One of the finest musical partnerships over the last forty
years or so has been that of
Martha Argerich http://marthargerich.blogspot.co.uk
and Claudio Abbado. Argerich still
continues to thrill with her performances but, sadly Abbado is no longer with
us.
Deutsche Grammophon
www.deutschegrammophon.com has just released a boxed set that brings
all their recordings for that company since their first in 1967.
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| 5 CDs 479 4155 |
This treasure trove of music
making starts with Prokofiev’s Piano
Concerto No.3 in C major, Op.26 recorded in Berlin at the
Jesus-Christus-Kirche with the Berlin
Philharmonic in 1967. This is a performance of power and authority combined
with wit and understanding. There is phenomenal playing here with intuitive
accompaniment from Abbado and the Berlin players, a fine incisiveness with
moments of supreme poetry.
The recording lacks, perhaps, the last degree of clarity but
is still very good.
Abbado brings some raucous jazz elements to the Ravel Piano Concerto in G major recorded
with the Berlin Philharmonic Orchestra at the same time in Berlin. Argerich
provides a freely improvisatory quality that is quite beguiling. Dramatic
contrasts abound as well as some exquisitely pointed up details and poetic
moments. Abbado draws from the orchestra some intoxicating orchestral sounds.
There is a wonderfully restrained adagio
assai, surely one of the finest performances of this movement, exquisitely
done by all. They do not hold back on the jazz elements in the final presto.
The second disc in this set with the London Symphony
Orchestra opens with Chopin’s Piano
Concerto No.1 in E minor, Op.11 recorded in the fine acoustic of
Walthamstow Town Hall in 1968. Abbado and the LSO bring some stirring playing
in the opening of the allegro maestoso
with some beautifully turned woodwind passages. There is a lovely sensibility
from Argerich, tremendous fluency, beautifully judged tempi and phrasing and a
fine rubato. She is so sensitive to Chopin’s muse with much fine poetry
particularly in the larghetto where
she provides some gorgeous playing, Abbado and the LSO providing some fine
woodwind sounds. Argerich is not without fire and impetuosity in the terrific Rondo Vivace.
There is virtuosity galore in Liszt Piano Concerto No.1 in E flat major yet with many moments of
refinement and poetry from both Argerich and Abbado. These two bring a sense of
something greater, a cohesion and stature. There are some lovely instrumental moments
revealed by Abbado and such taut playing in the finale in what must be one of
the finest Liszt First Concertos ever made.
Both the Chopin and the Liszt have excellent, detailed
recordings from Walthamstow.
This disc also contains a later recording of Ravel’s Piano Concerto in G major made
in 1984 with the London Symphony Orchestra in St. John’s Smith Square, London. It
opens with what initially sounds like a more refined, subdued quality than
their 1967 Berlin recording but soon Abbado lets loose with the same raucous
jazz style, this time perhaps even more so. Argerich shows more freedom and
breadth with playing that is taut, full of verve and panache. There are some
magical moments, finding more poetry and élan to contrast with the sheer raucous
jazz sounds in playing that is tremendous with a fine rhythmic bounce. There is
a sublime adagio assai with beautiful
woodwind before a terrific Presto with remarkable playing from Argerich supported
by superb orchestral playing from the LSO.
It is difficult to choose between the two performances in
this set, the first more spontaneous, the section more refined. Luckily anyone
acquiring this set doesn’t have to choose.
For the third disc we return to the Berlin Philharmonic Orchestra
for a performance of Tchaikovsky’s Piano
Concerto No.1 in B flat minor, Op.23 set down in the Großer Saal of
Berlin’s Philharmonie in 1994. Abbado draws a lovely brilliance of sound from
the BPO whilst Argerich is superb though less overtly spontaneous than in her
1980 live Munich recording with Kondrashin (Philips). There is terrific control
and very fine rubato in this obvious meeting of musical minds that brings superb
tautness. Argerich builds to some pretty
fiery playing without missing the moments of fine poetry. There is an often restrained,
beautifully shaped andantino with Abbado
drawing some lovely woodwind passages and Argerich giving a dazzling display of
nimble virtuosity in the faster central section. To conclude there is a taut allegro con fuoco with absolutely superb
playing from both pianist and orchestra, such intuitive musicianship, never holding
back, providing a terrific interplay before a formidable coda.
This is a performance to cherish even if the 1980 one has
more overt excitement. The live recording is excellent
The Mahler Chamber Orchestra have more recently partnered
Leif Ove Andsnes in a very fine cycle of the Beethoven piano concertos for
Sony. Disc four brings this orchestra in recordings of the third and second
Beethoven piano concertos made in the Teatro Comunale, Ferrara, Italy in 2004
and 2000 respectively.
Abbado and the
Mahler Chamber Orchestra bring great
character to the orchestral opening of Beethoven’s
Piano Concerto No.3 in C minor, Op.37. The way he shapes the phrases,
drawing some lovely playing from the orchestra. When Argerich enters she brings
a tremendous strength, soon countered by a poetic stance. She brings her usual
exceptional technique in moments of fine display with great panache and a
formidable momentum particularly in the cadenza. The largo
is beautifully judged, a leisurely pace allowing the music to unfold with fine
poetry and great restraint. The rondo allegro
brings a beautifully light touch with incredible fluency and lovely orchestral
shaping of phrases.
The applause at the end of this excellent live recording is
kept.
With Beethoven’s
Piano Concerto No.2 in B flat major, Op.19 the Mahler Chamber Orchestra
brings a touch of the period orchestra feel, a lightness, transparency and
clarity, with the woodwind showing through clearly. Argerich brings a terrific
forward momentum with a fine delicacy of touch. There is fine interplay between
soloist and orchestra before a superb cadenza. The adagio is beautifully drawn with so many fine moments, such
sensitive orchestral accompaniment before a rollicking rondo molto allegro with Argerich providing some terrific momentum
with fine rhythmic bounce and tremendous fluency.
Again the applause at the end of the concerto is kept in;
another excellent live recording. This is Beethoven to stand with the best.
Finally we come to the fifth and final disc of this set that
includes the two Mozart performances issued separately by Deutsche Grammophon
last year and reviewed by me in March.
Both were recorded live at the Lucerne Festival in March
2013 and poignantly represent the final opportunity to hear these two fine
musicians together. There are beautifully turned phrases from Abbado’s
Orchestra Mozart in Mozart’s Piano
Concerto No. 25 in C major, K.503. Argerich’s touch is exquisite as is her
sense of Mozartian flow. There are some lovely woodwind passages in the andante and some ravishing playing from
Argerich, so beautifully controlled and phrased, with such sensitivity,
creating a magical world.
Mozart’s Piano
Concerto No. 20 in D minor, K.466 reveals the chamber like nature of some of this music making. As the music
builds in dynamics, Argerich brings all her strength without foregoing poetry.
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. Pianist and orchestra throw themselves into
the rondo with gusto providing playing
full of spontaneity and life; an absolute joy.
The live Lucerne recordings are excellent.
These are memorable performances from a memorable
partnership. If you haven’t already got them, snap them up.
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