Customer Reviews

Beethoven: Triple Concerto, Op. 56 / Schumann: Piano Concerto, Op. 54

5 star:		(4)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

A find if there ever was one. This recording (opposing the reviewer above) demonstrates the very essence of music. In the Triple Concerto the soloists blend unlike any I've heard before. With it's live recording, the energy is at such a high level it leaves one breathless throughout much of the soloists' phrasing (specifically Argerich). The orchestra, too, has an energy unheard in many American orchestras (or European for that matter). Comparing this to the Rostropovich/Oistrakh/Richter recording is not possible. There is a delicacy throughout the piece's power that the R/O/R recording could not achieve.
The energy of the orchestra and the compatability of the soloists makes this one of the most cherished recordings in my colection.

This is a rare recording that makes one wonder why the world of classical music is diminishing.

For many years now Martha Argerich has avoided the soloist's limelight in order to focus on concerto playing and chamber music partnerships. Yet being the force of nature and individual artist she is, Argerich usually winds up dominating her colleagues with her amazing talent. In the case of Beethoven's Triple Concerto, where the piano part is relatively easy compared to the violin and cello parts challenges, Argerich turns out to be a team player. She constantly adjusts her sound and her phrasing to accommodate the supple runs and dynamic shifts Renaud Capucon and Mischa Maisky pull out of their interpretive magic hats. The outer movements benefit from RabinovitchBarakovsky's basic tempos. In the Schumann Concerto's first two movements Argerich toys with the music, speeding up and slowing down phrases. For his part, Rabinovitch Barakovsky basically steps aside and lets the pianist run the show. As a result, the Intermezzo's soloist/orchestra dialogue emerges less as a conversation than a fight for the spot light. However, both conductor and pianist pursue a steady course with a rapid, light fingered finale, although you can tell the orchestra is hard pressed to maintain absolute precision at such a pace. These performances are very exciting very exciting to listen to, and never a dull moment.

EMI has been giving us a full report of how Martha Argerich spends her summers, espcially when it comes to the Lugano Festival. In this Beethoven Triple Concerto we get a vigorous, sunny performance that is at odds with Argerich's fiery reputation. The conductor is not an equal partner to three great soloists like Argerich, Maisky and Capucon--perhpas that's why they sound a little uninvolved. Or it could be that Capucon's small, elegant tone guided the trio into a more refined style. Anyway, they all play lovingly, so it's an engaging performance.

Argerrich's first entry in the Schumann concerto comes from another world. Even though it's the same conductor and orchestra, she takes charge. I remember her stuido recording of this work on Teldec with Harnoncourt as brash and impetuous. NOt so here: she is energetic but in a sunnier, more relaxed mood. For once the work doesn't seem too brooding, and one can sit back and appreciate Argerich's many lyrical touches. Of course, when passion is required, she can turn it on with lightning speed. All in all, I'd call this a great performance. Five stars.

I must admit I was a bit hesitant in buying this disc. I read the review on BMG and the reviewer made it sound as though I'd be better off flushing my money down the toilet than purchasing this recording. I wisely chose to read the amazon reviews and went ahead and bought it. Wow! It is an absolutely gorgeous performance of a truly unique work. Though many other composers have since written their own concertos for piano trio and orchestra, this is THE concerto. Also, Argerich, Capucon, and Maisky are amazing in their interpretation. No one really "steals the show" from the other two, thus making this a truly magical collaboration among equally talented performers. The orchestra provides excellent support without simply disappearing into the backdrop. A nice follow-up, the Schumann is likewise well-played by Argerich. She is a truly inspired virtuoso, and she lets you see it. I strongly recommend this recording.

This recording is the best of bests in Beethoven Triple Concerto.
I am sure this is almost 100 times better than that of Barenboim & Perlman & Ma's playing, which is really overvalued.

I generally enjoy the Beehthoven "triple" concerto and am no fan of the Schumann but I'd say the assorted group here has strong feelings for both of them and they project those feelings through this CD. The notes say this is Martha Argerich's first recording of the Beethoven.

Without going into detail on either concerto, I would say the benchmark for these recordings is passion. The soloists in each case work with conductor Alexandre Rabinovitch-Barakovsky -- who was a collaborator with Argerich in a previous CD of Mozart piano recordings -- to produce a performance that is higher on passion and verve than on orchestral or solo detail.

I think this works better in the romantic Schumann concerto than in the Beethoven, which was the conductor's exercise between the "Eroica" symphony and "Appasoionata" sonata. Argerich exhibits her trademark passion and big tone in both recordings. Her solo partners in the Beethoven all acquit themselves well, although I would second that the overall approach is too meaty for such modest material.

The recordings were made in concert at the Lugano Festival in 2003, which probably owes to their passionate approach. The recording itself is fine with adequate depth of sound stage and definition of the principals to satisfy most listeners. There is about a minute of applause at the end of the third and sixth tracks that indicates the audience enjoyed these performances.