Search - Wolfgang Amadeus Mozart, Ludwig van Beethoven, Szymon Goldberg :: Martha Argerich: Live from the Concertgebouw, 1978 & 1992

"classical" style?

Niya | USA | 07/30/2000

(5 out of 5 stars)

"What is the classical style? What can be objectively defined as the "proper" or "correct" way of playing Mozart and Beethoven? It's all too fashionable these days to dismiss Argerich's interpretation of these composers as "stylistically wrong." I believe it all comes from some stereotyped misconception of these composers and of Argerich. Mozart and Beethoven are categorized by musicologists and historians as composers of the Classical period, but does that mean their music should be nothing but "elegant", impersonal, and "dignified"? Mozart and Beethoven, as composers and human beings, certainly do not conform to this stereotype. Neither does their music. You won't find less life and singing in Mozart, or less soul and fire in Beethoven, than in any "Romantic" composers. Their music was revolutionary and individual, not just some easy entertainment for aristocrats. Why, then, should we deprive our artists of their right and freedom when they try to do the music justice? In interviews, Argerich often talked about how much Beethoven and Mozart meant to her. It will be surprising for most people to know that she's interested in theoretical essays in order to know how something was played in each period. She said, "Trying to know what the interpretations were like in each period is a question of respect for the composer who created that music that I love." She also says that she understands Beethoven more than she does others. Indeed, when we listen to her play, her love for the music is apparent. With Mozart, however, it's a more interesting case. What we hear in her Teldec Mozart recordings certainly is quite different from that in this concerto performance. (It is also interesting to see her play Mozart fourhands in the DVD "Martha Argerich and Friends") This is not to say which Argerich is better, but I do think that as a Mozart interpreter she's more mercurial and maybe somewhat less consistent than as a Beethoven player. In fact, Argerich confessed that "with Mozart, the sound of the modern piano gives me some trepidation." Fortunately, we don't sense any of that mixed feeling in this EMI live recording. This performance has the youthful exuberance, the sense of improvisation, and a truly singing quality that are so essential (yet so rarely heard) in a Mozart performance. Her problem with Mozart on the modern piano doesn't seem to exist; instead, we hear the instrument fully utilized in her heartfelt singing style. It is healthy, full-blooded, full of colors, and with the greatest sincerity. Her impeccable musical taste and intelligence give the interpretation authority and integrity. Her virtuosity adds extra brilliance and excitement. This is a dream performance of Mozart's K. 503.By the way, I'm curious to know how many people actually listen to music with the score on their hands. Following the music score can be a great distraction and it prevents the listener from being completely open to what the music and performer really says. In reality, the music notation of Mozart and Beethoven is often ambiguous and they had such improvisatory habits and flair while performing that I think it's wrong for today's performers (and listeners as well) to blindly follow the score as if it's the bible.Also, I'd like to point out a mistake of one of the reviewers. In Argerich's DG recording of Beethoven concertos, she didn't conduct the orchestra herself. She was paired with conductor Sinopoli. However, she did play with London Sinfonietta without a conductor in her old EMI recording of Beethoven and Haydn concertos."

Argerich yes, Mozart maybe, Coughing .. no.

Niya | 05/11/2000

(3 out of 5 stars)

