http://theclassicalreviewer.blogspot.co.uk/2014/01/claudio-abbado-dies-at-age-of-80.html . It also brought to an end a long term musical relationship with the great
pianist, Martha Argerich http://marthargerich.blogspot.co.uk
Yet no sooner had
these sad thoughts been going through my mind when a live recording arrived
from Deutsche Grammophon that highlighted the fact that Abbado will always be
with us through his numerous recordings.
This new release again
brings together Abbado and Argerich and was recorded at last year’s Lucerne
Festival and marks Argerich’s first recording of solo concertos by Mozart on
Deutsche Grammophon. Samples from this new release are available at www.deutschegrammophon.com/gb/cat/4791033
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| 479 1033 |
The Allegro maestoso of Piano
Concerto No.25 in C major, K503 has a muscular opening, before some
beautifully turned phrases from Abbado’s Orchestra Mozart. When Argerich enters
there is a lovely moment when pianist and orchestra interweave to perfection.
Argerich’s touch is exquisite as is her sense of Mozartian flow. I love both
Argerich and Abbado’s sense of balance between strength and grace that has silky
smooth strings against Argerich’s often hushed piano tone. How good it is to hear
Friedrich Gulda’s cadenza especially as played here.
Orchestra Mozart provide some lovely woodwind passages in
the Andante and there is some
ravishing playing from Argerich, so beautifully controlled and phrased, with
such sensitivity, creating a magical world. Argerich highlights some hidden
beauties, yet for all this there is an underlying strength to her playing.
Argerich has a real spring in her step in the vibrant Allegretto. These two artists work
phenomenally well together with lovely dovetailing all the little orchestral
phrases and such expressivity.
With the Allegro of Piano
Concerto No.20 in D minor, K466 again Orchestra Mozart bring a weight to
the sound, balanced by a silken transparency. When Argerich enters there is the
feel that she is exchanging little confidences. Those who have only ever heard
Argerich in the Tchaikovsky and Rachmaninov concertos and are not aware of her
chamber music work, will be surprised with the chamber like nature of some of
this playing. As the music builds in dynamics, Argerich brings all her strength
without foregoing poetry. There are some terrific scales and chords as well as
pinpoint clarity from Argerich. Thank goodness we can get to hear Argerich play
the Beethoven cadenza. Over the top and out of proportion this Beethoven
cadenza is, but it is thrillingly played.
There is a beautifully nuanced Romance with Argerich providing both poetic and muscular moments, as
do the Orchestra Mozart. Again there are passages of exquisite beauty with this
pianist showing all of Mozart’s changeable moods. There is more, lovely
woodwind playing towards the end and beautifully judged string passages.
Pianist and orchestra throw themselves into the Rondo. Allegro assai with gusto. There
is terrific playing from Argerich and the orchestra, full of spontaneity and
life, an absolute joy. Argerich again opts for the Beethoven cadenza giving us such
a full and flowing sound with some lovely rubato.
My shelves are laden with Mozart concerto recordings from Ashkenazy,
Barenboim and Brendel to Perahia, Pires and Richter, to name just a few. But this
is something special. Not just a special partnership, though that is something
worth remembering, but for the incomparable performances recorded here.
The engineers have done a fine job in capturing the
exquisite piano tone in this live concert. The rousing applause is kept in but,
otherwise, I could detect no obvious audience noise, which is not surprising given
these intoxicating performances.
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