Customer Reviews

J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich

5 star:		(25)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

In some ways, it might be more difficult to play Bach on the piano than on the harpsichord. One doesn't always find pianists giving convincing interpretations of Bach that seem to stand the test of time. They need to good fingers, great intellect, an intuitive sense of rhythm, clear and clean sound production, a style suited to the music of Bach, and an awareness of the grand musical structure in his music. They also need the greatest sensitivity for harmonies and colors. Martha Argerich has many of these qualities. In her Bach, there is a unique intensity and drama. She creates powerful and vivid characterization and impressions with great economy. Ineffable and dramatic moments seem sometimes produced by no more than the slightest shading or the subtlest rubato. The secret may lie in the concentration. This is music making that has the potential to challenge one's mind. It might give an impression that Argerich had a fastidious and serious attitude when playing Bach, but her playing at the same time has a feeling of effortlessness and naturalness also - I found. It was my impression that her performance of Bach here achieved a relatively degree of simplicity. If I remember correctly, Chopin might have said that simplicity is the "final seal of art(s)"?

The length of this recording is not the longest (50'16)- one of the shorter ones in DG's "The Originals" legendary recordings series. However, Argerich also recorded the Bach Cello Sonatas with Mischa Maisky (also by DG). Years ago, I found myself listening to these two CD's quite often. They could be stimulating when I listened to them intently, but they proved to be a soothing companion for my book reading at times.

Martha Argerich is an absolute winner in Bach. Surpsingly so in some ways but not totally so: The maximum fingercontrol/clarity/artıculaion makes a Bach recording that one can easly call DEFINITIVE, a term that nobody dared to use for Argerich before. Not even the most 'purist' listener will be able to say "This is not Bach,it's Argerich"(BTW,listen to her new EMI concert recordings of the same tracks and you will be amazed to see the difference between the wilder/ truly 'Argerich' concert approach and this calmer and more Bach-like studio approach: She is simply someone else in the studio!..) Yet,in this studio recording righly reissued in the Deutsche Gramaphone's LEGENDARY RECORDİNGS series,one can also guess that such a natural sounding poetry, such a 'color-range',such an elegence and beauty cannot be anyone but Martha Argerich. This is how the purist approach Bach should be ideally. Having listened to Richter's(Well-tempered), Gould's(well-tempered)and a few others' Bach, Argerich's recording reminds me of Plato's cave parable.

I first heard this recording over twenty years ago in a small, dusty apartment in Tel Aviv. As a serious piano student, I was accomplished in playing Bach's Well-Tempered Clavier. In fact, Glenn Gould's piano rendition of Book One was the first album I ever purchased. I was familiar with Gould's Bach interpretation, and when my Israeli friend heard my praise, he went to his cupboard and produced this recording. "You've never heard Bach played like this," he said, smiling wistfully. He played the LP and the room was suddenly alive with the internal joy and rhythmic nuance that only the best Bach performers can capture. Over the years, I have returned to this recording for creative inspiration as it sounds as fresh and vital on the thousandth hearing as the first. There is intelligence, wonder and extraordinary musicality in Argerich's technique inspired by the composer's crafty genius. She is a wonder.

I am not a musicologist or a pianist but I can tell you what I hear on this CD. To paraphrase a comment I made about Toscanini, every note sounds human. Its as if the piano is the vocal cords of some powerful, agile, passionate, and sensitive animal-whose sole means of communication is by sound. This recording of Bach does not sound like a musical abstraction, like how most interpretations sound to me. Stylistically, Argerich's playing doesn't sound like a Romantic mannerism, and doesn't sound like a period affectation complete with powered wig. It sounds like I'v died and gone to Bach heaven; it seems like she tosses off the complex structure of the pieces with irresistible movement, immaculate timing, and with an affection I would call joy or love. And far from sounding like Argerich, the music sounds like...Bach. But I have that sense that with all the interpretations I have heard from Argerich, that Chopin sounds like Chopin, Ravel sounds like himself, Prokofiev etc.

I don't know if I made myself clear but I am raving! This is the greatest recording of any Bach music (orchestra, choral, whatever) I have ever heard. Thank you Martha!

For someone who does so well with Romantic piano works, it is astounding how well Argerich handles Bach in this recording. With such popular Bach pieces, any performer would face established Bach keyboardists who have nearly defined these works--the famous trio of Gould, Landowska, and Tureck always come up. But Argerich is radiant in her orchestra-like handling of the works. The Toccata in C minor awakens with a mordent, like a clarion call. She takes us through it with a breathless, moving slow section. The fugue is handled in a dance-like fashion, passing through the impetuous lines of triplets, and the double-fugue that follows is rich in tone color. Her dynamic sensitivity offers an extra device for tension when sequencing and modulating. The second Partita and second English Suite, likewise, are both clear in texture, phrasing, and articulation--from the introspective Sinfonia of the partita to the frenzy Bouree of the English suite, and ending in the stately gigue. This recording is full of life wealth for the ears.

When Martha Argerich recorded this music in 1980 it must have been the Age of Aquarius. What a beautiful recording. Her rendition of Bach's Toccata BWV 911 surpasses any of Bach's keyboard music I've heard. Dubravka Tomsic's Toccata BWV 912 is also great, but Argerich's 911 is greater. Glenn Gould would have to come in third with these pieces.

