Customer Reviews

Martha Argerich and Friends Live from the Lugano Festival 2005: Chamber Music

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Aside from Martha Argerich herself, there are 16 performers represented on this 3-disc set. The other established 'big name' is the cellist Mischa Maisky, the brothers Capucon were already familiar to me from a performance of Mendelssohn's first D minor trio at the corresponding Argerich Project at Lugano in 2002, and the rest are up-and-coming young players some of whom I see have already made their first recordings in their own right.

There is a feeling of exuberance to the whole occasion. Nine works are presented, with Argerich herself taking part in only five of them. Eight are from the festival in 2005, but the performance of Rachmaninov's suite for two pianos by Argerich and Gabriela Montero is from the 2003 event. The choice of music is enterprising without being forbidding in any way. The 20th century is represented by Rachmaninov and also in 2-piano suites by Manuel Infante and the Argentinian Carlos Guastavino who died as recently as 2000. Rachmaninov is of course no modernist, and neither are the other two. Brahms is here in the shape of the Haydn variations in their gorgeous 2-piano version, and also - most intriguingly - the piano quintet in which the pianist is not Argerich but Lilya Zilberstein, who had taken the second piano part beside Argerich when they performed the work in its 2-piano version on the disc from the 2002 festival that I have referred to above. There is Beethoven too, and Mozart, but not as we customarily hear them. The Beethoven is a piano quartet written at the age of 15, performed by Argerich with the Capucons and with Lida Chen on the viola. The Mozart is a fascinating item indeed. It's the familiar C major sonata K525 that he wrote for beginners, but with a part for a second piano added by Grieg. This outrage and sacrilege perpetrated on his revered Mozart incensed Shaw to the point of anathematising the later composer as 'the infinitesimal Grieg', but I think Shaw was a bit too quick with his brickbats. Grieg would no more have dreamed of 'improving' Mozart than Shaw himself would have. As I hear it, Grieg is attempting to interest his leaden contemporary musical public in Mozart by, as it were, placing him in an unfamiliar light. The effect is delightful in its novelty, Argerich herself plays the unpretending sonata part (not altered by Grieg in any way), and the performance has the sense of adventure and discovery that have characterised the work of this great virtuosa all her life, and that I hope will go on doing so for many years to come.

These days Argerich does no more solo work, so she had better give us a lot more of this kind of thing. Of all Michelangeli's eminent pupils, I guess that the name to rank most fully with hers is that of Maurizio Pollini. The two have taken very different paths. Of Michelangeli himself it could perhaps be said that we have to take the smooth with the smooth, and much the same can be said about Pollini. Argerich's own playing is nothing like this, but is characterised by fervour, spontaneity and impetuosity, and this is the spirit that comes across from the festival that bears her name, whether she is actually playing or not. She is not, of course, any 2-dimensional artist, and the Argentine Romances by Guastavino that conclude this set are marked by delicacy, refinement and restraint. Not just that - she takes the first part in the Haydn variations, and the theme is given in a quieter and more introverted way than I have heard at any other time. However the overwhelming impression from this selection of the music at her festival is of heart, soul, fire and air. One thing that interested me in particular was how Lilya Zilberstein might go about the piano quintet in her own right without Argerich to lead the event. Zilberstein flies at the semiquaver outburst near the start in a way most reminiscent of Argerich, but interestingly she does not apply the strong ritardando that they did together on the last phrase of all, but delivers it in a furious cascade of notes, much as Serkin used to do it. Between times, I'd even say that the tempo of the slow movement is actually better judged, sc a little slower, and the end of the scherzo is the most vivid and exciting I can remember since a performance on a Russian label 40 and more years ago by Richter and the Borodins.

The liner note from Jeremy Siepmann is fairly average, but to say the least I have read much worse. The recorded quality is quite good, but not as good as we have got used to in recent years on many other sets. It varies a bit, and has a tendency to over-resonance, something I noticed particularly in the first item, the Mendelssohn trio, put over with passion and fervour by Nicholas Angelich and the Capucons. My ears could be deceiving me, but I think it's at its best when Argerich herself is performing, although of course the clarity of those mighty fingers might have a lot to do with it as well. There is not a single performance here that is less than thoroughly involving, and not one where I have any serious reservation about the approach or interpretation. This is live music-making, and that has an atmosphere that the very finest studio performances can hardly ever have. It all has presence, it has heart and soul, it has about it the sense of the music-making of the great player who presides over it. I hope there will be many more issues like this, I hope to hear more of the younger artists now at the outset of their careers, and I hope to hear many such others as their successors.

EMI has made a small business out of live recordings by Martha Argerich, and one of the most congenial aspects is the box sets from the Lugano Festival where Argerich is the star draw. She is at her most relaxed in this setting, as one can hear from the Rachmaninov Suite #2, which is vigorous and declamatory but nowhere close to her brutal studio recording. The Amazon reviewer has listed what one can expect from this 2005 installment, sold at bargain price but full of treasures. For me the revelation was Mendelssohn's Piano Trio #2, which bids fair to be considered an overlooked masterpiece. One should also note the extremely attractive Three Argentine Romances by Carlos Gustavino, spectauclarly played by Argerich with vibrant rhtyhms and exotic atmosphere.

