Search - Sergey Prokofiev, Martha Argerich :: Prokofiev: Violinsonaten; 5 Melodien

Some great moments, but also too much technique, goes agains

John Grabowski | USA | 01/18/2010

(3 out of 5 stars)

"It's taken me about four years and 20 listenings to figure out the very simple reason this CD really doesn't work for me. The musicians are too fussy. Prokofiev wrote very emotionally-direct music. The Violin Sonatas in particular are very "primitive," straight-on works. And these two--and especially Kremer--are all nuances and agogic accents and subtle color shifts. Through it all, Prokofiev's line, which is often strong, singing and direct, gets lost. It seems as if they're saying "Look at what virtuosos we are. Look at the command we have with our instruments." They say it every five bars, and it gets really old by the second movement of either sonata.

The first movement of the Second Sonata, for example, begins with a very simple songlike, almost "naive" line. Kremer does different fussy things with the articulation with every phrase, yet as a whole the phrases never add up, to my ears. It's as though he's heeping too much melodrama and poetry on a very simple, charming opening, so that when we return to the theme later, after the second theme is introduced, where the first theme *is* supposed to be grander, the contrast isn't there. Or take the third movement of the same sonata. Here the B theme is so saddled with technique it doesn't seem like a release. This theme has a salon-like, even "jazzy," quality. It has a deliciously improvisatory feel. If you can imagine Prokofiev after hours chillin,' this be it. ;-) Kremer and Argerich play it with such drama the contrast to the other movements is lost.



At least I'm not alone in my dissatisfaction. No one less than Sviatoslav Richter, said of Argerich and Kremer in these works: "I didn't like this at all. But it's hardly surprising, as these people go out on stage and play without any rehearsal; what can they expect? It's nothing less than scandalous (especially the violin). I can't begin to understand how people can adopt this approach to art." (Richter, Notebooks and Conversations, p 341 hardcover.)



Compare these performances to the likes of Richter/Oistrakh, or Oborin/Oistrakh, and you realize the latter is about the music, the former about violin technique. Everyone today seems so intent to show s/he has stunning control over their instrument. Yes, fine, but show me a revelation with phrasing, rhythm, or overall architecture and I will be far more impressed. These recordings are not essential, despiute a few fine moments here and there (the scherzo of No. 1 is particularly dramamtic. Another set to recommend highly--and in better sound than anything yet mentioned, is Wedny Chen/James Ehnes. I know these aren't marquee names. Don't let that influence you. They are far more interesting and technically better musicians than Argerich or Kremer. Don't take my word for it. Check it out.)"