Martha Argerich 2

Editorial Reviews
Amazon.com essential recording
After all the (deserved) excitement over Martha Argerich's long-suppressed EMI Chopin recital, it's fascinating to hear her slightly later recordings of the same program made for DG, included in this album. In some of this Chopin playing, Argerich lets her fingers do the walking a little too much; some of the Préludes sound rushed and hectic, despite her masterful control. But even when she is a bit over the top, Argerich is such a fascinating musical thinker--and such an impressive technician!--that she's always worth hearing. There are no reservations about her powerful playing of Liszt's Piano Sonata or Schumann's Sonata No. 2, both instances of impressive pianistic resources being used in the service of very difficult music. And the Liszt Hungarian Rhapsody No. 6, from her first DG recital, is a dazzler. Overall this is a very worthwhile collection, highly recommended. --Leslie Gerber

Tracks:

Piano Sonata No.3 In B Minor, Op.58: I. Allegro maetoso
Piano Sonata No.3 In B Minor, Op.58: II. Scherzo: Molto vivace
Piano Sonata No.3 In B Minor, Op.58: III. Largo
Piano Sonata No.3 In B Minor, Op.58: IV. Finale: Presto, non tanto
Mazurka No.36 In A Minor, Op.59 No.1
Mazurka No.37 In A-flat, Op.59 No.2
Mazurka No.38 In F-sharp Minor, Op.59 No.3
Nocturne No.4 In F, Op.15 No.1
Scherzo No.3 In C-sharp Minor, Op.39
Polonaise No.6 In A-flat, Op.53

Amazon.com's Best of 1999

Record-label politics prevented this awesome recording of Argentinean pianist Martha Argerich from being released for 34 years. The spitfire musician delivers a powerful set of Chopin's best-loved works that still sounds riveting today. Intense and gorgeous. --Jason Verlinde

Amazon.com essential recording

How can it be that a recording by one of today's indisputably unequaled pianists performing some of her prime repertory--made fresh within months of her triumph in the 1965 Warsaw International Chopin Competition--could languish for decades in the vaults before its official release? Chalk it up to the exclusivity clauses of rival recording companies and legal constraints from which not even Wotan with the help of Loge could extricate himself. Thankfully this belated EMI release--recorded in a few sessions at the Abbey Road studios--is finally available.

It's a significant complement to Argerich's other accounts of Chopin on disc. From the white-hot intensity of Argerich's way with the composer, you can easily extrapolate a sense of what had recently wowed the jury in Warsaw. The Argentinean pianist undertakes the Third Sonata as a vast, big-voiced, far-reaching statement that encompasses both molten power and moments of almost unbearably intimate lyricism (listen closely to her gestures of illumination in the Largo). With a characteristically unforced spontaneity, Argerich sounds the shattering chords that launch the finale (recorded in one take); her sense of flow in the Nocturne No. 4 is a perfect mesh for the illusion of improvising that is so central to Chopin. She commands the logic--both emotional and musical--of the composer's skittish turns in the Scherzo No. 3 and crafts three of the mazurkas into perfectly chiseled character pieces. The sheer force of Argerich's personality might seem overwhelming to those accustomed to a tamer Chopin--listen to how she dives into the A-flat Polonaise--but it's always at work dusting off tired clichés and uncovering the music's expressive wealth. For those who know about Argerich's artistry, this disc is indispensable; anyone who has yet to make that enviable discovery will find it (together with the Argerich anthology in Philips' Great Pianists series) a great place to begin. --Thomas May

Customer Reviews:

Lost is Found, finally.......2007-07-08

This Argerich Chopin performance, recorded by EMI in 1965 while she was actually under contract to DG is formidable for an artist so early in her career. Both the artistry and sound are superb and it's a shame we fans had to wait so long for this recording to appear. These Chopin performances completely justify the competition judges decision to award her the grand prize at the 1965 Warsaw International Chopin Competition. It's a collection must have!

Martha Argerich CD.......2007-06-12

Excellent service -- speedy, just as described, well-packaged. I'd definitely buy from this seller again.

Fabulous recording.......2007-04-12

A most interesting history in the liner notes and a fabulous recording. One of the best for a piano CD collection.

Excellent.......2007-04-12

Only one word: Excellent.
Though someone might have different feeling, I'm crazy on this 1965 recording.

A restored jewel in the Argerich catalog.......2006-09-03

If I had to pick a single CD to win awed admiration for Martha Argerich, this Chopin recital would be it. Only 24 when she made these long-suppressed recordings, Argerich's musicality and dazzling technqiue defy belief. Every ounce of praise for her Third Sonata is deserved--it's spontaneous, flexible, intense, by turns tender and declamatory. The most blessed quality is that she doesn't bang or harangue us--not always the case in later years. Her sense of urgency doesn't become eckless; the bursts of excitment aren't oerly explosive.

My only caveat would be for audiophiles. Although an Abbey Road studio recording, you get the feeling somewhat that Argerich is performing in a boomy hall. Also, in the loudest fortes there's mircophone shatter. For many listeners these drawbacks won't matter a whit, not in the face of an undisputed keyboard genius.

Average customer rating:

Martha shows up
WOW! Absolutely stunning!
Undeniably Argerich
You have to listen to this Lizst sonata
Unbelievably Amazing...

Debut Recital / Martha Argerich

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ASIN: B000001GQJ
Release Date: 1996-01-23

Tracks:

No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp Minor, Op.39
Rhapsody, Op.79: No.1 Agitato In B Minor
Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
Toccata, Op. 11
Jeux D'Eau: Tres doux
Barcarole In F Sharp Major, Op. 60
Hungarian Rhapsody No.6: Tempo Giusto - Presto - Andante - Allegro - Presto
Sonata For Piano In B Minor: Lento assai - Allegro energico
Sonata For Piano In B Minor: Grandioso
Sonata For Piano In B Minor: Cantando espressivo
Sonata For Piano In B Minor: Pesante - Recitativo
Sonata For Piano In B Minor: Andante sostenuto
Sonata For Piano In B Minor: Quasi Adagio
Sonata For Piano In B Minor: Allegro energico
Sonata For Piano In B Minor: Piu mosso
Sonata For Piano In B Minor: Cantando espressivo senza slentare
Sonata For Piano In B Minor: Stretta quasi Presto -- Presto -- Prestissimo
Sonata For Piano In B Minor: Andante sostenuto - Allegro moderato - Lento assai

Amazon.com essential recording

Classical music people, critics in particular, have a reputation for being grumpy, and this disc illustrates why. It's called Martha Argerich Debut Recital. Now, what does this tell you about it? Nothing, that's what. And the title isn't even correct! Actually, there's more material here than appeared on her debut recital, not the least of which is a stunning Liszt Sonata in B minor, which is the major work on the disc. When one of the two or three greatest living pianists turns in a performance of a major work like the Liszt Sonata that has been generally acclaimed, you would think that her record company would somehow get that piece of news into the title of the recording. --David Hurwitz

Customer Reviews:

Martha shows up.......2007-07-22

If you are a piano afficionado, especially solo piano, you're gonna wanna hear Martha play.

WOW! Absolutely stunning!.......2007-01-16

I just bought this disc and was blown away by it. It was everything I thought it would be and then some. It has to be one of the great piano recital CDs of all time. I can't imagine anyone being disappointed with this.