"Martha Argerich is my favourite pianist. I declare that up-front. The OTHER recording in this series, of her solo concertgebouw recitals ("Martha Argerich Live From the Concertgebouw 1978 & 1979"), is a must-have demonstration of unbelieveable virtuosity across a vast musical spectrum.This one, however, I have doubts about. Mozart has always seemed to me to be Argerich's one sticking point - amazing rather than involving; almost as if her phenomenonal technique causes an embarassment of riches at the expense of the apparent simplicity that seems to me to be the essence of truly great Mozart playing. I'm in the 'less is more' camp when it comes to Mozart - Argerich has so much power at her command that, to me, it seems at times to overwhelm the music.The same can not be said of her Beethoven, whose more percussive writing for a rather more evolved piano than Mozart had to work with is far more suited to her astonishingly powerful yet articulate fingerwork. The 3rd movement, especially, seems to me to unlock everything Beethoven had in mind when he wrote it. However, she has already recorded Beethoven 1&2 in the studio, and there seems to me nothing here that makes this recording preferable.And, indeed, almost any other recording scenario would probably be preferable! This one was recorded by Netherlands radio in the Concertgebeouw, apparently at the height of the cough and 'flu season. The recording itself is of a reasonable quality, but extraneous noise is frequently very pronounced, even over quite loud orchestral tuttis, and especially in the slow movements. Not for audiophiles! Frankly, EMI's release of this quality of live recording at full price, even given that it is Argerich, seems unlikely to win them many friends.All in all, given that Argerich has recorded Beethoven 1&2 under rather more ideal studio conditions, one can only really recommend this recording to those who are die-hard fans or those who like her rather Beethoven-esque approach to Mozart (they will be similarly impressed, incidentally, by the Teldec recording of Mozart 20 with Rabinovitch conducting, in which she introduces Mozart to Tchaikovsky in a thought-provoking, original and extremely presto way, but again not ultimately one I personally like after several listenings).If you only buy one CD this year, this should probably not be it, but the other one in this series probably should. Never again will you hear Ginastera's Danzas Argentinas played like this. Go there without delay and buy it .. but remember to sit down before you listen to track 14!"

Heavenly Mozart

Niya | USA | 05/13/2000

(5 out of 5 stars)

"I've long waited for the release of this recording. A few years ago I read an interview article on Argerich by Dean Elder. In the beginning of the article, Dean Elder described a concert Argerich had just given at the Avery Fisher Hall. She played the Mozart Concerto in C Major, K 503.According to Dean Elder, the performance was exciting and note-perfect. "Argerich played with a beautiful, silvery, and limpid tone. It was lovely Mozart, like a bird song, fresh and unpredictable. Argerich played freely, effortlessly. Broken octaves ripple, turns are tossed off. The vehemence of her octaves and the brilliance of her passage work are as striking as her immense rhythmic vitality and feeling for tonal values. This concerto with its multitudinous melodies has never seemed more spontaneous. Never before have I heard the contrapuntal entrances made so clear. The last movement is taken at a good clip, and Mozart's F major theme, one of his simplest and most personal, in the development of the sonata rondo is played so refreshingly that one finds himself singing the tune even as shouts of 'Bravo! Bravo!' rise at the end." "... [Argerich] was somewhat startled and upset by a Harold Schonberg review in The New York Times calling her Mozart performance 'rather superficial.'"Argerich told Dean Elder: "It is interesting for me to play Mozart anyway because some important things have happened to me in relationship with playing Mozart. And it is important for me to know where I stand in that way. That's why this review upsets me very much: it was painful because it was Mozart. This time particularly." She also added: "... Schonberg said it was very shy or something. Kubelik told me, on the contrary, that he was happy because it was so singing, and that was exactly the opposite of what Schonberg said."After reading such different reactions to Argerich's performance of this particular concerto, I was curious to hear it myself, and yet no such recording existed. Now that this CD has been released, my question has been answered. Although the live performance on this CD was recorded in Concertgebouw instead of Avery Fisher Hall, I believe that the spirit of her interpretation remains the same. I must say that I agree with Dean Elder and Kubelik. This is heavenly and great Mozart playing, contrary to the belief of some skeptical and narrow-minded critics who are reluctant to admit that Argerich can be a classical player of the highest order. Before this CD came out, I had listened to the two Teldec releases of Argerich's Mozart. I was very disappointed, but mainly because of her partner, Rabinovitch, neither a good conductor or a truly great pianist. This EMI new release, however, is a totally different matter. I would strongly recommend all piano lovers to listen to this exhilirating performance themselves.The Beethoven performance here is very worth having also, for this is a live recording, no less perfect than her studio version but even more alive."