, accessed on October 10, 2015 (English): "[...] the Mick Jagger of the concert platform."
  31. ^ A b Klaus Umbach: A purified savior. The Kulturmagazin des Westens , 2009, accessed on October 6, 2015 .
  32. ^ Anthony Tommasini: A Moody Dionysus of the Piano. The New York Times , June 1, 2006, accessed on July 9, 2017 (English): "I am the most written-about pianist in the world, [...] I get a review when I clean the dust off my piano."
  33. ^ A b Klaus Umbach : Narcissus as Goldfinger . In: Der Spiegel . No. 48 , 1986 ( online ).
  34. ^ Joachim Kaiser: Ivo Pogorelich is getting young. In: Süddeutsche Zeitung , June 12, 1985, page 12.
  35. a b c Helmut Mauró : The monk in the pianist's fur. Süddeutsche Zeitung , March 17, 2003, accessed on March 22, 2015 .
  36. ^ Helmut Mauró : war of nerves. Ivo Pogorelich hits Chopin and dismembered Liszt. In: Süddeutsche Zeitung , October 20, 2011.
  37. Jürgen A. Stein: Fiddling with faxes. In: NZZ Folio . December 1992, accessed May 6, 2017 .
  38. ^ Justo Romero: "Karajan era una ruina artística". El País , April 6, 1990, accessed on January 16, 2016 (Spanish): "Karajan era una ruina artística."
  39. Jürgen Otten: A dance on a tightrope. Berliner Zeitung , June 9, 1994, accessed January 16, 2016 .
  40. Lucas Wiegelmann: "Herbert von Karajan knew that the clock was ticking". Die Welt , July 16, 2014, accessed January 16, 2016 .
  41. ^ John Cunningham: The key to survival. The Guardian , May 7, 1999, accessed October 8, 2012 .
  42. ^ Josef Manhart: The pianist Ivo Pogorelich. From original to originality. In: Fono Forum , November 1997.
  43. ^ Pogorelich concert in Zurich. (No longer available online.) Swiss Radio and Television , February 26, 2000, archived from the original on September 21, 2016 ; accessed on September 21, 2016 .
  44. Michael Church: Classical: When a poseur gets serious. The Independent , April 16, 1999, accessed October 10, 2015 .
  45. ^ Rika Wettstein: Ivo Pogorelich. Baden-Baden, accessed on September 17, 2016 .
  46. Jan Brachmann: Loud and quiet shouldn't be confused. Berliner Zeitung , March 19, 2003, accessed on October 10, 2015 .
  47. ^ Carolin Kober: Benefit concert. Ivo Pogorelich is perfectly happy. Augsburger Allgemeine , September 17, 2008, accessed October 10, 2015 .
  48. ^ Ivo Pogorelich Foundation established. Neue Musikzeitung , June 16, 2003, accessed October 10, 2015 .
  49. a b Patricia Boccadoro: A conversation with Ivo Pogorelich. Culturekiosque Magazine, December 3, 2014, accessed January 10, 2016 .
  50. Kalle Burmester: "I am extremely lazy". Hamburger Abendblatt , April 6, 1992, accessed October 10, 2015 .
  51. Max Nyffeler: The Enlightenment and its shadow. Neue Zürcher Zeitung , September 22, 2006, accessed on November 1, 2015 .
  52. ^ First Manhattan International Music Competition. Manhattan International Music Competition, accessed March 3, 2016 .
  53. Donal Henahan: PIANIST: Ivo Pogorelich at Carnegie. The New York Times , May 20, 1981, accessed September 23, 2016 .
  54. Suđić: Simfonijski orkestar RTS-a i Pogorelić večeras tragaju za vrhunskom umetnošću. Radio-Televizija Srbije , December 16, 2017, accessed December 17, 2017 (Serbo-Croatian).
  55. ^ Robert Fraunholzer: Names, messages, niceties: News from the backstage. Rondo , 2014, accessed on May 6, 2017 (edition 1/2014).
  56. ^ Bertrand Boissard: Ivo Pogorelich: le retour du roi. Diapason , December 11, 2013, accessed on July 15, 2017 (French).
  57. ^ Ivo Pogorelich. Complete recordings. Deutsche Grammophon , accessed October 11, 2015 .
  58. a b c Matthias Nöther: Ivo Pogorelich - the rebellious pianist. Berliner Morgenpost , January 2, 2014, accessed on October 6, 2015 .
  59. ^ Les Diapason d'Or. Diapason , accessed October 9, 2015 (French).
  60. Not a case for the CD shelf. Fono Forum , November 1, 2016, accessed November 3, 2016 .
  61. ^ Ivo Pogorelich. Sony Classical announces exclusive long-term recording contract. Sony Classical, April 4, 2019, accessed April 12, 2019 .
  62. Douglas Kennedy: From Wunderkind to Guardian Angel. The Independent , May 19, 1995, accessed July 9, 2017 .
  63. Gerhard Schroth: In search of the essence. Ivo Pogorelich relentlessly consistent in the Kurhaus Wiesbaden. In: Frankfurter Allgemeine Zeitung , July 18, 2005.
  64. Heinz Josef Herbort: Ivo Pogorelich and the new picture of the old brook. Surprises, events . In: Die Zeit , No. 50/1986
  65. ^ Walter Dobner : Konzerthaus: Boos and cheers for the enfant terrible. Die Presse , May 30, 2010, accessed October 6, 2015 .
  66. Walter Weidringer: Pogorelich's broken piano mirror. Die Presse , October 13, 2010, accessed on January 16, 2016 .
  67. ^ Felix Stephan : A provocative piano evening in the Philharmonie. Berliner Morgenpost , November 10, 2016, accessed on January 6, 2017 .
  68. ^ Andrew Clements: Ivo Pogorelich review - a wretched, profoundly unmusical affair. The Guardian , February 25, 2015, accessed October 6, 2015 : "[…] a wretched, profoundly unmusical affair."
  69. ^ Helmut Mauró : Ivo Pogorelich in the intermediate realm of romantic piano spirits. In: Süddeutsche Zeitung , February 18, 2015.
  70. Reinhard J. Brembeck: The Prophet. In: Süddeutsche Zeitung , March 21, 2003.
  71. ^ Adrain Prechtel: Pogorelich is playing against the devil in Munich. Evening newspaper , October 24, 2015, accessed on October 9, 2015 .
  72. a b Sven Ingold: The difficult master. Die Welt digital, August 9, 2016, accessed on August 9, 2016 .
  73. ^ Matthias Kornemann: Gaspard de la nuit. Ivo Pogorelich. Rondo , accessed October 9, 2015 .
  74. ^ Günter Berard: Pogorelich is playing again. Hamburger Abendblatt , March 26, 2008, accessed on November 1, 2015 .
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This version was added to the list of articles worth reading on November 16, 2015 .