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         M   a   r   t   h   a

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Martha Argerich has through the past decades claimed the position as one of the greatest pianists of the post-war era. From her legendary debut recording in 1961 up till this day she has given the music world some of its most valued treasures, in form of recordings and concerts. Her recordings ranges from Bach to Bartók, with an emphasis on central romantic, and early modernist repertoire.

Her name first occured after winning the 1957 Busoni competition at Bolzano, and she acquired additional fame with her remarkable debut recital on DG from 1961. She was also awarded the first prize in the Chopin competition in Warszaw in 1965.
Since then her probings into the works of Liszt, Chopin, Ravel, Prokofiev, Schumann, Bartók and others have given her a place in the Elysium of musicians along side with predecessors such as Horowitz, Richter and Gilels and contemporary colleagues such as Pollini, Zimerman and Perahia. As for my self, I must admit that no other pianist  have given me moments of pure heavenly bliss like Martha Argerich. I first encountered her in a recording of Ravel's Gaspard de la Nuit, and have since been a devoted fan and admirer of her stunning musicianship. I should therefore warn you, that this presentation, of this young man's greatest musical love is written through highly subjective and adoring glases.
Martha Argerich's production of recordings is extensive, and only a selection of them will be presented here.

Debut Recital

F. Chopin, J. Brahms, F. Liszt, M. Ravel, S. Prokofiev
Franz Liszt: Sonata in B-minor
1961. 1972 (Sonata). Deutsche Grammophon (The Originals) medium-price

This is the legendary debut recording of Martha Argerich, and for those of you who haven't heard it: This really is the stuff that dreams are made of. It has been characterized as one of the most remarkable debuts in recording history. These are big words, perhaps too big. But if one should use such praise for a record it probably would have to be this one.

One of my personal favorites on this disc is Chopin's wonderful Barcarolle op.60. I recently heard Mikhail Pletnev's recording of it (Virgin Classics) which I found very interesting. Pletnev's project seems to be that of an impressionist carefully bringing out every nuance of tonal colour. Argerich's main concern on the other hand, seems to be that of line, and hers is in my opinion the finest version. A clarity of touch and masterful blend of lyricism and drama characterizes this recording. Another highlight is Liszt's Hungarian Rhapsody no.6, which clear and virtouso rhapsodic flows are out of this world.

In DG's The Originals release the Debut recital is coupled with Ms. Argerich's 1972 recording of Liszt's titanic B-minor sonata. In this case I feel that words are superfluous. Sufficient to say that the fiery virtuosity and masterful structuring of this fragmented one movement sonata is unique. You simply won't hear anything like this anywhere else. This disc belongs in EVERY record collection.

Kinderszenen - Kreisleriana

Robert Schumann: Kinderszenen op.15, Kreisleriana op.16
Martha Argerich, piano
1984. Deutsche Grammophon full price

This recording is sadly still Ms. Argerich's latest recital on disc. The nature of Schumann's beautiful pianominiatures, especially the Scenes from Childhood, are pretty far from the big, bold and boisterous Liszt, but Martha Argerich nevertheless finds herself on homeground with the most sensitive approach one can imagine.
The tiny lyrical pieces comes out with the lightest touch, sensitive to the most minute of nuances. Her Kinderszenen is a highly recommendable alternative, although it can't  quite compare with Horowitz' remarkable 1990 live-recording on DG (Masters).

The second work on the record is Kreisleriana op.16, another collection of miniatures. These pieces are however often of different character than the Kinderszenen, with a greater dramatical span. There are several recommendable recordings of this work, and Argerich's is among the top choices. But in this case I would actually go with Murray Perahia (Sony Classical) if I was sent off to a desert island with a bag big enough for only one disc. If there were room for two, this one would go as well. (How does one know that there will be a cd-player and a powersupply on a desert island??)

Felix Mendelssohn:
Concerto for piano, violin and stringorchestra, D-minor
Concerto for violin and stringorchestra, D-minor(Second version; 1822)

Martha Argerich, piano, Gidon Kremer, violin
Orpheus Chamber Orchestra
1989. Deutsche Grammophon 427 338-2 GH full price
 

I can think of few things more enjoyable than the youthful splendour of Mendelssohn's early works. When the music is presented in the manner of Argerich and Kremer, it's an offer you should not refuse. This is the first and only recording I have heard of these two works, but I can't seem to imagine them played in any other way. The teaming up of Martha Argerich and Gidon Kremer, have left its mark on the world through, for instance, a pretty enlightening and potent account of the Beethoven sonatas (to put it mildly). This disc is blessed with the same directness and potency, and I have rarely heard Mendelssohn so brilliant and forceful.