Undeniably Argerich.......2006-11-08

Any one interested in knowing how piano should be played and can be played should get this CD. When I first heard the CD, I was surprised already by her debut recital Argerich has mastered such a distinctive style. I must disagree with the reviewer below who describe this as not imaginative, for nothing could be further from the truth. Argerich's playing is clearly her own, and no one else's. If one wants to hear a technically perfect but emotionally empty playing of Chopin, many of the newer artists would happily fill that bill. And for the record, Horowitz can make plenty of mistakes too, but that doesn't take the charm away from listening to his playing.
That being said, this is one of the most turbulent, drenching rendition of Chopin there is. I love it.

You have to listen to this Lizst sonata.......2006-07-05

Before this performance I thought that I did not like the sonata because no other pianist could keep its many parts and segments together from the beginning to the end. This is the only performance that does that for me. When I listened to it for the first time, I broke up in tears. Argerich's interpretation is mezmerizing. Buy it! Any serious music collector should have this CD.

Unbelievably Amazing..........2006-06-16

I've never paid attention to the Liszt Sonata until I heard this recording. I canNOT BELIEVE some people are calling her without soul or "muddy"... This is the single most inspiring and shocking CD. Really gives you chills when you listen to it. Makes your heart beat faster.

J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich

Average customer rating:

No hummer
Kevin Lee
Mystic crystal revelation, and the mind's true liberation
Dramatic infusion
Highest Recommendation for Bach on Piano

J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

ASIN: B00004R7X0
Release Date: 2000-06-13

Amazon.com

A lot of pianophiles have been waiting for the reissue of this 1980 LP, Argerich's only Bach recording. She played the same Partita at her Carnegie Hall recital in the Spring of 2000, suggesting that she just doesn't play much Bach. These performances have the pianist's typical intensity of approach. Her fingers do the talking, with some dazzling clear articulation reminiscent of Glenn Gould on a good day, and she seldom blurs any of the textures. She also has a very good feeling for Bach's dance rhythms; the closing Gigue of the Partita makes you want to jump up and put on your dancing shoes. Argerich uses an unusually wide dynamic range for Bach, and some of the dreamy slow movements won't be to the taste of all listeners. Nobody, though, will be able to ignore these performances; while they are playing, they seem like the only way to do it. The 1980 sound is still fine, and although the disc is LP length (50 minutes), the price is right. --Leslie Gerber

Customer Reviews:

No hummer.......2007-07-22

Do you think humming along with your piano playing is charming? If not try this recording by Martha Agerich--just the right amount of sostenuto. Also for the Partitas--Richard Goode is a must-have.

Kevin Lee.......2007-02-21

She was so wonderful. I highly recommend it to anyone is learning or being interested in Bach keyboard work.

Mystic crystal revelation, and the mind's true liberation.......2006-10-26

When Martha Argerich recorded this music in 1980 it must have been the Age of Aquarius. What a beautiful recording. Her rendition of Bach's Toccata BWV 911 surpasses any of Bach's keyboard music I've heard. Dubravka Tomsic's Toccata BWV 912 is also great, but Argerich's 911 is greater. Glenn Gould would have to come in third with these pieces.

Why is Argerich the best? Because she has heart. She plays with love of Bach and love of humanity. (This may be redundant.) Tomsic's precision is not without feeling, but Gould is not humane. He was a genius, of course, and he could make your mind dance. But Glenn Gould could not enter your heart nor the heart of Bach.

About four minutes into the Toccata Argerich plays the first of Bach's counterpoint passages on this disc and enters the realm of mystic crystal revelation. The space-time continuum is transcended. As time stands still Argerich and Bach create perfect forms of sound - nothing like the world mess and ourselves in it. Such transcendences occur frequently throughout this recording.

Martha Argerich was born in 1941 in Argentina . She was a child prodigy, playing the piano at age three and giving her debut concert at age eight. In 1965 she made her first recordings, including works by Chopin, Brahms, Ravel, Prokofiev and Liszt. Her technique has been described as "formidable" and has been compared to that of Vladimir Horowitz.

She has had a life-long aversion to the press and to publicity. As a result, she has remained relatively unknown to the general public. But to lovers of classical piano she is widely recognized as one of the great piano virtuosos of our time.

Just about the time of this Bach recording, Argerich frequently remarked that she felt "lonely" during solo performances. She then started focusing on orchestral and chamber music, accompanying instrumentalists in concertos and sonatas. This is her only solo recording of Bach. She performed one more recording of Bach, cello sonatas with Mischa Maisky, which is also excellent. These are her only two Bach recordings. They are priceless gems.

And love will steer the stars

Dramatic infusion .......2005-07-25

Given Martha Argerich's career, you would not expect Bach to be at the forefront - and it isn't - but when she put her mind to the Baroque master in this recording, the result was brilliant. Right from the opening first few bars of the C-minor Toccata, Ms. Argerich sets a tone of great excitement and anticipation of what is to come - and by the time she is into the great fugue, you realize you a hearing an exceptional approach to Bach. Her tone here is one of supreme confidence and a feeling of authority that brings to the imagination the historical images we have of Bach's daughting and larger-than-life keyboard playing.

Yet, a standard Argerich critique of "overdriving" the tempos does not seem to apply here as far as a negative effect. Even though her tempos are often quicker, they do not seem overdone, Romanticised or out-of-place but create a fresh excitement and dramatic infusion. After all, pieces like the toccatas were flamboyant works to show off the keyboardist's virtuosity and technique, and Argerich rises fully to that purpose (apparently disregarding Bach's tempo indications in places) and going all out - perhaps reminding us of the power of Bach's untouchable playing. While her aggressive (but quite interesting) approach to the noble-minded Courante might not bode well for some, she almost makes up for it with surprisingly tender and almost hypnotic sarabandes - movements in which she does seem to capture the subtle, inner qualities.

As much as I normally prefer Angela Hewitt's Bach recordings, I have to say I really like Martha's spunk and extravertness here even more at times - especially in the Toccata with her bold and confident galloping triplet rhythms that seems to nicely capture the free-spirited nature of this work (ditto for the Partita). This is superb music by any measure that is recorded in full, dynamic sound on DG. It is also really a historic recording for both Bach lovers and Argerich fans because it is some of the only Bach Ms. Argerich recorded. Judging from the 18/19 Amazon reviewers so far who gave this CD Five Stars, I would say this CD is a special treat to be savored.

Highest Recommendation for Bach on Piano.......2005-04-10

This recording would make an interesting blind listening test, given the pianist's reputation for passion. Those who assume Martha's Bach will be spoiled by romantic excess are in for a big surprise. This CD is as good as any Bach on piano I've ever heard, and rivals Savall's Art of Fugue as an essential Bach recording.

Like Glenn Gould, Argerich attempts to emulate a harpsichord on the piano, by limiting the pedals and variations in tone, volume, and rhthym. She is clear, dry, and imparts a fugue or dance movement with dazzling energy and control. The result is very consistent with authentic baroque interpretation, and more listenable to my ears than an actual harpsichord, which I prefer to hear in ensemble rather than solo.

Also recommended: Gould's French Suites (now on 1 CD), Bylsma's Cello Suites, Podger's Violin Sonatas, Pinnock's Harpsichord Concertos (DG Trio), and of course, Savall's Art of Fugue.

