II. Intermezzo: Allegro Ma Non Troppo/Trio: Animato
III. Andante Con Moto
IV. Rondo Alla Zingarese
I. Romanze: Nicht Schnell, Mit Innigem Ausdruck
II. Humoreske: Lebhaft
III. Duett: Langsam Und Mit Ausdruck
IV. Finale: Im Marschtempo
In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappea... more »ring in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms?s Opus 25 is not as joyously extroverted as Rubinstein?s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 recording with members of the Beethoven Quartet (Doremi) or as intellectually probing as Serkin's 1949 account with members of the Busch Quartet (EMI). The goals of Argerich, Kremer, Bashmet, and Maisky seem closer to those Schoenberg mentioned in 1937, just after he completed his famous orchestral transcription of the Piano Quartet In G minor: "It is always played very badly, because the pianist plays louder the better he is, and you hear nothing of the strings," Schoenberg said. "I wanted to hear it all for once, and that's what I?ve achieved." Argerich and her trio of superstar Russian string players achieve it, too, even in the devil-may-care-abandon of the finale--a breathless, relentlessly pounding movement in gypsy style. What Schoenberg accomplishes with an orchestra that includes trombones, xylophone, and glockenspiel, Argerich matches with her mastery of touch and pedaling. She produces a wickedly seductive and penetrating cimbalom-like timbre that allows her to dominate the movement without swamping the other players. Despite its late opus number, Schumann's rarely performed Fantasiestuecke is the composer's first attempt at the piano trio genre. Argerich, Kremer, and Maisky perform it with taste and virtuosity. --Stephen Wigler« less
In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms?s Opus 25 is not as joyously extroverted as Rubinstein?s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 recording with members of the Beethoven Quartet (Doremi) or as intellectually probing as Serkin's 1949 account with members of the Busch Quartet (EMI). The goals of Argerich, Kremer, Bashmet, and Maisky seem closer to those Schoenberg mentioned in 1937, just after he completed his famous orchestral transcription of the Piano Quartet In G minor: "It is always played very badly, because the pianist plays louder the better he is, and you hear nothing of the strings," Schoenberg said. "I wanted to hear it all for once, and that's what I?ve achieved." Argerich and her trio of superstar Russian string players achieve it, too, even in the devil-may-care-abandon of the finale--a breathless, relentlessly pounding movement in gypsy style. What Schoenberg accomplishes with an orchestra that includes trombones, xylophone, and glockenspiel, Argerich matches with her mastery of touch and pedaling. She produces a wickedly seductive and penetrating cimbalom-like timbre that allows her to dominate the movement without swamping the other players. Despite its late opus number, Schumann's rarely performed Fantasiestuecke is the composer's first attempt at the piano trio genre. Argerich, Kremer, and Maisky perform it with taste and virtuosity. --Stephen Wigler
CD Reviews
Worth a listen
Carl C. Nelson | Thompson Station, TN USA | 01/23/2004
(4 out of 5 stars)
"This is an interesting recording in several ways because it shows the exception to many of my usual musical tastes and precepts. On the surface, I would not be inclined to think too much of it; I'm not particularly a Martha Argerich fan (particularly with Romantic composers) and I usually think "name" soloists do poor jobs of playing as a chamber group--perhaps too many egos, not enough chemistry, or too much focus on the solo and concerto repertoire to be good chamber players. I feel that Argerich lacks the subtlety and color of Cliburn, Kissin, et al., the touch of Serkin, and the sense of humor of Brendel. Her technique is impressive and her readings emotional, but it's the musical equivalent of a double espresso and that's not my taste (except for her Bartok, which I have not heard surpassed).There you have it, I'm predisposed to dislike this recording!This Brahms Piano Quartet No. 1 comes as a pleasant surprise to me, then. The reading is very solid, musical, and well-played as a group. All the members of the quartet are aware of what the other players are doing. Take the lines at the halfway point of the Allegro: Argerich matches the fortitude of the cello with her left-hand playing