Damn MOFOs. I’ve been looking through some old Tchaikovsky Comp booklets. So many names. Of course the legendary Jimmy Ruffin song came straight to mind. It makes me wonder what happened to all these pianists. And so many of them were beautiful young men and women – really stunning.
So let’s play a game. Who is this guy?
a pinainizt
okay here’s a hint – he / she’s French
Pascal Devoyon…?
Let’s kill it – it’s Cyprien Katsaris. The photo’s funny.
Damn the site seems to have stretched the photo
It does look like him, but I couldn’t recognise him without the wild hair and crazy eyes.
Oh fuck… haha, it’s not impossible to guess actually but when you talked about the broken hearted I assumed this was someone who stopped playing altogether ca 1973.
oops, slight inadvertent mislead there. Yeah most are probably…invisible on a google search.
Gekic at the '82 Tchai
That’s funny – Pogorelich was scheduled and printed in the '82 Tchai. He was already famous by then. Weird he agreed to it but he didn’t show up.
Oooo! This thread is already full of pinups.
Vlad, can you maybe scan that page from the booklet of 1982 with Pogorelich? I’m really curious to see it!
Dang now I have that zong stuck in my head!
A Zart emoji would come in handy now. 
Jesus, look at that rep! He wasn’t messing around.
Prok 6, gaspard and Islamey back to back!
Oh wow!! Thank you so much! Crazy program!
Peter Donohoe’s diary of the comp has the following:
According to the brochure, Ivo Pogorelich is competing. Everyone says that they cannot
understand why, as he is an international superstar as a result of the 1980 Chopin
Competition in Warsaw. [Possibly because he didn’t win in Warsaw, it grates on him and he
needs closure. If he didn’t win in Moscow it would make that worse. He is much better off
sticking to being an internationally famous superstar, whatever it was that got him there,
rather than risking undermining it.] He has a DGG recording contract already, so why would
he come here? In fact, he has not turned up. We all regard this as a good thing for both him
and us.
–––––
Later I sat behind a pillar in one of the hotel bars and eavesdropped on a Western member of
the piano jury (who is the chairman of another competition) telling many of the eliminated
first-rounders (I think they were all Americans) where they went wrong. He was
recommending that they deliberately play things in a different way in order to be noticed, and that they should not regard playing well and faithfully to the score as enough to win a
competition. (So far that is of course true). He cited Pogorelich as an example of how to win
(err – excuse me… he didn’t win – I thought that was the whole point of Pogorelich’s success
in Warsaw and afterwards), and recommended that when they see, for example, a crescendo
they should sometimes do a decrescendo to demonstrate their originality, or when it is
marked piu mosso they should go slower. Presumably, that sort of thing is what he attributes
Pogorelich’s success to. God help us.
Truuuuuuu 
I love this song. When I was 18 I had a job in a convenience store / general shop on the Vegas strip and sometimes worked the graveyard shift. Most nights I had the Oldies on the radio and this beautiful song would change the whole Vegas atmosphere. Those Vegas dawns around 5am were beautiful too.
Love it! Honesty I have less and less respect for competition juries the more I hear about their inner workings.