Average customer rating:

The big meeting at the summit--and it disappoints
Riveting Performance of Three Friends Playing a Live Concert
3 strong personalties, united here
Breathtaking
Astounding Fiasco

Shostakovich/Tchaikovsky: Piano Trios

Manufacturer: Deutsche Grammophon
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Binding: Audio CD

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ASIN: B00000JSAC
Release Date: 1999-08-10

Tracks:

Applause
Trio for Piano, Violin And Violoncello No.2 In E Minor, Op.67: 1. Andante - Moderato - Poco piu mosso
Trio for Piano, Violin And Violoncello No.2 In E Minor, Op.67: 2. Allegro con brio
Trio for Piano, Violin And Violoncello No.2 In E Minor, Op.67: 3. Largo
Trio for Piano, Violin And Violoncello No.2 In E Minor, Op.67: 4. Allegretto - Adagio
Trio for Piano, Violin And Violoncello In A Minor, Op.50: 1. Pezzo elegiaco: Moderato assai - Allegro giusto - In tempo molto sostenuto - Adagio con duolo e ben sostenuto - Moderato assai - Allegro giusto
Trio for Piano, Violin And Violoncello In A Minor, Op.50: 2. Tema con variazioni: Andante con moto -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 1 -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 2: Piso -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 3: Allegro moderato -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 4: L'istesso tempo (Allegro moderato) -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 5: L'istesso tempo -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 6: Tempo di Valse -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 7: Allegro moderato -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 8: Fuga (Allegro moderato) -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 9: Andante flebile, ma non tanto -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 10: Tempo di Mazurka -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Var. 11: Moderato -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Variazione finale e Coda: Allegretto risoluto econ fuoco -
Trio for Piano, Violin And Violoncello In A Minor, Op.50: [Coda.] Andante con moto -- Lugubre
Trio for Piano, Violin And Violoncello In A Minor, Op.50: Encore. Peter Kiesewetter: Tango pathque

Amazon.com

Although these musicians have previously played together in duos, you aren't likely to hear the trio of Martha Argerich, Gidon Kremer, and Mischa Maisky every day. The friends have attempted to perform as a threesome for decades, but it took sheer luck, and a few 1998 dates in Japan, to find the acclaimed pianist, violinist, and cellist onstage together. Recorded as a tribute to Reinhard Paulsen, the late manager of Argerich and Kremer, this disc features two of chamber music's darkest pieces: Shostakovich's op. 67 and Tchaikovsky's op. 50 for piano and strings. Both composers wrote these works as elegies, and the effect of the pairing is riveting; the Shostakovich is bleak and occasionally violent (the use of Jewish melodies makes this as much a remembrance of the Holocaust as of any individual), while Tchaikovsky's epic, nearly 50-minute piece requires more patience but is even more expansive. Though the musicians haven't performed these pieces before, they have an intuitive grasp of the music--Kremer seems meant for these lyrical, personal violin passages, and Argerich is ready to unleash her fury at a moment's notice. Sonically, Maisky's cello is slightly obscured by his powerhouse peers, but he serves as a sobering backbone to these compositions. The very short tango by contemporary Peter Kiesewetter acts as an encore, a two-minute reminder that these friends know how to have fun too. --Jason Verlinde

Customer Reviews:

The big meeting at the summit--and it disappoints.......2001-12-09

"Every concert must be 'ewent.'" --Mstislav Rostropovich

What is it about "Event" concerts? Whether it's the Rolling Stones' latest reunion, Benny Goodman's Anniversary Carnegie Hall Concert, or Bernstein at the Wall doing Beethoven's 9th, for some reason the assembly of Big Name talents playing Important Works frequently seems to disappoint. (Of course there are exceptions: the Modern Jazz Quartet's farewell concert; Horowitz's return to Moscow in 1986.) Still, we keep hoping the next encounter will strike fire and make the history that's expected. And it seems to me that a lot of listeners who are more interested in basking in that history rather than just listening with their ears wide open and their expectations in neutral always hear the results as "Incredible," "Magnificent," "The Greatest Recording of Anything ever!!"

That aside, I was really looking forward to this CD. I like all three musicians, though I do think Argerich is overrated sometimes and people respond more to her persona than anything else. But still, I figured her firey temperment was ideal for this music. The thing with Shostakovich that most people don't realize is, the structure is of paramount importance. (Think of all the rambling, incoherent readings of the Fifth Symphony out there.) As another reviewer here perceptively notes, the three musicians fall apart at the beginning and never really recover. This is a work of large structures, really, and they don't play it that way. Instead we get a series of unconnected episodes. And--and this is the oddest aspect of the performance I can't explain--despite all the flailing and banging away, they never really build up to a big, hair-raising finale. It's loud, it's harsh, but it sounds like sound and fury signifying nothing. Perhaps the best performance of the Shostakovich trio I've ever heard is by the Kqalichstein/Laredo/Robinson trio on Arabesque. This two-for-the-price-of-one set features searing performances of several other DSCH chamber works, major and minor, in excellent sound. And some of the other music in this set is not often heard and is positively bizarre (in a good way). This set certainly will not disappoint, and Amazon sells it, though for some reason they won't let me post a direct link here. Another fine performance of the DSCH Op. 67 trio is Kagan/Gutman/Richter, who, quite frankly, are worth hearing in practically anything anyway.

As for the Tchaikovsky, I really don't have many other examples to go on, but this one I just found boring and plodding. (Anyone with suggestions for good performances of the Tchaikovsky work feel free to email me...I'd appreciate it.)

Riveting Performance of Three Friends Playing a Live Concert.......2001-08-30

These are profound, riveting performances of Shostakovich's and Tchiakovsky's piano trios. Admittedly, Argerich leads the trio with her fiery keyboard playing, but Kremer is no less memorable for his lyrical phrasing on the violin. Maisky is just as fine on the cello, though he is often overshadowed by his friends. Both pieces are dark, somber works which are well suited to Argerich's tempestuous personality. Although the sound quality isn't as fine as a contemporary studio recording, it does come quite close. I tip my hat in admiration to Deutsche Grammophon for producing a splendid recording which celebrates a long-lasting friendship amongst three of our most exciting classical musicians.

3 strong personalties, united here.......2001-08-30

This recording, taken from two live performances in Japan, is unusual, but breathtaking. And contrary to what one reviewer on the review page said, this is not the first time the 3 have played together. It was the year before this present recording was made, in '97 in Verbier, that they played for the first time.
The Shostakovich is a very graphic interpretation, vividly portraying the anger and the pain behind the music. The three performers are very strong personalities and naturally there will be doubt as to how successful their collaboration will be in chamber music. While still maintaining their individual temperaments, the performance as a whole is a keenly united one. The interplay, the communication between the three players is impressive. Some have commented at the lack of techinical accuracy. Maybe that is so, but I sometimes think that some of these 'inaccuracies' are deliberate, to strengthen the music's drama. The Tchaikovsky is also another great Russian piano trio. It was written after the death of a beloved colleague, Nikolai Rubinstein. Incidentally, both trios on this disc were written after both composers lost dear friends. For Shostakovich, it was written in memory of Ivan Sollertinsky. And this disc is dedicated to the memory of Argerich and kremer's manager. So it is quite a deadly affair, this disc!
The Tchaikovsky is a long work - 40 minutes at least. Here it is
nearly 48 minutes! But the playing here is so impassioned and keenly felt that the impression is that it isn't that long at all. A very lyrical, yet powerfully articulated performance like this is rare. All the players are on top form for the Tchaikovsky, and from Argerich there is the strongest support you could imagine for a piano trio. The encore is a very witty 'medley' of Tchaikovsky's works (ranging from the Pathetique symphony, violin concerto, quotes from Eugene Onegin, to the Rococo Variations). Very humorous.
The sound is very vivid, and the booklet contains informative notes by David Brown, and entertaining observations by Argerich's second daughter, Annie, who describes what happened before the performances took place.