and the delicacy of the violin with her right hand. Well done!Another musical tenet that I hold is dismissing as bunk the naming of Brahms as the heir of Beethoven. Brahms is unfairly treated as "Beethoven the Second" by many conductors who try apply the grandiose phrasing of, say, Beethoven's Third to a piece such as the Academic Festival Overture. Strange that Beethoven is often over-Romanticized, and Brahms often over-Classicized!Given these feelings, you'll find it strange that I regard this quartet as if it could be one of Beethoven's. Brahms' quartet has the same feel as many of Beethoven's late quartets. The mystery, the tension, the contrast, the sonority, the changing of phrasing from unison to individual and back, it's all there. Like Beethoven, Brahms has built a piece on the foundation of the Classical era with the emotional resonance of the Romantic era.I wouldn't think of this as a violin showpiece either, but Gidon Kremer shines in the Rondo with his energetic phrases.I would definitely recommend this recording of the Brahms Piano Quartet #1. My preferred recording will remain that of the Budapest String Quartet with Artur Balsam, but this is definitely a quality recording made better because of the new perspective that it gives me on the players and the piece.I'm not a huge Schumann fan; I like the Fatasiestucke trio but it does not rival the Brahms quartet. It meets my expectations in this recording, and is a decent contrast to the Brahms."
Exceptional!
Rosomax | Boulder, CO United States | 02/20/2004
(5 out of 5 stars)
"Martha Argerich and the trio of Russian masters deliver a fire-infused recital of Brahms chesnut and Schumann rarity. They play with unwavering drive and contagious enthusiasm. The recording is the usual DG standard -- spacious and crisp. Comparable versions include a 1991 one with Yo-Yo Ma, Ax, et al on Sony, and the Serkin version from the late 40s. This one is a solid tie, and in many aspects even a more exciting performance. Don't miss."
Sterling Brahms but the sidekick could be better
Larry VanDeSande | Mason, Michigan United States | 06/16/2004
(4 out of 5 stars)
"I was a little concerned when I spent my money on this that the four high-flying virtuosos would each go their way, not Brahms way. That didn't happen and the four big name players perform like a veteran group. In many ways, their personalized approach to the Op.25 piano quartet reminded me of the Zukerman-DuPre-Barenboim trio and its work in Beethoven. Each group was comprised of famous soloists, yet each worked well as a unit in a very personalized way. The personalization slows down some of the Brahmns, but not enough to hinder your enjoyment of this wonderful music. They are recorded exceptionally well, in addition, with each player scrupulously cast in the sound field, which is rich, deep and full of resonance. My quibble with this issue is the inclusion of the relatively minor "Fantasiestucke" from Schumann. This four movement chamber piece seems more like four unrelated pieces of uninspired music for piano trio. The soloists do their best with this fluff, but it goes nowhere. Fortunately, this is an add-on to the main course, the tremendous Op. 25 quartet from Brahms. I sure wish they'd have added a better makeweight than the Schumann, but this is a very worthwhile issue and worthy of a place in your library. Fans of the principals will be very happy with this CD."
Brahms playing doesn't get any more passionate
Santa Fe Listener | Santa Fe, NM USA | 05/22/2007
(5 out of 5 stars)
"Assembling an ad hoc group of virtuosos with big technique and even bigger personalities can either sound like a herd of cats or deliver great excitement. There are a few moments when Argerich and company veer into chaos in this Brahms Piano Qt. #1, but that's becasue they perform individually with such passion and drive that it's hard to keep the seams intact. Long-term chamber groups like the Beaux Arts Trio sacrifice this kind of spontaneous intenisty in favor of perfect ensemble, but for myself, Argerich's helter-skelter vitality brings fire to Brahms's music -- and he was a composer of struggle and conflict. There is a fine performance led by Perahia on Sony, not to mention Schoenberg's extraordinary orchestration, best heard under Robert Craft on Naxos, to which this new account can be added.
I agree with the reviewer below when he says that this is one CD that is not to be missed."
Track Listings (8) - Disc #1