Maurizio Pollini’s six decades of exceptional pianism at Southbank Centre

pollini-01‘That boy can play better than any of us’ Arthur Rubinstein

Maurizio Pollini is one of the great piano legends, with a career spanning nearly 60 years. With his unaffected manner and an elegant clarity to his playing, Pollini has brought his individual voice to all musical styles from the 1700s to the present day. Ahead of his two recitals in spring, we’ve looked into our Southbank Centre archive to explore six decades of Pollini’s performances.

Pollini is now considered by many to be one of the world’s most outstanding pianists. Yet he was only 18 when he obtained international recognition, by winning first prize at the International Chopin Piano Competition in Warsaw in 1960.

It was three years later that the maestro made his debut in London in a concert in 1963 at Royal Festival Hall with the London Symphony Orchestra. Conducted by Pierre Monteux, the repertoire chosen for Pollini’s first solo performance was:

TCHAIKOVSKY Fantasy Overture, Romeo and Juliet

BEETHOVEN Piano Concerto No.3 in C minor, Op.37

SCHUBERT Symphony No.9 in C (Great)

In the early 70s, Pollini began to establish an international career of the greatest importance. In 1971, he signed with Deutsche Grammophon and released his first recordings on the German label; these included Stravinsky’s Three Movements from Petrushka and Prokofiev’s Seventh Sonata.

With regular appearances in music centres around the world, Pollini began the career of piano superstar.

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Fact: Pollini’s strong political convictions formed an important part of his musical life, improving his technique by playing in factories for causes such as peace in Vietnam with Italian conductor Claudio Abbado and Italian composer Luigi Nono. He also performed concerts in the neighbourhoods around Reggio Emilia and recitals for students at La Scala, animated by their ideals of justice and peace.

The collaboration between Abbado and Pollini continued after those years, with several concerts held at Royal Festival Hall with the London Symphony Orchestra.


Pollini began the 80s at Southbank Centre, with a televised opening season concert playing Mozart’s D Minor Concerto with Sir Georg Solti and the London Philharmonic Orchestra. He continued to give several recitals in Royal Festival Hall throughout the decade as well as a  performance in 1983 with the BBC Symphony Orchestra. Masse by Giacomo Manzoni written as a homage to Varese, the first explorer of Manzoni’s favourite musical sounds was part of that evening’s repertoire.


Fact: New York, 1987: Under the direction of Claudio Abbado, the maestro played the complete piano concertos of Ludwig van Beethoven with the Vienna Philharmonic. On this occasion he received the orchestra’s Honorary Ring.


In 1996, Pollini brought back his superb pianism to Royal Festival Hall with the Beethoven Sonata Cycle

The audience was taken on an intense journey through eight recitals, that followed the chronological order in which Beethoven wrote his works, with the exception of Opus 49.

Pollini demonstrated how great playing can be achieved through quiet, undemonstrative means.’ Annette Morreau, 16 December 1996 – The Independent

Pollini’s career in London in the new millennium was full of highlights. These included a performance of Beethoven’s Fourth Piano Concerto with the London Philharmonic Orchestra in honour of their 75th birthday in 2007; and the Pollini Project in 2011, where he embarked on a five-recital pilgrimage, with the concerts spanning 250 years of piano repertoire from Bach to Boulez.

‘I like their way of listening and their deep interest in music, and so I thought it was possible to do something larger and different. I have played these works many times and they are all extraordinarily important works for the piano. Put together, they form something of a line, something of a story of piano music. But it is not a rigorous or strict line. They are closely connected to me and my overall musical interests, so it is also my personal line and, in a way, my personal story.’ Pollini on London audience


Fact: The opening of the Pollini Project in London was signposted by the arrival of a brand new favourite piano: a Steinway concert grand refined by the Italian piano technician Angelo Fabbrini.


‘I have played a recital in London more or less every year throughout my career and have a very strong relationship with the London public (…)’ Maurizio Pollini

With his two upcoming recitals, Maurizio Pollini’s cumulative appearances at Southbank Centre add up to 133 performances.