Breathtaking.......2001-06-21

It is a simply stunning performance, based on the talent of three unique musicians. Argerich is somehow the leading power of the trio, while the rest are no less worth praise for their great musicianship. Communication between the musicians adds to the superiority of this recording. Last, but not least: it is a live recording, and any sensitive person can feel that. It may not be the most immaculate perfomance ever recorded, but it has such an atmosphere that cannot be easily achieved in any studio.

Astounding Fiasco.......2001-03-01

I admire and respect all three musicians on this recording, but this is probably their worst performance ever. It was the first time Argerich, Kremer and Maisky played together, and it shows in every note. Shostakovich's Trio No 2, which happens to be one of my very favorite pieces of music, is not only technically demanding, but requires all three musiscians to carefully follow the structure of the whole piece. Argerich/Kremer/Maisky fall apart right in the beginning and never come together again. Second movement is especially awful, both technically and structurally. Technical mistakes are to a certain degree expected and can be forgiven in a live recording, but only if it has other redeeming qualities. This one has none. Tchaikovsky's trio is played slightly better, but not by much. If I rate Shostakovich as "awful", this one can be rated "bad". In general, this recording will easily make my Top 10 Worst Recordings Ever. The only fact which is more appalling than the release of this recording is it's nomination for Grammy award. I had little respect for Grammies to begin with, but that nomination was just ridiculous.

If you want to hear how Shostakovich's Trio should be played, listen to the incomparable Oistrakh/Sadlo/Shostakovich recording made in 1948. The mono sound is bad, but the playing will bring you to tears. If you absolutely must have better sound, then stick to Kagan/Gutman/Richter or Stern/Ma/Ax versions. For Tchaikovsky, my favorite is again a historic recording by Gilels/Kogan/Rostropovich. For a good modern recording, try Perlman/Harrell/Ashkenazy

Bach: Sonatas for Cello & Piano
Average customer rating:

Piano poorly captured

What a pity

Not-so-Baroque Bach

Too much sustaining pedal

Just Heavenly

Bach: Sonatas for Cello & Piano

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Martha Argerich Plays Chopin: The Legendary 1965 Recording

Chopin: 26 Préludes, etc / Martha Argerich

Mischa Maisky and Martha Argerich in Concert

ASIN: B000001G6L
Release Date: 1990-10-25

Tracks:

Sonata No. 1 In G Major, BWV 1027: 1. Adagio
Sonata No. 1 In G Major, BWV 1027: 2. Allegro ma non tanto
Sonata No. 1 In G Major, BWV 1027: 3. Andante
Sonata No. 1 In G Major, BWV 1027: 4. Allegro
Sonata No. 2 In D Major, BWV 1028: 1. Adagio
Sonata No.2 In D Major, BWV 1028: 2. Allegro
Sonata No. 2 In D Major, BWV 1028: 3. Andante
Sonata No. 2 In D Major, BWV 1028: 4. Allegro
Sonata No. 3 In G Minor, BWV 1029: 1. Vivace
Sonata No. 3 In G Minor, BWV 1029: 2. Adagio
Sonata No. 3 In G Minor, BWV 1029: 3. Allegro

Customer Reviews:

Piano poorly captured.......2006-08-04

Its hard to decide how to rate this CD. I agree with most other reviewers that the performance is 5 stars. But the piano is both too low in volume and too thin sounding to my ear. And in this work the piano part is just as important as the cello. For what to me sounds like perfect balance between soloist and piano see Schumann: Song Cycles, Op.24, 42 & 48, with Leon Fleisher. Excerpts are available on Amazon.

What a pity.......2006-04-01

What a pity Martha didn't use less piano sustaining pedal in this cd!

Not-so-Baroque Bach.......2005-12-20

These three sonatas - composed originally for the viola da gamba and harpsichord - are very musically-appealing compositions. And unlike previous Baroque cahmber-music tradition, the harpsichord is not relegated to mere continuo but projected into the spotlight as co-soloist - perhaps to showcase some of Bach's keyboard virtuosity. There are several fine period recordings of these works on viola da gamba and harpsichord (Savall, Peri, Crum, Wispelwey) or modern cello with harpsichord (Ma, Tortelier). But if your taste favors all modern instuments (cello, piano), then this circa-80's CD by the legendary Martha Argerich and Misha Maisky is the ticket.

What is immediately striking about the recording is Maisky's lush and sensual cello tone and graceful progression through the music. Perhaps to some, it is not "Baroque enough" a sound with more Romantic flavor. Regardless, it is beautiful and emmensely likeable playing. Maisky's partnership here with Miss Argerich is seamless and well judged - both share enthusiastically the contrapuntal voices with equal weight and balance. Argerich's tempos and style are in-synch with both Bach's intent and Maisky's poised playing, so you won't find her sometimes "overdriven" tempos or bravura here as she finds the right center of gravity for Bach's music. Equally attractive is the bright, full and perfectly balanced sound from DG. Penguin Guide rated this 3/3 stars, noting that those who prefer modern over period instruments will delight in this partnership and fine recording. I tend to prefer this sensual-sounding Bach recording for certain times, but, in other times - when I crave pure Baroque period sounds - I prefer the other mentioned recordings of the viola da gamba and harpsichord (of which, Jordy Savall is usually the top pick). A treat for Argerich fans. 5 stars assuming you prefer more modern timbres.

Too much sustaining pedal.......2005-11-23

This cd should be beatiful without the sustaing pedal on piano (vibrato on cello, dynamic and agoge bearables)...

Just Heavenly.......2003-10-10

This one has finally supplanted the Leonard Rose - Glenn Gould recording as main dish in my soul food banquet.

Rachmaninoff: Piano Concerto No. 3, Op. 30 / Suite No. 2 for two pianos

Average customer rating:

An Ear Opener
Dazzling but Uneven
Prefer Kissin
Argerich and Rachmaninov: A Coupling to Beat
A Rach 3 For The Ages

Rachmaninoff: Piano Concerto No. 3, Op. 30 / Suite No. 2 for two pianos
Riccardo Chailly , Nelson Freire , and Radio-Symphonie-Orchester Berlin
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Martha Argerich Plays Chopin: The Legendary 1965 Recording
Debut Recital / Martha Argerich
Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich
Ravel/Rachmaninov: Piano Concertos
Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

ASIN: B00005CCA9
Release Date: 2001-05-08

Tracks:

Piano Concerto No.3 In D Minor, Op.30: I. Allegro ma non tanto
Piano Concerto No.3 In D Minor, Op.30: II. Intermezzo: Adagio
Piano Concerto No.3 In D Minor, Op.30: III. Finale: Alla breve
Suite No.2 For Two Pianos, Op.17: I. introduction: All marcia
Suite No.2 For Two Pianos, Op.17: II. Valse: Presto
Suite No.2 For Two Pianos, Op.17: III. Romance: Andantino
Suite No.2 For Two Pianos, Op.17: IV. Tarantella: Presto

Amazon.com essential recording

If ever there was a high-voltage, wildly passionate performance of Rachmaninov's massive Concerto, this is it. Argerich plays with incredible virtuosity and a spontaneity that almost sounds as if she's improvising the keyboard part on the spot. The finale alone would make this a uniquely electrifying performance, but her quicksilver opening movement and soulful intermezzo are on the same extraordinary level. Amazingly, especially for a live performance, Chailly and his orchestra, instead of floundering to catch up, are with her 100 percent. In the Suite, Argerich is joined by longtime stage partner Nelson Freire in a 1982 studio recording made a few months before the Concerto. There's a plethora of excitement here as well, and if the waltz movement pushes close to the speed limit, the Andantino milks exquisite beauties from the work. This is one of those classic discs you'll never get tired of hearing. --Dan Davis

Customer Reviews:

An Ear Opener.......2005-07-28

I am always a little hesitant about posting reviews of classical works. Ironically--although I cut my teeth on rock'n'roll and folk--I find that I mostly listen to classical music these days. My ex-wife used to have it on all the time, and one day, it seemed, I suddenly realized that I could really HEAR it and understand what was going on. Even if I lacked the vocabulary to describe it, on some level, I comprehended it. (A mini-miracle after almost having failed "Music Appreciation" in college: just because, on one exam, I cited "Never Can Say Goodbye" as an example of a "cantata.")

