Pf Concerto No. 3

Editorial Reviews
Amazon.com
Martha Argerich first recorded the Prokofiev Third Concerto in the late '60s. Her fiery, hair-trigger playing, abetted by Claudio Abbado's incisive support with the Berlin Philharmonic in top form, set new standards for this warhorse. No one's come close to topping her extraordinary achievement, not even Argerich herself in this remake with Charles Dutoit and the Montreal Symphony Orchestra. The recording quality, for one, is less well defined. Dutoit imparts less character to the orchestral tuttis than Abbado, and Argerich's fingerwork, remarkable by anyone else's standard, is a shade more casual (compare the extensive unison octave runs: stupefyingly perfect in the early version, brilliantly competent here.). By contrast, the pianist's scintillating, witty traversal of Prokofiev's brash First Concerto shines with youthful ardor. While one can easily admire the lyric fire she brings to Bartók's third Concerto, some of her agogic fussings pull focus from, rather than strengthen, the music's inherent classicism. Zoltán Koscis, András Schiff, and Annie Fischer (all Hungarian pianists, not uncoincidentally) imbue their phrasings with a more internalized, speech-like expression. --Jed Distler

Tracks:

Piano Concerto No.1 In D Flat, Op. 10: Allegro Brioso
Piano Concerto No.1 In D Flat, Op. 10: Andante Assai
Piano Concerto No.1 In D Flat, Op. 10: Allegro Scherzando
Piano Concerto No.3, Sz. 119: Allegretto
Piano Concerto No.3, Sz. 119: Allegro Religioso - (Poco Piso) - Tempo I
Piano Concerto No.3, Sz. 119: Allegro Vivace - (Presto)
Piano Concerto No.3 In C, Op.26: Andante - Allegro
Piano Concerto No.3 In C, Op.26: Tema (Andantino) And Variations
Piano Concerto No.3 In C, Op.26: Allegro Ma Non Troppo - Meno Messo - Allegro

Amazon.com

Martha Argerich first recorded the Prokofiev Third Concerto in the late '60s. Her fiery, hair-trigger playing, abetted by Claudio Abbado's incisive support with the Berlin Philharmonic in top form, set new standards for this warhorse. No one's come close to topping her extraordinary achievement, not even Argerich herself in this remake with Charles Dutoit and the Montreal Symphony Orchestra. The recording quality, for one, is less well defined. Dutoit imparts less character to the orchestral tuttis than Abbado, and Argerich's fingerwork, remarkable by anyone else's standard, is a shade more casual (compare the extensive unison octave runs: stupefyingly perfect in the early version, brilliantly competent here.). By contrast, the pianist's scintillating, witty traversal of Prokofiev's brash First Concerto shines with youthful ardor. While one can easily admire the lyric fire she brings to Bartók's third Concerto, some of her agogic fussings pull focus from, rather than strengthen, the music's inherent classicism. Zoltán Koscis, András Schiff, and Annie Fischer (all Hungarian pianists, not uncoincidentally) imbue their phrasings with a more internalized, speech-like expression. --Jed Distler

Customer Reviews:

Unsurpassed Emotional Shading.......2006-06-16

Why is it that on long drives Piano Concerto No.1 is the piece that wins out among the CDs? Answer: Argerich's sublime shadings. This tightly-composed, wonderfully colored concerto gives Argerich the platform to alternate rapidly among boldness (her fingerwork needn't be defiant to be compelling), extraordinarily deft runs, episodes of darkness and reverie in turn and a well-paced close. For his part, Prokofiev deserves enormous credit for striking just the right balance between piano and orchestra, injecting appropriate touches of coloration without going overboard. And, in my opinion, Dutroit handles the balance between his soloist and his orchestra just fine. Truth be told, I haven't gotten around to listening to Concerto No.3 yet, so riveting is No.1.

Finally, thanks to the producers of NBC's late, lamented Sunday evening news program "First Camera", who had the audacity to use the opening of No.1 as their theme and made me want to hear more. "Sixty Minutes" ultimately buried the program but music lovers with no prior exposure to this wonderful work are the richer for it.

Martha Argerich..........2005-07-26

After reading the other interview, I've decided to "chime-in" with my own, simple review. Ms. Argerich's playing is simply top-rate! The recording, well, it could have used a little work. That's why the four-stars. I paid for this disc. I'd pay (good money) to see Ms. Argerich "do her thing" even at this stage of her life/career.

argerich is amazing.......2005-07-10

dutiot and argerich make a great team they blend very well together espesily in the 3rd concerto, very well played probeley the best 3rd iv every heard though i havent heard them all,though i still like argerich more when she was young but she still is a yellava pianist though her sound is more modern where as dutiot/montreal sound is more romantic but they still blend well together.decide for your self.i give it 4 stars mostly because of the sound,im glad they got john ducursly from london/label to do the engerniering for emi but the sound is kinda dark and a little blurry but wuy carp buy it for the preformence you wont regret it

Whoowhee........2004-06-09

Ms. Argerich has always given a smashing Prokofiev and on this CD you get that, twice. I owned her recording of Prokofiev's Toccata in C Major, Opus 11, before I bought this CD. Stunning. She has turned me on to Prokofiev an unbelievable amount. She plays his music with ease, complete comprehension, complete technique. There is absolutely nothing lacking in these two concertos.
The Bartok concerto, however, is definitely deserved of my highest acclaim. This performance takes absolutely nothing away from the CD. In fact, it has become one of my favorite concertos, and given Argerich a spot as one of my favorite pianists. (She wasn't previously on the list for her distasteful recording of Brahms' G Minor Rhapsody).

5 out of 5. This was a very easy decision, and it should be the same for you to buy it.

A Marriage of Wizardry and Mysticism.......2003-08-25

Martha Argerich has sustained a brilliant career and just seems to become more eloquent with the passing years, adding a rich mysticism to her volcanic energy. And what better concerti to demonstrate these approaches than those on this stunning CD: Prokofiev #1,3 and Bartok #3. Technical perfection would seem an unexplainable bedfellow with a pianist who has always stressed passion and comunication in her idiomatic performances both on the concert stage and on the recorded realm. But that is one of the reasons Argerich has reigned the keyboard for so long. Her ability to dash off the Prokofiev 3rd with such apparent ease allows her to serve the composer's brittle, biting cynicism while retaining the eloquence of the langorous second movement. Charles Dutoit and the Montreal Orchestra are fine companions, if not the sonic splendor source of other better orchestras. It simply works here. This is most definitely a "Desert Isle" must for the CD collection.

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