The Orpheo Chamber Orchestra, that in my opinion sometimes may seem a wee bit... bland and perhaps neutral, makes a laudable performance with some elegantly structured playing. But the prizes go to the soloists, whose electrifying performances are one (or perhaps two) of a kind. The first movement (allegro) of the doubleconcerto contains some of the finest duo performances for these two instruments that I've come across.

  Pianoconcerto - Gaspard de la Nuit

Maurice Ravel:
Pianoconcerto in G-major
Gaspard de la Nuit
Sergei Prokofiev:
Pianoconcerto no. 3

Martha Argerich, piano
Berliner Philharmoniker, Claudio Abbado
1997. Deutsche Grammophon (The Originals) medium price

This recording of Maurice Ravel's pianoconcerto, and tonepoem Gaspard de la Nuit, was my first encounter with Martha Argerich. I still have some trouble accepting other interpretations as these accounts are, atleast in my opinion, so overwhelming. I can think of few musicians so sensitive to Ravel's colouristic and ludic disposition in the outer movements of the Pianoconcerto, that still posesses the ability to produce the softest and most translucent textures one can dream of in the adagio.

Much of the same can be said of Ms. Argerich's Gaspard de la Nuit, although the raging drama and macabre stillness of this work sets it apart from the concerto. The wavelike fits of rage in the third movement are spinechilling, as indeed is also the case with the calmness surrounding the pendulum rythms of Le Gibet (the gallow). I understand that Ivo Pogorelich has made a rather unforgettable version of this piece, which I regretably haven't heard, nevertheless Martha Argerich's is a recording I most wholeheartedly recommend.
(The edition I have (DG Galleria) does not contain the Prokofiev concerto, and I have regretably not heard it. I still chose to refer to the Originals release as it probably is easier to get hold of for those who are thinking of buying these recordings.)

Chopin/Liszt:  Pianoconcertos nos.1 & 1

F. Chopin:
Piano concerto no. 1
F. Liszt:
Piano concerto no. 1

Martha Argerich, piano
London Symphony Orchestra, Claudio Abaddo
1996. Deutsche Grammophon (The Originals) medium price
 
The Chopin concerto is among the most brilliant examples of the genre, and Liszt's "little" concerto (compared to his second) also contains the virtuosity and powerful elegance of the romantic piano concerto. There are so many great pianists whose interpertations are of a legendary status, that have recorded these works, but I dare say that few of them have done so more convincingly than Martha Argerich. The drama and brilliance of Chopin's demanding score flows potently yet seemingly without effort. The virtouso parts of the first movement are executed with ardour and a fiery temperament.

The Liszt concerto is no less impressive, in its condensed and intense musical language, and one is tempted to think that Liszt wrote this work with a musician like Argerich in mind (He wasn't too bad a player himself). Personally I find it very hard to recommend a first choice of this concerto. Sviatoslav Richter has a fine version with London Symphony Orchestra and Kirill Kondrashin, but Argerich's stiffest competition comes, in my opinion, from Krystian Zimerman's raging performance with the Boston Symphony and Seiji Ozawa. Fortunately it's possible to have both, or even all three (especially if you skip that desert island trip).

Rachmaninoff/Tchaikovsky:Pianoconcertos

Sergei Rachmaninoff:
Pianoconcerto no. 3 in D-minor, op. 30
Pjotr Iliych Tchaikovsky:
Pianoconcerto no. 1 in B-flat minor, op. 23

Martha Argerich, piano
RSO Berlin, Riccardo Chailly (Rachmaninoff)
Orchester des Bayerisches Rundfunk, Kirill Kondrashin (Tchaikovsky)
1995 (1980/82). Philips Classics  46673  full price

As most of you probably remember, Rachmaninoff's third pianoconcerto became a householdname after the release of the film "Shine". The tremendous amount of attention the work recieved made the recording companys market their accounts of it agressively and seemingly ceaselessly. Personally I doubt wether this piece is worth such attention, especially when contemplating the regretable anonymity of the works of such composers as Franz Xaver Scharwenka or Emil von Sauer. Be that as it may; if one likes the music this is certainly the disc to have. I must confess that the unbelievable feriosity and utter control displayed by Ms. Argerich in this live-performance from 1982, is spinechilling, and I dare say, one of a kind. Pianoplaying doesn't get much more impressive than this. Martha Argerich's technical abilities are indisputable, but still her finest quality is her perpetual concern for presenting the music on its terms, and NEVER as a mere vehicle of her own virtuosity. In this lies her superb musicianship. Alternative recordings are hard to suggest, as they all seem to come short of this, but still the young Russian pianist Boris Berezovsky has made a fine recording  with the Philadelphia Orchestra and Eliahu Inbal (Teldec).