But serioiusly, I live in a region that it still lucky enough to have 24 hour classical music on public radio. It has been an education in itself. I'm so grateful for it and have become an avid supporter. (BTW WMHT in Schenectady, NY is now available online as a webcast, so if you're living in an area that is underserved, try tuning them in.)

But one thing I have noticed--even after all the fuss over Rachmaninoff a few years back due to the use of the Rach 3 in the film SHINE--there is relatively little Rachmaninoff on my local NPR station. It seems like such an obvious choice. This recording in particular, since it seems like every second piano piece they play is by Martha Argerich.

Reading over someof the reviews posted below, I can well understand why some critics find Argerich's performance to be definitive...and also why others dispute that assertion. I don't want to be wishy-washy here, but as a babe in the classical woods, I cannot help but be overwhelmed by Argerich's virtuosity. But I can also understand why some might find it too flashy. One of the beautiful things about classical music though--I am discovering--is that there is much more room for interpretation than I had ever imagined. Does there need to be a definitive version? Listening to the Argerich/Freire/Chailly collaboration has only made me more curious to hear others.

This could be the start of something big.

Dazzling but Uneven.......2005-01-22

I fell in love with the Rach 3 in the early 60's listening to the Byron Janis recording on Mercury. I have listened to Van Cliburn's ponderous recording, as well as the arthritic Horowitz recording and the master's own recordings. The first test I have for a piano virtuoso who records this piece is the alla marcia in the first movement - is it in tempo or has it been slowed down? Rachmaninoff, Janis, Argerich and Sgouros all take it in tempo. The other reviews are correct, this is a dazzling performance - electrifying with virtuosic tempi. The liner notes state this was recorded live in Berlin in 1982 - given Ms Argerich's reputation as possibly the world's finest classically trained pianist it must have been a spectacular performance live! It certainly is spectacular on CD - however, Ms Argerich pulls her punches - she does the shortened version of the first movement cadenza. THere are moments when I felt that she decided to be especially visrtuosic so she races furiouisly through a passsage Cossack-like only to slow down like the Volga - it was jarring given other perrormers more lyrical approach. All three movements are performed in roughly 40 minutes. Since this was recorded in Berlin and the Sgouros recording was with the BPO, I can imagine a 13 y/o Dimitri Sgouros sitting in the audience being inspired by Ms Argerich's performance - he did after all record it two years later when he was 15 and he took the longer first movement cadenza! The Sgourous recording is also about 40 minutes long. But to accomodate the the longer cadenza the tempi are necessarily faster. Maybe Sgouros hasn't lived up to the promise of this Rach 3 recording - but his performance is the best out there (if you can find it) - if you can't this is a reasonable second choice.

Prefer Kissin.......2004-06-17

Okay, I'm not adept at the classical music critic's "lingo" and so can't and won't go on about all the technical aspects of Argergich's performance. Certainly her virtuosity and speed in some passages was impressive, but missing from much of the performance for me was a sense of musicality. I did not feel moved by her performance as I did with Kissin. For those who want a performance that conveys more feeling and emotion, go with Kissin's performance. If you want speed and flash, get this one.

Argerich and Rachmaninov: A Coupling to Beat.......2004-03-17

The sensationally gifted pianist Martha Argerich, with two decades of classical music stardom (if there is such a thing) already behind her, took the Berlin audience by storm with this passionate recording of the very difficult Rachmaninov Third Concerto in 1982. Ever since, it's easy to see why -- her fiery personality and virtuoso pianism are flat-out sweeping and as the Amazon.com reviewer points out, physically exciting indeed. The orchestra under Riccardo Chailly needs a while to grow accustomed to Argerich's trail-blazing tempo, but once they do, it makes for all the better listening experience. Which does not mean to say she's incapable of playing slowly -- quite the opposite. A listener is more than willing to forgive her a couple of missed notes, especially in the first movement; rather, the climax of the closing Finale may just leave you breathless and forget anything else. The studio-recorded suite for two pianos is another treat and Argerich's fellow Argentinian Nelson Freire more than holds his own with her. (Although the more expensive CD with the same Third Concerto and Tchaikovsky's First is more preferred, the rare suite deserves having!) Simply put, this is a must for Rachmaninov fans, Argerich fans and probably classical music fans, too.

A Rach 3 For The Ages.......2004-02-21

Argerich achieves a level of excitement, propulsion, and drama that is astounding to behold. Her performance of Rach 3 is infused with a relentless virtuosity coupled with an inspired artistry. This recording, alone, would have made Argerich a piano legend.

I believe the spirit of the Rach 3 allows for two different, yet complementary, approaches to interpretation: one that is poetic, reflective, and reposeful; another that is assertive, unabashedly passionate, and extroverted. The wondrously expansive Van Cliburn live recording from 1958 (made just 2 days after his triumphant return from the Tchaikovsky competition!) is an ideal example of the first approach. The powerhouse performance by Argerich on this disc represents the latter. Of course, both readings contain elements of poetry and bravura, but I'm referring to the overall character of the interpretation.

Whereas Cliburn exhibits a refined and restrained romanticism, Argerich bears a naked lustfulness that would make one blush. There is an unmistakable and highly-charged eroticism in the Rach 3 that Argerich brings forth which makes any of the Horowitz versions seem like comparative models of Victorian propriety. The comparison is akin to undressing your lover one button at a time versus tearing the shirt clean off in a fit of unfettered passion.

Consider, as one example, the ascending chordal thrusts in the first "mezzo forte" section in the last movement (eight bars after the famous glissando). Argerich turns what usually is a rhythmically labored section for other pianists into an explosion of kinetic excitement. Just hearing this section alone made me want to buy the CD because it revealed a conception of the Rach I never before encountered - a reading of unsurpassed verve and high-wire confidence. This is pianism at its most primal and viscerally compelling.

Yes, there are mistakes to be found: a wrong note here and there; a synchronization problem before a third-movement orchestral tutti; a missed cue at the cadenza in the last movement; and some muddled passage work where notes are either blurred or almost inaudible. There are times when one wishes Argerich would give equal prominence to the left hand such as in the electrifying "a tempo come prima" section in - again - the last movement (where Rachmaninov, in a fit of compositional swagger, unleashes a torrent of sixteenth and thirty-second notes over a static and tranquil orchestral support; the image is that of a peaceful ocean deep whose inhabitants are unaware of the hurricane raging on the surface; the way Rachmaninov concludes this audacious section is the musical equivalent of a rapidly spinning top winding down to a sudden stop).