Why is Argerich the best? Because she has heart. She plays with love of Bach and love of humanity. (This may be redundant.) Tomsic's precision is not without feeling, but Gould is not humane. He was a genius, of course, and he could make your mind dance. But Glenn Gould could not enter your heart nor the heart of Bach.

About four minutes into the Toccata Argerich plays the first of Bach's counterpoint passages on this disc and enters the realm of mystic crystal revelation. The space-time continuum is transcended. As time stands still Argerich and Bach create perfect forms of sound - nothing like the world mess and ourselves in it. Such transcendences occur frequently throughout this recording.

Martha Argerich was born in 1941 in Argentina . She was a child prodigy, playing the piano at age three and giving her debut concert at age eight. In 1965 she made her first recordings, including works by Chopin, Brahms, Ravel, Prokofiev and Liszt. Her technique has been described as "formidable" and has been compared to that of Vladimir Horowitz.

She has had a life-long aversion to the press and to publicity. As a result, she has remained relatively unknown to the general public. But to lovers of classical piano she is widely recognized as one of the great piano virtuosos of our time.

Just about the time of this Bach recording, Argerich frequently remarked that she felt "lonely" during solo performances. She then started focusing on orchestral and chamber music, accompanying instrumentalists in concertos and sonatas. This is her only solo recording of Bach. She performed one more recording of Bach; cello sonatas with Mischa Maisky, which is also excellent. These are her only two Bach recordings. They are priceless gems.

And love will steer the stars

Bach keyboard recordings tend to be of two kinds: recitals or complete sets, e.g. the complete Partitas, the complete Well Tempered Clavier etc.

Martha Argerich's CD is a recital, and it is an absolute gem. It is rare to hear Bach playing so vibrant, alive and musical.

The CD starts off with a dazzling performance of Bach's Toccata in C Major, an early composition that is one of the best of Bach's Toccatas for piano or harpsichord. Argerich's approach to Bach becomes evident early: her playing is very spontaneous and rhythmically alive; it sings; she makes fine use of dynamic contrast. But, above all, it seems hard to believe this is a studio recording, and not part of a live, concert performance.

The English Suite no.2 and Partita no.2, both very popular solo Bach keyboard works, are wonderful. Her playing has extraordinary vitality. They are performances I come back to again and again.

Fine recorded sound.

Definitely worth having, even if partially duplicating other performances of Bach's keyboard music an example of great Bach playing.

This recording would make an interesting blind listening test, given the pianist's reputation for passion. Those who assume Martha's Bach will be spoiled by romantic excess are in for a big surprise. This CD is as good as any Bach on piano I've ever heard, and deserves recognition as an essential Bach recording.

Like Glenn Gould, Argerich attempts to emulate a harpsichord on the piano, by limiting the pedals and variations in tone, volume, and rhthym. She is clear, dry, and imparts a fugue or dance movement with dazzling energy and control. The result is consistent with authentic baroque interpretation, and more listenable to my ears than an actual harpsichord, which I prefer to hear in ensemble rather than solo.

Also recommended: Gould's French Suites (now on 1 CD), Podger's Violin Sonatas, Pinnock's Harpsichord Concertos (DG Trio), Savall's Art of Fugue, and Alessandrini's Brandenburgs.

Given Martha Argerich's career, you would not expect Bach to be at the forefront - and it isn't - but when she put her mind to the Baroque master in this recording, the result was brilliant. Right from the opening first few bars of the C-minor Toccata, Ms. Argerich sets a tone of great excitement and anticipation of what is to come - and by the time she is into the great fugue, you realize you a hearing an exceptional approach to Bach. Her tone here is one of supreme confidence and a feeling of authority that brings to the imagination the historical images we have of Bach's daughting and larger-than-life keyboard playing.

Yet, a standard Argerich critique of "overdriving" the tempos does not seem to apply here as far as a negative effect. Even though her tempos are often quicker, they do not seem overdone or out-of-place but create a fresh excitement and dramatic infusion. After all, pieces like the toccatas were flamboyant works to show off the keyboardist's virtuosity and technique, and Argerich rises fully to that purpose (apparently disregarding Bach's tempo indications in places) and going all out - perhaps reminding us of the power of Bach's untouchable playing. While her aggressive (but quite interesting) approach to the noble-minded Courante might not bode well for some, she almost makes up for it with surprisingly tender and almost hypnotic sarabandes - movements in which she does seem to capture the subtle, inner qualities.

As much as I normally prefer Angela Hewitt's Bach recordings, I have to say I really like Martha's spunk and extravertness here even more at times - especially in the Toccata with her bold and confident galloping triplet rhythms that seems to nicely capture the free-spirited nature of this work (ditto for the Partita). This is superb music by any measure that is recorded in full, dynamic sound on DG. It is also really a historic recording for both Bach lovers and Argerich fans because it is some of the only Bach Ms. Argerich recorded. Judging from the 18/19 Amazon reviewers so far who gave this CD Five Stars, I would say this CD is a special treat to be savored.

This has been my favourite record for 25 years and nothing has come along in that time to displace it. Essential for anyone who likes Argerich.