When it comes to the Tchaikovsky concerto, it is one of three recordings made by Ms. Argerich. I have regretably not heard the two others (both on Deutsche Grammophon), but the one with The Royal Philharmonic Orchestra and Charles Dutoit is supposed to be rather impressive as is the later recording with the Berliner Philharmoniker and Claudio Abbado. This one which as the Rachmaninoff concerto is a live performance, is yet another blessing for those Tchaikovsky fans out there. I personally can't stand the work, but the insight and virtuosity of Ms. Argerich certainly sweetens the bitter pill.

This disc is a MUST for the fans of the romantic pianoconcerto.

  Sonata for 2 pianos and percussion

Béla Bartók:
Sonata for 2 pianos and percussion, Sz 110
Maurice Ravel:
Ma Mére l'Oye, for 2 pianos and percussion (arr. Peter Sadlo)
Rapsodie Espagnole, for 2 pianos and percussion (arr. Peter Sadlo)

Martha Argerich, Nelson Freire, piano
Peter Sadlo, Edgar Guggeis, percussion
1994. Deutsche Grammophon 439 867-2 GH full price

This music is as exciting as it is strange and unusual. Béla Bartók's sonata for two pianos and percussion was written in 1937, the year after the composer had finished his Music for string instruments, percussion and celesta, where the combination of the piano and percussion instruments plays a prominent part. The raw, forceful yet very concise palying Ms. Argerich  and Nelson Freire displays in this recording makes the interaction between the pianos and the percussion most potent, and shows the listener the enormous potential of this instrument, in its contrasting aspects, but also similarities to the percussion instrument. Brilliant musicians playing brilliant music. The two Ravel pieces that completes the disc, are both arragements by the percussionist Peter Sadlo, whose new angle proves to be a very fascinating one.

  Beethoven/Schumann: Pianoconcertos

Ludwig van Beethoven:
Pianoconcertos nos. 1 & 2
Martha Argerich, piano
Philharmonia Orchestra, Giuseppe Sinopoli
1995 (1986). Deutsche Grammophon (Masters)  445 504-2  G MA   meduim price
 

Robert Schumann:
Pianoconcerto in a-minor, op. 54
Celloconcerto in a-minor, op. 129
Martha Argerich, piano, Mstislav Rostropovich, cello
National Symphony Orchestra, Mstislav Rostropovich (op. 54)
Leningrad Philharmonic Orchestra, Gennadi Rozhdestvensky (op. 129)
1961/78. Deutche Grammophon (Galleria) 449 100-2  G GA   medium price

Beethoven's music for piano is, in my opinion, often best served by "classisist" pianists like Clara Haskil or Richard Goode. This recording is a pleasant exception. There are naturally several great performances and recordings by more "romantic" pianists like Gilels, Perahia or Richter, but I find that the music Beethoven wrote for piano often benefits from a certain restraining of the pathos, and grand virtuosity. I think it is the sting and conciseness in the touch that makes these concertos become so vital and exuberant, under the comand of Ms. Argerich. She does bring that romantic demonic virtuosity into the early works of the great master, but it somehow sounds refreshing and completely justified. This disc is hereby recommended for its bold and highly personal approach.

The Schumann concerto was finished in 1845, and is wonderful in its melodic richness. Martha Argerich's finely tuned approach makes Schumann the symphonic composer stand out in well deserved glory (for once). She is accompanied by none the less han Mstislav Rostropovich and the National Symphony Orchestra under his firm comand. This combination proves rather successful, as the concerting between Ms. Argerich and the NSO is balanced and firm. In other words an altogether recommendable recording.

The celloconcerto is the second work on the Galleria edition, and is not in the Martha Argerich Collection.

There are several recordings from Ms. Argerich that I have not commented on here. There are the Beethoven violinsonatas with Gidon Kremer, which are supposed to be pretty outstanding, the cellosonatas with Mischa Maisky, and music by Stravinsky, Messiaen, Schubert and others as well. I would be surprised if any of these are anything but great, as this is a musician one cannot go wrong with.

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