Yet, there are voices and textures Argerich highlights to beautiful effect in other places that are all but absent in other recordings. Her relatively small fingers forces her to break some chords in the short cadenza preceding the "Tempo I. Alla breve," in the third movement, but, otherwise, she clutches Rachmaninov's hefty chords by the fistful. Her playing is among the most muscular of any pianist, including Horowitz or Earl Wild.

I'll conclude with one comment on a part of the work that is hardly ever referred to, yet is one of the most achingly beautiful in the entire concerto. It is the "Moderato" section that occurs after the first movement cadenza. A further restatement and development of the movement's lyrical second subject, it takes place soon after the point where the piano (playing an accompaniment based on arpeggio figures) and a succession of woodwinds (reminiscing on the movement's first theme) engage in a tender duet. Rachmaninov rewrites the last note of each measure of the second subject restatement a third interval lower, thus creating an extraordinary feeling of emotional denouement. The second subject is the heart of the first movement, and its inspired treatment here represents the culmination of a fantastic musical journey. Yes, the final "Tempo I" recapitulation section restates the first theme, thus closing the circle, and soon brings the movement to its technical conclusion; but, in a profound way, the emotional conclusion occurs in the above "Moderato" section.

Martha Argerich brings this section off in the most soul-stirring fashion imaginable. It's better than Cliburn's treatment (although his is fine in its own way), and it exposes the Horowitz versions as stilted and over-mannered. In that moment, Argerich ensured that the most exciting and rapturous Rach 3 was also the most meaningful and touching.

Tracks:

Albumblat, WoO 59: Fur Elise - Anatol Ugorski
Etude in E, Op.10 No.3: Tristesse - Tamas Vasary
Prld in D flat, Op.28 No.15: 'Raindrop' Prld - Martha Agerich
Ste Bergamasque: Clair De Lune - Alexis Weissenberg
Lyric Piece, Op.65 No.6: Wedding Day At Troldhaugen - Andrei Gavrilov
Venezia E Napoli: Gondoliera - Lazar Berman
Traumerei - Wilhelm Kempff
Kinderszenen, Op.15: By The Hearth - Wilhelm Kempff
Pno Son No.15 in c#, Op.27 No.2 'Moonlight': Adagio Sostenuto - Emil Gilels
Fant-Impromptu in c#, Op.66 - Anatol Ugorski
Lyric Piece, Op.57 No.6: Homesickness - Emil Gilels
Fant in d, K.397: Andante - Wilhelm Kempff
Liebestraum No.3 - Anatol Ugorski
Etude in A flat, Op.25 No.1: Hp Study - Tamas Vasary
Impromptu No.4 in A flat, D.899 - Andrei Gavrilov

Customer Reviews:

Just say no to AMSI (AMbient Sound Imaging).......2007-03-23

Not sure what led Deutsche Grammophon/Universal to use AMSI (AMbient Sound Imaging), a kind of simulated "surround". To use an analogy, it's like colorizing a good B/W film. The use of AMSI was one of the WORST mistakes DG/Universal has ever made in terms of sound engineering. The stereo image completely loses focus via this "technology". This is especially bad news for EARLY DIGITAL RECORDINGS, which lack "focus" and imaging to begin with. AMSI does not make the recording sound better. Too bad -- the track selection chosen for Fur Elise is quite good.

Sorry I don't agree..........2004-10-17

This is a good collection of pieces - would've been great had better Chopin been selected, like "Heroic". The perfomances are all well executed. However, the BIG problem, as with many piano recordings, is the recording level. On three different stereos, to hear the softest parts, the volume has to be turned up to such a level that A) hissing is an issue and B) the crescendoes BLAST and crack the speakers. The price is right, though...

Lovely.......2002-06-23

I am enjoying this album tremendously. My mother used to practice the piano while I was drifting off to sleep on occasional summer nights. I am looking for something to recreate that peace for my own children (failing to have mastered the instrument myself). Listening to this album just fills me with those same warm fuzzies; I love this music. The choice of pieces is wonderful and the playing lovely. I hope you'll enjoy it as much as I!

The title should have been "The Best Ofý".......2001-08-25

You have heard them all before. Well, not maybe all on the piano. I am not usually fond of other people's selections as they always leave out something (Ex. Rachmaninoff's Second Piano Concerto.) However I will have to make this the exception. This is a superior collection of similar "Romantic Piano Pieces." I also cringe at "et al"; once again the "et al" was a good selection. Even if you have the originals this will make an addition.

For a great time.......2001-06-18

Put you right in to the great mood of relaxation. I recommend this piece of art to anyone who knows what classical music is because this is what they have been looking for. A must have CD.

Chopin: Piano Concertos nos. 1 & 2 / Dutoit, Argerich

Average customer rating:

Disappointment
Great Performances
Argerich's Finest Recording of Chopin's Piano Concertos
Too much for me. :)
Fire and ice

Chopin: Piano Concertos nos. 1 & 2 / Dutoit, Argerich
Frédéric Chopin , Charles Dutoit , Martha Argerich , and Orchestre symphonique de Montréal
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Martha Argerich Plays Chopin: The Legendary 1965 Recording
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Chopin: 26 Préludes, etc / Martha Argerich
Maria João Pires - Chopin · The Nocturnes

ASIN: B00000IWVP
Release Date: 1999-05-18

Tracks:

Piano Concerto No.1 In E Minor, Op.11: I: Allegro Maestoso
Piano Concerto No.1 In E Minor, Op.11: II: Romanze. Larghetto
Piano Concerto No.1 In E Minor, Op.11: III: Rondo. Vivace
Piano Concerto No.2 In F Minor, Op.21: I: Maestoso
Piano Concerto No.2 In F Minor, Op.21: II: Larghetto
Piano Concerto No.2 In F Minor, Op.21: III: Allegro Vivace

Amazon.com

Martha Argerich is one of our supreme pianists, and this disc shows her almost at her best. Every phrase is beautifully considered and executed, but there is still plenty of spontaneity in her playing. Alas for the flowers of youth. A couple of decades ago, Argerich played this music (on two separate Deutsche Grammophon recordings) with even more fervor and spontaneity, and the accompaniments were more incisive and more clearly recorded than these. As Chopin wrote these concertos so early in his career, one can't help thinking that Argerich's earlier performances are more appropriate to the music. Still, with playing of this caliber, one can't merely set it aside. As a mature reconsideration of these concertos, this disc is well worth hearing--after you already know the earlier versions. --Leslie Gerber

Customer Reviews:

Disappointment.......2004-08-13

I usually like both Argerich and Dutoit, but EMI has not done either of them justice, and to me, Argerich sounds less involved than in other recordings. The real drawback, though, is the sound. Decca provided Dutoit and the Montreal Symphony with clear, open sound that made their recordings enjoyable. To me, EMI's sound here is indistinct, bordering on muddy at times. Orchestral detail is lost, and on a couple of occasions the piano just disappears behind the orchestra. I bought this recording expecting something special, but was quite disappointed.