His recitals have made a major contribution to the International Piano Series as one of the most prestigious piano recital series in London, where fans  can see him playing alongside the emerging talents aspiring to Pollini’s greatness.

Mr. Pollini is represented by HarrisonParrot and records exclusively for Deutsche Grammophon.

Witness an historic musical collaboration between the London Philharmonic Orchestra and the Russian National Orchestra

The London Philharmonic Orchestra and Russian National Orchestra join forces for three concerts at Royal Festival Hall with the theme of War & Peace.

LPO Principal Conductor Vladimir Jurowski introduces the concerts and talks about the reasons for this historic collaboration:

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Tickets for Friday 5 October have almost sold out but you can still buy tickets to see Vladimir Jurowski conduct the London Philharmonic Orchestra on Wednesday 3 October and the Russian National Orchestra on Thursday 4 October

Vladimir Jurowski’s 2012/13 season highlights

The London Philharmonic Orchestra’s Principal Conductor and Artistic Advisor, Vladimir Jurowksi, introduces his concert highlights for September – December 2012.

Vladimir Jurowski conducts the London Philharmonic Orchestra on 26 September, and 29 September at Royal Festival Hall.

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London Philharmonic Orchestra introduces new works by four young composers

On Tuesday 12 June, 7.30pm at Queen Elizabeth Hall, members of the London Philharmonic Orchestra and Foyle Future Firsts perform new works by current members of the LPO Leverhulme Young Composers programme – Mark David Boden, Laura Jayne Bowler, David Curington & Hollie Harding.

Here the young composers talk about their works:

The concert also features Tristan Murail’s masterpiece Les Courants de l’espace and Per Nørgård’s cult classic, Voyage into the Golden Screen.

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Colin Currie and Kalevi Aho in conversation

Read an interview with Colin Currie (CC) and Kalevi Aho (KA) about the new percussion concerto written for him by Aho in what is one of the most eagerly-anticipated premieres of the season .

CC Kalevi Aho – your new “Concerto for Percussion and Orchestra”, entitled  “Sieidi”, represents a colossal milestone within the Solo Percussion with Large Symphony Orchestra genre. This work is vast in scope and depth, as well as having a highly developed poetic and dramaturgical sense. Did indeed the project of percussion and orchestra present to you a near-optimum canvas to unleash the full power of your music, both its lyricism and explosiveness?

KA I cannot say which is for me the most optimum canvas to unleash my musical visions. If you write a concerto, every instrument has its own unique possibilities, which you only must find out. But the percussion world is exceptionally rich and gives such opportunity towards a very many-sided and rich musical expression, from the most silent and lyrical nuances to wild rhythmical drive and musical explosiveness.

CC The percussionist has a bold and commanding role in this work, playing a variety of instruments. I’m delighted with the inclusion of two ‘ethnic’ hand-drums in the work too, djembe and darabuka. Can you tell of your interest and study of these drums?

KH In the middle of the 90s I began to ponder, which elements of the music I should use in a richer way in the future. One element was the rhythm and the percussion instrumentation of the orchestral works. I was a little bit tired also with the western drum-set instruments, which dominate especially pop and light music. That time I began to study non-western classical music cultures, and heard a lot of Arabian, Indian, Chinese, Japanese and African music. I noticed that the rhythm in the western music is quite primitive compared especially with the Arabian and African rhythms. At the same time I found the djembe and darabuka, which I used for the first time in my Symphony No. 11 (1997-98), written for six percussionists and orchestra (the solo group in its premiere was the Swedish Kroumata percussion ensemble). I liked the sound of those instruments a lot; it is not as hard as the sound of the drums, which you play with sticks. You can get from the djembe and darabuka very many nuances. Especially the darabuka is also a quite difficult instrument if you use by playing the finger technics, as the Arabian and Persian percussion virtuosos do. I would like to use in my works sometimes also the Indian tablas, but almost no western percussionist can really play the tablas, and the Indian masters cannot read notes. In my many orchestral pieces and concertos, written after the 11th Symphony, you can hear a lot of influences especially from the complicated Arabian and African rhythms.

