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There can be no doubt that Pollini reads scores more exactingly and thoroughly than others do.
The sounds he produces as a result often explore undiscovered territory, pianistic as well as interpretative.
Millions of words, in dozens of languages, must by now have been written about the playing of Maurizio Pollini, one of the great pianists of our time.
Much of this vast output of journalism has related to the rich store of recordings which he and Deutsche Grammophon have together created, in the course of a relationship that continues to be as fruitful now as it was 30 years ago.
Some moments to savour include the tone of understated mystery at the start of the development section and the precise and telling shift of pace just a touch slower that marks the recapitulations journey into new harmonic regions.
The second movement begins with the Vienna Philharmonic strings not so much playing as seeming to sing the music like a choir.
Underlying classical values can be more difficult to sense when surrounded by Pollinis astonishing resources of virtuosity. 488 is therefore all the more instructive in that this is one of Mozarts least virtuosic concertos.
(If you find the choice surprising, think of Pollinis interest in Liszts late piano pieces Unstern! W.-Venezia, La lugubre gondola music which is among the most anti-virtuosic ever composed.) Pollini delivers the first movement of Mozarts beautiful concerto with a balance of simplicity, intelligence and an engaging lack of self-consciousness which only the finest musicians seem able to achieve.
The only way to create important works is through a totally contemporary and difficult language.  The composers must follow their own clear way and the public must follow after them.
More important, he said to me in an interview, is what is produced with it.
The goal must always and only be that of individual expression: Expressiveness, spontaneity andintellect belong together inseparably.
Pollini is quite aware of his extraordinarily high standards and abilities a matchless technical mastery that often leaves the competition standing and yet he remains without a trace of vanity.
Superficial straining for effects is anathema both to him personally and to his scrupulous playing, which always remains totally concentrated and subjected to strict control, right down to the tiniest nuances.