Great Performances.......2002-09-05

The two piano concerti by Chopin have been staples of the concert hall for many years. However, this is only the second recordings of these concerti by Martha Argerich. Ms. Argerich summons up all of the poetry and pathos that has made Chopin's concertos so popular over the years. She is ably supported by Charles Dutoit and the Orchestre symphonique de Montreal, who fulfil their role as accompaniment well and even manage a bit of acceleration in the Second concerto (first movement) almost as if to catch Ms. Argerich by surprise. Having had the pleasure of hearing Ms. Argerich play the Beethoven Second concerto in person, I know she can drive the concerto along. So here the orchestra gets a turn. When this disc was reviewed by Gramophone the comment was made that it seemed less a studio recording than a relaxed concert performance. I would agree. The concertos come of as the luxuriously tuneful works that they are with brilliant keyboard work by Martha Argerich. This recording is among the best of Chopin's concertos and I highly recommend it.

Argerich's Finest Recording of Chopin's Piano Concertos.......2001-11-27

Martha Argerich's performances of both concerti are spellbinding, incredible displays of passion. Her technical skills at the keyboard are absolutely phenomenal too. Indeed, I doubt I have heard her play these Chopin concertos as skillfully as she does here. However, Dutoit comes across as a somewhat reluctant accompanist, in awe with her performances. He doesn't quite lead the Montrealers in brilliant performances of the orchestral scores. Still, this deserves my strong recommendation as one of the finest recordings of Chopin's piano concertos, if only because of Argerich's superb performances.

Too much for me. :).......2000-12-01

Lithe, sparkling, transparent, impressionistic--this recording is an outpouring of incredible delicious sound and it all reaches me so sublimely. It is the one piece of music I feel insecure writing about because I am so completely drawn into the moment, into the flow of the music. The orchestra and the piano are interwoven like the early sunset glow caressing a meadow's grasses. The slow movement of in the E minor is like a lullaby sung tenderly and quietly and with loving intimacy. In total both concerti seem to be played in an understated way, not with bravado, but with irresistible momentum. Dutoit and Argerich flow.

Fire and ice.......1999-12-08

Argerich plays with all her customary passion and flying fingers. But what I dislike about this recording is the fact that Dutoit's realization of the orchestral parts is rather dull. If you want to hear the true glory of these works, get the Perahia/Mehta CD (Sony). Perahia is every bit Argerich's equal while being more tasteful (IMHO), and Mehta's conducting is both powerful and vivid.

Live from the Concertgebouw, 1978 & 1979

Average customer rating:

If you only get one Martha Argerich disc...
DON'T YOU WISH YOU'D BEEN THERE?
Argerich's strengths and weaknesses
Great Chopin Nocturne
Not Martha's Best

Live from the Concertgebouw, 1978 & 1979
Johann Sebastian Bach , Bela Bartok , Frédéric Chopin , Alberto Ginastera , Sergey Prokofiev , Domenico Scarlatti , and Martha Argerich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Martha Argerich Plays Chopin: The Legendary 1965 Recording
Debut Recital / Martha Argerich
J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich
Martha Argerich: Live from the Concertgebouw, 1978 & 1992
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23

ASIN: B00004LCAR
Release Date: 2000-05-09

Tracks:

Partita No. 2 In C Minor, BWV 826: I. Sinfonia - Grave Adagio
Partita No. 2 In C Minor, BWV 826: Andante
Partita No. 2 In C Minor, BWV 826: II. Allemande
Partita No. 2 In C Minor, BWV 826: III. Courante
Partita No. 2 In C Minor, BWV 826: IV. Sarabonde
Partita No. 2 In C Minor, BWV 826: V. Rondeau
Nocturne No. 13 In C Minor, Op. 48, No. 1
Scherzo No. 3 In C Sharp Minor, Op. 39
Sonata, Sz. 80: I. Allegro moderato
Sonata, Sz. 80: II. Sostenuto e pesante
Sonata, Sz. 80: III. Allegro molto
Danzas Argentinas, Op. 2: I. Danza del viejo boyero (Dance Of The Old Cowherd)
Danzas Argentinas, Op. 2: II. Danza de la moza donoso (Dance Of The Delightful Young Girl)
Danzas Argentinas, Op. 2: III. Danza del gaucho matrero (Dance Of The Artful Herdsman)
Piano Sonata No. 7 In B Flat, Op. 83: I. Allegro inquieto - Andantino
Piano Sonata No. 7 In B Flat, Op. 83: II. Andante caloroso
Piano Sonata No. 7 In B Flat, Op. 83: III. Precipitato
Scarlatti: Keyboard Sonata In D Minor
Bourree - English Suite No. 2 In A Minor, BWV 807

Amazon.com

Throughout her lengthy artistic career, pianist Martha Argerich has experienced many heights and depths: moments of "crisis" in which she hasn't always seemed prepared to offer the full extent of her artistic insights, but also many, many times when she has managed simultaneously to come into her own and to completely lose herself in music-making. Fortunately it's the latter snapshot of Argerich's career that this CD captures, drawing from two live recitals Argerich gave at Amsterdam's Concertgebouw in 1978 and 1979. They document the pianist's overwhelming gifts, with all the artistic characteristics that have made her so revered. The program is quite eclectic, with music from Prokofiev and Chopin--all familiar territory for Argerich, which she masters with arresting brilliance, extraordinary technical facility, and grandly sweeping gestures. A bit further afield on the program are such composers as Domenico Scarlatti and J.S. Bach. The latter might give one pause: Bach and Argerich? But in the slower movements of the C Minor Partita, it's astonishing to hear such uncommonly tender, feathery tones. In short, the music breathes. It's only too bad that in the faster movements of the Bach pieces Argerich resorts to her typically fiery, stormy attacks. --Teresa Pieschacón Raphael

Customer Reviews:

If you only get one Martha Argerich disc..........2007-04-30

If you only get one Martha Argerich disc, or if you're just begining to collect her music, this would be an excellent choice. She is in superb form here, playing to a large, very appreciative audience. Also she plays a huge variety here, ranging from Bach & Scarlatti, through Chopin, to semi-modern composers including Bartok, Prokofiev, and Ginastera.

This recording illustrates why Argerich is considered by many to be the greatest living pianist, (I also love Pollini). Her power, passion, full colored tone, and technical agility are unparalleled. While everything on this album is superb, my favorite is the Chopin Nocturne in C minor. It starts off very calm, but with just a hint of the turbulence to come. It becomes even more serine when suddenly the serenity is invaded by waves of dark turbulence. I've heard a few other versions of this work, but I've never heard the simultaneous range of emotions that Argerich achieves here, it's magical.

DON'T YOU WISH YOU'D BEEN THERE?.......2006-08-31

Thrilling, exciting, sexy, passionate, fiery, volatile, demanding, challenging, surprising, charismatic, exquisitely beautiful. Are we talking about the pianist or the playing? Well, both, of course. This recital from the Concertgebouw in the late 70's (actually put together from two recitals) amply demonstrates why Martha Argerich is one of the great pianists of our time.

For a start, there is the breathtaking range of repertoire here - from Bach to Bartok and Prokofiev and on to her fellow-countryman, Ginastera. All of them played with an innate sense of the different styles and character demanded. But all of them challenging stale preconceptions, shedding new light on the composers and their music. Even the most familiar pieces come up as fresh as though newly minted. The Chopin items are just as fresh and exciting as anything here: the C Minor Nocturne is a wonder of colour and tints, the darkness of its central section starkly contrasted with the elegance and smoothness of its outer parts. Equally the motoric rhythms of the first movement of the Bartok Sonata and the last of the Prokofiev display enormous power and energy.

With her reluctance to play/record solo recitals any more, live documents such as these Concertgebouw programmes are invaluable. If you've a taste for invigorating, refreshing piano playing of the highest standards (both of technique and interpretation), don't hesitate.

