Salzburg
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Category: Music CD
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CD Details
Performer: Martha ArgerichPerformer: Nelson Freire
Edition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Live
CD Release Date: 2009-12-08
Music Label: Deutsche Grammophon
Product features:
- ARGERICH MARTHA / FREIRE NELSON SALZBURG / PLAYS CHOPIN
- Chorale St. Antoni. Andante
- Variation I. Andante con moto
- Variation II. Vivace
- Variation III. Con moto
- Variation IV. Andante
- Variation V. Poco presto
- Variation VI. Vivace
- Variation VII. Grazioso
- Variation VIII. Poco presto
- Finale. Andante
- I. Non Allegro
- II. Andante con moto (Tempo di valse)
- III. Lento assai--Allegro vivace--Lento assai
- R ondo in A major D 951 "Grand Rondeau" for piano
- La Valse
Music reviews of Salzburg
Music Review: Perfect unanimity combined with utmost finesse
Rating: 5 Stars
It goes without saying that this recital represents the acme of two-piano playing, since Argerich devotes herself to that format and has made earlier albums with Brazil's most famous pianist, Nelson Freire (among many other partners, who appear in EMI's ongoing 'Argerich and Friends' series). Since the repertoire here duplicates her other recordings, including those with Freire, should one consider buying this live recital from Salzburg? I can report that the piano sound is exceptionally clear and natural. DG's engineers have managed to capture the sweetness of the two pianos' tone while de-emphasizing their clatter. For me, it's irritating to hear too much percussive mechanical action, and there's a minimum of it here. It's also gratifying that both instruments are so well matched and have agreeable voices.
But ultimately it's artistry that we are after, and here Argerich and Freire outdo even their past selves. Their unanimity is perfect, with silken phrasing and shared interpretations that give the complete illusion of one soloist. And what a soloist -- the Brahms Haydn Variations, which I've always thought belonged in their orchestrated version, are played with such variety and vitality that I never missed the color of orchestral woodwinds, strings, and brass. The Symphonic Dances of Rachmaninov, on the other hand, belong as much to the piano as to the composer's later orchestration. It's an exciting showpiece, and Argerich has already made two commercial recordings. This time she's less volatile and hard-driving. Her tone, and Freire's, is almost soft-grained. The main thrills are generated by the marvel of two musicians in perfect sync, able to merge even the most difficult passages. This is Rachmaninov delicately seasoned rather than served raw. A captivating delicacy imbues every phrase.
Rounded phrasing and civilized touch characterize Schubert's Grand Rondo D. 951, the latest and most touching of the composer's extensive four-hand works (I haven't seen the score, so I don't know if the original was meant to be played at a single keyboard, although that's my assumption). Here, Argerich and Freire are delightfully light and spontaneous, a side of Argerich's personality that has always been there but overshadowed by her thundering technique. I've never heard any other duo, including those that included Richter, Britten, Eschenbach, or Barenboim, play Schubert with such enchanting finesse.
I must confess that I was feeling the lack of fireworks up to this point. Ravel's "La valse" is capable of sounding dangerous despite the Parisian elegance he wraps the music in. Was Argerich ready to rumble? Not quite. She and Freire are more interested in weaving mystery, and they do this to spellbinding effect, exchanging cross-rhythms and shaded hesitations so seamlessly that your attention doesn't wander for a second. Their veiled power is like a panther in kid gloves. In sum, when faced with artistry at this transcendent level, not a murmur of criticism is possible.
Description of Salzburg
ARGERICH MARTHA / FREIRE NELSON SALZBURG / PLAYS CHOPINClassical CDs
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