CC  Indeed – and I feel that the very keenly developed rhythmic language you use in the work will be thrilling in live performance. Seldom can influences from far-flung continents be integrated safely and effectively into our westernised compositional world, but here we see a highly compelling result.Could you tell us something about the very evocative title of the work, ‘Sieidi’?

KA The Percussion concerto has three commissioners, the London Philharmonic Orchestra, the Luosto Classic Music Festival and the Gothenburg Symphony orchestra. The concert on 12 August at Luosto, in Finnish Lapland (with the BBC Philharmonic) is a very special happening, because it is an outdoors concert on the slope of the mountain Luosto. Some hundred years ago the sami people lived in that area. They had many cult places, which they called ‘Sieidi’. Sieidi is a Northern Sami word meaning `cult images’, and referred to objects such as strange, big rocks, cliffs or entire mountains situated at strategic locations for the hunter, fisherman or reindeer herder. It is well possible that the mountain Luosto was for them a ‘sieidiŽ, too. The drumming of the djembe and darabuka at the beginning and the end of the concerto is quite shamanistic; you could imagine that it is a drumming of a shaman at a ‘sieidi’.

CC Very magical imagery, and as such then, the work has at least one specific reference to Finnish folk culture. This concerto, and indeed your whole output as a composer is part of the overwhelmingly valuable contribution to classical music in general made by Finland, a staggering and inspiring piece of recent history. Can I ask you more broadly for some comments on the culture for classical music in Finland and the legacy of the music of Jean Sibelius?

KA Sibelius was the leading musical personality in Finland in his time, and his works still dominate the repertoire of the Finnish orchestras. However, his style has had in Finland no imitators because he didn’t teach a lot, and his music is so original. It is difficult to find any influences of Sibelius also in my music; I have worked from other starting points. The situation of the classical music in Finland is probably one of the best ones in the world. The state and the cities financially support the orchestras. The Finnish concert programmes are very many-sided – it is typical that the orchestras like to combine contemporary and classical music in the same concert. The composers have a lot of commissions, and the state and the foundations give grants for the artists. For many composers from abroad Finland seems to be almost like a paradise to live in.

CC All in all, it is a great honour for me to be a part of this scene, and to give the premiere of this landmark in percussion repertoire. I look forward very much to taking ‘Sieidi’ home to the mountains of Lapland this summer, and seeing you in April in London for the premiere!

Colin Currie premieres ‘Sieidi’ with the London Philharmonic Orchestra on Wednesday 18 April at Royal Festival Hall.

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Major Orchestral 12/13 seasons now on sale- see the line up!

We are now on sale with our 12/13 major orchestral seasons including Shell Classic International, with great orchestras from around the world at Royal Festival Hall and Resident Orchestra programmes from London Philharmonic Orchestra, Philharmonia Orchestra and Orchestra of the Age of Enlightenment.

The stella orchestral line up includes Vienna Philharmonic Orchestra; a rare opportunity to hear London Philharmonic Orchestra and the Russian National Orchestra on stage together under the baton of Vladimir Jurowski; the ‘world’s finest bass-baritone’ Bryn Terfel in The Flying Dutchman; a celebration of the centenary of Lutoslawski with Philharmonia Orchestra; and Orchestra of the Age of Enlightenment perform Vivaldi’s The Four Seasons with choreographer Henri Oguike.

See the full line up on our online classical guide

Listen to LPO’s podcast on Prokofiev: Man of the People?

Prokofiev: Man of the People? is the London Philharmonic Orchestra’s January 2012 festival. Fourteen events over 20 days expore one of the most misunderstood men in 20th-century music. Vladimir Jurowski is the festival’s Artistic Director. In this interview he introduces Prokofiev, puts his music in the context of the early 20th century, explores his diaries and reveals the strange history of the new version of Ivan the Terrible to be performed on 28 January. ‘In my view, the composer, just as the poet, the sculptor or the painter, is in duty bound to serve Man, the people. He must beutify human life and defend it. He must be a citizen first and foremost, so that his art might conscionsly extol human life and lead man to a radiant future. Such is the immutable code of art as I see it.’ Sergei Prokofiev

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