Argerich's strengths and weaknesses.......2005-11-11

This CD, with live recordings from 1978 and 1979, is a showcase of Martha Argerich's astounding gifts but also of some of her evident shortcomings. The former are a technique as brilliant as any to be found anywhere in the world today, a real interpretative temperament and a natural musical instinct which is amongst the most unique in the annals of piano playing. The latter, a tendency towards senselessly fast and forced playing which often leads to distorted renditions reminiscent of the worst moments of Simon Barere and Gyorgy Cziffra.

The Partita n. 2 is good, reasonably spacious and even luminous in places. It's non-authoritative Bach playing but all the better for it. The Bartok sonata is the highlight of the disc: its motoric drive is relentless, its percussiveness notable without being unpleasant, and the overall technical vigour quite remarkable. Prokofiev's Sonata n. 7, op. 83 - probably the most popular of the Russian master's nine - is also impressive, with some brilliant fingerwork in spite of some minor slips and exciting throughout, though the final allegro precipitato sounds hurried rather than potent. Argerich also shows the expected understanding of her compatriot Alberto Ginastera's Danzas Argentinas, which she dispatches with flair and elan.

The Chopin, however, is a totally different story, and a sad one at that. This Scherzo n. 3 is much inferior to Argerich's previous recordings of the piece - made in 1961 and 1965 - and easily her worst attempt. She entirely sacrifices the narrative aspect of the work to speed and feverishness. The result is a shapeless, amorphous performance, with many blurred and technically inaccurate moments, and a tone with is at times hard-edged and banged. I can't imagine Chopin wanting that (ironically enough, the notoriously fast-fingered Barere recorded this same scherzo in the 30's with restraint, good taste and a luminous quality of tone).

All in all, a valuable CD, not only for the instances of great piano playing but also for revealing Argerich's highs and lows as a performer.

Great Chopin Nocturne.......2005-02-03

Sometimes, listening to Argerich can give one the impression that you are hearing THE way of playing a piece.
In this case, it happened with Chopin's beautiful nocturne, which i had already heard in various performances by other pianists (Rubinstein, Barenboim, etc)

I can't believe it's the same piece. In this recording, Argerich has managed to make this one explode like an atomic bomb, and leave me trembling.... Even in the slower parts the notes seem to flow like water... Simply wonderful.

The other works recorded are good, but the partita sounds better on DG's Studio recording, the Scherzo also sounds better on DG's Debut Recital... The Prokofiev sonata is included in this disc only, so if you want it, there you go...

Anyway, good cd, gret Nocturne, very good permormances all around.

The sound is a little crappy though, so it gets 4 stars instead of five. I really don't like EMI's live sound...

Not Martha's Best.......2001-07-30

Being a Marth Argerich fan, i was disapointed with this CD. In the last movement of the Prokofiev, which is one of my favorite pieces of music, she loses control and the Great Finaly of the sonata is very sloppy. through out the CD backround noise is heard and for the encores i was amazed at how much whishpereing there was , even during her playing. i know thats something that she cannot help. overall her playing is much cleaner and neater on otherr CD's. i recommened her two Great Pianists of hte Twentieth Century CD's much more than this one. the First one has a much nicer recording of the Bach Partita.

Martha Argerich and Friends: Live from the Lugano Festival

Average customer rating:

Highly engaging summer music--the real spark is Argerich

Martha Argerich and Friends: Live from the Lugano Festival

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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Martha Argerich and Friends: Live from the Lugano Festival, 2006

ASIN: B0009LNQV0
Release Date: 2005-09-13

Tracks:

I. Allegro
II. Larghetto
III. Gavotte: Non Troppo Allegro
IV. Finale: Molto Vivace
I. Ouverture Miniature
II. Danses Caracteristiques:A. Marche: Tempo Di Marcia Viva
II. Danses Caracteristiques:B. Danse De La Fee Dragee: Andante Non Troppo
II. Danses Caracteristiques:C. Danse Russe - Trepak: Tempo Di Trepak, Molto Vivace
II. Danses Caracteristiques:D. Danse Arabe: Allegretto
II. Danses Caracteristiques:E. Danse Chinoise: Allegro Moderato
II. Danses Caracteristiques:F. Danse Des Mirlitons: Moderato Assai
III. Valse Des Fleurs
I. Andante - Moderato
II. Allegro Non Troppo
III. Largo
IV. Allegretto

Tracks:

I. Allegro - Lilya Zilberstein
II. Adagio - Lilya Zilberstein
III. Un Poco Presto E Con Sentimento - Lilya Zilberstein
IV. Presto Agitato - Lilya Zilberstein
I. Allegro Moderato - Renaud Capucon
II. Andante Un Poco Mosso - Renaud Capucon
III. Scherzo: Allegro - Renaud Capucon
IV. Rondo: Allegro Vivace - Renaud Capucon

Tracks:

I. Allegro Brillante
II. In Modo D'una Marcia - Un Poco Largamente
III. Scherzo: Molto Vivace
IV. Allegro Ma Non Troppo
I. Mit Leidenschaftlichem Ausdruck
II. Allegretto
III. Lebhaft
I. Allegro Con Fuoco - Renaud Capucon
II. Lento - Renaud Capucon
III. Allegro Moderato. Grazioso - Pochettino Piu Mosso - Grazioso - Renaud Capucon
IV. Allegro Ma Non Troppo - Renaud Capucon

Customer Reviews:

Highly engaging summer music--the real spark is Argerich.......2006-01-06

This bargain 3-CD set is called "Martha Argerich and Friends," but is that enough to warn buyers that she apears only half the time? That half is the best part of this colleciton, taped live across three summers, 2002-04 in LUgano, Italy. the half without Ms. Argerich features stellar musicians, particularly Maxim Vengerov and Yefim Bronfman, but theyir participation is surprisingly low-key.

Argerich loves to play two-piano music, a genre I find too bangy to be interesting much of the time. She zips through a piano transcription of Prokofive's Sym. 1 with Yefim Brongman, and sparkles in a similar arrangement of the Nutcracker Suite with a parnter unknown to me, Mirabela Dina. I'm sure a lot of listeners will have as much fun with fluff as she does.

Her two major contributions come in a riveting Shostakovich Pianto Trio #2, one of his undoubted masterpieces, with Vengerov almost dominatig the ensemble in his mesmerizing account of the violin part. This reading isn't as fiery as Argerich is wont to be, but it has passion enough ot stand beside the best performances (the composer's own and the one with Richter and the Borodin Trio). The second-best thing here is the Schumann Piano Quintet, again finding Argerich in vigorous but not slashing mode (Gott sei dank), easily taking charge and making this a quintet for piano solo with string obligatto. A fine account despite the imbalance.

The half without Argerich is pleasantly done. I had hoped for much more form Vengerov and Bronfman in the Brahms Violin Sonata #3--maybe the warm July breeze off the lake made them a bit drowsy. A Schubert Piano Trio #1 again finds Bronfman in too relaxed mode; the piece lacks spine and attack. The rest of these three CDs is filled out with Argerich accompanying Geza Hosszu-Lagocky (a fine violinist unknown to me) in Schumann's late, rather debilitated Violin Sonata #1, a lovely account without quirks, and a pleasant but hardly memorable Dvorak Piano Quartet #2 led by Walter Delaunt.

All in all, a bargains et of very good performanes that sometimes rises higher than that.

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