Schumann Argerich

Martha Argerich has made such a rousing specialty of the Schumann Cto. that it's hard to remember a time when another pianist attacked the work with as much passion and spontaneity but here is Rudolf Serkin from 1964 to remind us. Ormandy was at his best as an accompanist, yet he excels himself here with an orchestral part that is vivid and urgent, not what one expects from him. Serkin always favored very close miking of the piano essentially under the lid and we're lucky that this cheap digital remastering isn't hard or glassy; in fact, it has considerable visceral impact while still sounding fairly natural a bit of shallowness is all that I can complain about.

Argerich, Kremer, Maisky - The Complete Duo Recordings (2012) {13CD BoxSet Deutsche Grammophon 477 9524}
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© 2012 Deutsche Grammophon / Universal | 477 9524
Classical / Chamber Music / Piano / Violin / Cello

Martha Argerich's associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist’s most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order. Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Martha Argerich - Les Premiers enregistrements: Schumann, Liszt, Chopin, Mozart, Beethoven (2021) {Diapason DIAP135}
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© 2021 Diapason | DIAP135 | Les Indispensables de Diapason Series
Classical / Romantic / Piano

In the early 1960s, Martha Argerich was only twenty years old, but an already busy career. So full that the miracle from Argentina feels the need to take a break and recharge (rebuild) after such a whirlwind. "The young Argerich" that we invite you to find here is the one before this first silence, before her resounding victory at the Concours Chopin 1965.
Fortunately, the microphones accompanied him for a long time already. Our journey begins in 1955: shortly before flying to Vienna to follow the teaching of Friedrich Gulda, a thirteen-year-old Argerich descends the arpeggios of Etude op. 10 No.1 by Chopin with crazy insolence and aplomb. A few years later, it is with this same introduction that she will scotch the Warsaw jury.

The Beethoven Triple Concerto is a strange work, with the most important–-or at least prominent–-solos given to the cello; it is the instrument which introduces each movement. The remarkable Martha Argerich wisely allows Mischa Maisky to shine in his solos and leading position, but her contribution is anything but back seat. Her customary virtuosity is everywhere in evidence, and, in a way, she turns the piano into the spinal column of the work, with the violin and cello playing around her. Every time Maisky is about to lapse into a mannerism which might detract–-too much sliding, a dynamic slightly exaggerated–-Argerich brings him back, and both of them play with handsome tone. Capucon's violin is recorded a bit stridently (this was taped live in Lugano), but his playing is equally stunning. Alexandre Rabinovitch-Barakovsky leads the orchestra matter-of-factly until the final movement, when he catches the proper fire. In the Schumann A minor concerto Argerich is wonderful the solo passages and a fine partner in orchestrated ones and she really makes much of both the lyrical runs and the dance-like passages in the last movement. Recommended.

Violinist Gidon Kremer and pianist Martha Argerich are two of the greatest living virtuosos on their instruments and, though they are wholly individualistic players, they get along extremely well together. German Romantic Robert Schumann and Hungarian modernist Béla Bartók don't have much in common at first blush: one is dreamy and poetic, the other brutal and cerebral.