Beethoven Triple Concerto; Schumann Piano Concerto
A glimpse of Argerich at her best – and in her first recording of the Beethoven triple concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Ludwig van Beethoven, Robert Schumann
Genre:
Orchestral
Label: EMI Classics
Magazine Review Date: 9/2004
Media Format: CD or Download
Media Runtime: 65
Mastering:
Stereo
DDD
Catalogue Number: 557773-2
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin, Cello, Piano and Orchestra |
Ludwig van Beethoven, Composer
Alexandre Rabinovitch, Conductor Ludwig van Beethoven, Composer Martha Argerich, Piano Mischa Maisky, Cello Orchestra della Svizzera Italiana Renaud Capuçon, Violin |
Concerto for Piano and Orchestra |
Robert Schumann, Composer
Alexandre Rabinovitch, Conductor Martha Argerich, Piano Orchestra della Svizzera Italiana Robert Schumann, Composer |
Author: Bryce Morrison
Martha Argerich’s caution in committing new items from her once extensive repertoire to disc is proverbial. So a warm welcome to her first recording of Beethoven’s Triple Concerto where, with her esteemed colleagues Renaud Capuçon and Mischa Maisky, she relinquishes all sense of stardom and does what comes naturally; namely performing music with her friends and allowing the microphones to eavesdrop, as it were, on her unalloyed happiness. Renewing her love for Beethoven (the Third Concerto will hopefully follow and there is even a promise of an Emperor Concerto later this year in Japan) Argerich confirms her status among the great chamber-music players, responding to her partners with exemplary tact and verve. Listen to the sense of interplay at 9'45", to Argerich’s reply to Maisky’s eloquence in the central Largo, or to the almost comic relish at 4'50" of the finale’s bustling and ceremonious Polonaise, and you will be aware of music-making caught on the wing and filled with an unselfconscious delight and enjoyment.
The performance of the Schumann (Argerich’s third on disc) is so vital and assertive that you are stunned and gratified by her ability to recreate music she has performed countless times with the white heat of first love. The opening is launched with a wild thrust and, throughout, there are innumerable little spur-of-the moment details and asides, a quick drawing of attention to this or that felicity.
Of course, such playing is a personal taste and you would never confuse Argerich for a moment with regal Myra Hess or sober-suited Pollini in this music but, again, she carries all before her, allowing her playing to pulse with a nervous vitality that trumps even her own previous performances. She is skilfully partnered by Alexandre Rabinovitch-Barakovsky, a pianist and conductor who somehow holds the reins of his fiery and unpredictable steed. To crown it all, EMI’s 2002 and 2003 Lugano-based recordings are excellently presented.
The performance of the Schumann (Argerich’s third on disc) is so vital and assertive that you are stunned and gratified by her ability to recreate music she has performed countless times with the white heat of first love. The opening is launched with a wild thrust and, throughout, there are innumerable little spur-of-the moment details and asides, a quick drawing of attention to this or that felicity.
Of course, such playing is a personal taste and you would never confuse Argerich for a moment with regal Myra Hess or sober-suited Pollini in this music but, again, she carries all before her, allowing her playing to pulse with a nervous vitality that trumps even her own previous performances. She is skilfully partnered by Alexandre Rabinovitch-Barakovsky, a pianist and conductor who somehow holds the reins of his fiery and unpredictable steed. To crown it all, EMI’s 2002 and 2003 Lugano-based recordings are excellently presented.
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