Search - Prokofiev, Ravel, Martha Argerich :: Prokofiev: Cinderella Suite; Ravel: La Mère l'Oye

Argerich and Pletnev Play Prokofiev and Ravel: Splendid Res

Grady Harp | Los Angeles, CA United States | 09/12/2005

(5 out of 5 stars)

"That Martha Argerich and Mikail Pletnev are two of our finest pianists today goes without saying. When they play together, the result is magic. Few pianists can perform works for two pianos or one piano four hands with the kind of graceful aplomb and energy as these two - and make it sound like an afternoon soirée in their studio!



Mikhail Pletnev created this two piano transcription of movements from Prokofiev's ballet "Cinderella" and wisely elected to reference Prokofiev's own keyboard transcription as well as the orchestral score. The resulting work, dedicated to his friend Martha Argerich, is a witty, dreamy, multicolored pianistic synopsis of the ballet. Pletnev and Argerich perform with their usual panache and the keyboard has never sounded so rich!



In addition to this important Prokofiev two piano transcription the two artists join in Ravel's keyboard version of ' Ma mère l'oye' and they move into the world of Ravel with the same respect as for the Prokofiev. There are nuances here that at times are covered by Ravel's own brilliant orchestration and spending time with this delightful score is sure to enhance the listener's respect for the concert hall orchestral 'Ma mère l'oye'. Recommended without reservation. Grady Harp, September 05"

Astounding!

L. Harrow | wishing i was on mars | 06/25/2005

(5 out of 5 stars)

"I don't like throwing around words like "astounding", so when I say it, I mean it. The arrangement of the Cinderalla Suite, the performances and the recording all contribute to making this a most remarkable cd. You will not hear greater virtuosity anywhere."

THE SPIRIT OF CHRISTMAS PRESENT

DAVID BRYSON | Glossop Derbyshire England | 12/06/2009

(5 out of 5 stars)

"This is December, and the Christmas pantomimes must be under way, many of them Cinderella and Mother Goose. Nobody so far has offered me a free ticket, but here is an alternative Christmas present that I can recommend to any lovers of good music. Two of my very favourite composers, at least one of my favourite pianists - there's a start. The art of transcription for the piano making this recital unique -- there's something else as well. Add good third-millennium recording and I'm left with nothing more to object to than that the disc barely amounts to 50 minutes of music.



The later 20th century demand for `authenticity' in musical performance was historically required, and for what it may be worth I support it wholeheartedly. It was worth sitting out the nonsensical and excruciating demands that all repeat-marks had to be observed (a different issue from authenticity in performance entirely), and if some of the instrumental tone was scrannel pipes of wretched straw then that was worth enduring temporarily for the sake of a greater objective. Another great tradition virtually disappeared in the course of all this, and it was the tradition of transcription of orchestral scores on to the piano. Brahms routinely published piano-duet versions of his symphonies for music lovers to become familiar with them in the days before recording. Liszt proclaimed that his transcriptions of the Beethoven symphonies retained all the essential features of their originals, and I accept this entirely. You did not have to be Liszt to achieve what he was claiming. The piano can do all these wondrous things because it is such a wonderful piece of machinery, and in the early 20th century composers were still reducing their orchestral scores for piano performance. Prokofiev did exactly that with his Cinderella ballet score for one, although this was a reduction for a solo player, whereas Pletnev is inspired to turn out a version for two instruments. That may be viewed as just a respectful alternative to the composer's arrangement, but some great pianists have been less deferential towards their prototypes: one of the finest things Gould ever did was to prepare and record his own piano version of Ravel's La Valse because he had no great opinion of Ravel's own effort in the same direction.



Pletnev dedicated his 2-piano Cinderella to Martha Argerich, so we are never going to hear the thing done with this degree of authenticity again. Be prepared for a feast of great pianism. A wide spectrum of piano sound is called for, and such tone and idiom as any one number requires, you will hear it here. The figuration at the start of Quarrel is perfection, and the rhythm as the piece goes on is thrilling - Argerich does not rush her fences any more these days. The famous Gavotte is exquisite, and the Gallop is aristocratic beyond words. I could flog through all 14 tracks in the same vein. Unless you think the pieces should be played in some other way (for some inscrutable reason) you will encounter perfection in all its guises right up to Ravel's final Fairy's Garden.



The 3rd millennium recorded sound is worthy of what it is perpetuating for us. Argerich was the pupil of Michelangeli, who alleged that no piano could be perfect enough for Ravel's Gaspard de la Nuit. I never knew of Michelangeli performing a duet except with his little niece, as recorded in his widow's Vita con Ciro, and I imagine the prospect would have terrified any adult. However the capabilities of a pair of instruments may have been something he had not taken into account, and Pletnev's production here strikes me as utterly marvellous in its concept of the sound of the instruments.



Comparisons simply do not apply to this record, for reasons that I presume are obvious from what I have said. It is not for me to suggest that you should acquire it, but you will not get my copy off me without a struggle."