My only disappointment is that Argerich doesn't appear in this work or in the set's other masterpiece, the Brahms F minor Piano Quintet. However, the other pianists are wonderful in their own right--Nicholas Angelich in the Mendelsson and Lilya Zilberstein in the Brahms. One is grateful for them, given that Argerich--rahter neurotically, I think--has a quirk of restricting herself very often to two-piano music. The Rachmaninov is welcome, but for those of us who aren't fans of four-hand music, the arrangements of the Mozart K. 545 sonata and Brahms Haydn Variations feel like too much of a good thing. Even so, this is a highly recommended bargain for chamber music lovers.

'Martha Argerich and Friends Live from the Lugano Festival 2005: Chamber Music' is bound to collect awards when the Grammies come out. This 3 CD set of a live concert is a filled with joy, impassioned playing, variation in repertoire and exuberant music making as any set on the market.

Martha Argerich holds the throne here but as is her manner she shares the stage with such gifted young artists as Polina Leschenko, Piotr Anderszewski, Gabriela Montero, Mark Dobrinsky, Mischa Maisky, Lilya Zilberstein, Gautier and Renaud Capuçon, Lida Chen and Nicholas Angelich. The repertoire is wonderfully varied and includes fine works by Rachmaninov, Beethoven, Brahms, Carlos Guastavino, Manuel Infante, Mendelssohn and Mozart. The artists obviously share not only some behind the scenes training (!) but they all seem to enjoy the act of music making with like minds/friends.

One of the many marks on music that Martha Argerich will leave is her boundless enthusiasm for concerts such as this. With her appearances on the solo stage and in concerti diminishing due to health, it is particularly fortunate for us that she continues to engage in the magic of live recordings, especially when they glow with the light that this one does. This set is a tremendous bargain. Highly recommended. Grady Harp, December 06

When it comes to recordings by the legendary Martha Argerich, I just get them with little questioning because they are ... by the legendary Martha Argerich. While a few have mixed reults; most are steller as expected - such as this gem.

On the 3-CD's here is a smorgasbord of delectable treats. There are many excellent reviews here, so sufficient to say the music here superb and worth acquiring for chamber or Martha fans: brilliant compositions, top-flight musicianship and dynamic sound quality that recreates the live atmosphere as well as any recording I have heard.

The breadth and quality here of compositions and performances is very engaging and satisfying. The Brahms Op 34 is fabulous and my favorite version, the Greig/Mozart and Beethoven quite perky and bouyant while heavyweight peices like the Rach and Mendelsssohn vivid and dramatic. It is a real treat to listen to such accomplished musicians as these - most notably Martha Argerich whose touch and velocity of playing seems not to age that much. Now, if we can just have a solo piece every now and then to remind us of the dramatic earlier years...

I felt like standing up and clapping with the audience after each piece. This CD is absolutely wonderful, in all aspects. The musicanship is impeccable and the production and sound quality couldn't be better.

I picked it out to hear the Mendelssohn Piano Trio No. 2, and that piece is done so vibrantly and ecstatically that it's surely one of the best on record. Not to say that the other pieces aren't on an equally high level.

I can't imagine any classical music fan, and especially chamber music fans, being disappointed with this CD.

In this three disc set of the 2005 Lugano festival. A festival as evidenced by this recording that was filled with great music making and reeking of Martha Argerich's talents and too of her musical generosity. She plays on this recording in about every other number introducing, for the most part, some rather unfamiliar works (i.e. the Beethoven VERY early Piano quartet which is wonderful sounding a little like some Haydn and Mozart with the unmistakable stamp of dear Ludwig) Most of the time, she let her young friends and/or colleagues have the "Juicier" numbers--Mendelssohn's 2nd trio(the performers therein particularly shine in the effervescent 3rd movement and the religiously inclined 4th movement), Rachmaninov's cello sonata, etc. Her influence, however, I'm sure was very heavy indeed inspiring the "young ones" on to wonderful performances. They do give some wonderful performances. When she does join in (as in the Brahms' two piano version of the Haydn variations) the sparks DO fly--she and Gabriela Montero (sp?)do a splendid Rachmaninov Suite for two pianos #2! One hears the fact that one is listening to a "master Pianist" from the very start of the piece that she is playing in--wow! Mischa Maisky also lends his talents in the wonderful Rachmaninov's cello sonata.

I enjoyed this recording of this Lugano festival very much; I felt that I was experiencing the festivities myself--wonderful music performed by great talents, I, in future intend to purchase more recordings of Martha Argerich's Lugano festival. It's delightful in every way. By the way, EMI's sound is superb!

Great performance and nice recording.

(But the track listing for the first piece on CD 1 is incorrect: the Piano Trio No 2, op 66 is in C minor, not D minor...)

Martha Argerich attracts all the attention - and affection - of worldwide audiences, regardless the repertory she decides to performs. This happens mainly due to her unmatched inspiration in- and devotion to- music-making. Argerich simply burns on stage and her legendary virtuosity dazzles supreme. Her playing induces a special trance to listener who is totally enraptured during her concerts. On the other hand, she proves very careful with her appearances accepting to perform only if she strongly feels affinity with the proposed repertory and with the place, the time, the partners, her inner disposition... A definitive option seems to make her to avoid solo recitals. To be alone on stage in front of the piano is no more a challenge for her. Martha Argerich loves to team up in chamber music, to exchange energy with partners not only with the public, to achieve communion thorough music as a supreme joy for an artist.

In this view, in the recent years she settled her own festival ("Progetto Martha Argerich") in Lugano where a lot of distinguished stars along with promising young musicians are invited to perform mostly chamber music, but also concerts with orchestra or solo recitals. EMI proves inspired to treasure these wonderful music sessions by issuing yearly a 3 CD box set with the main moments of each edition of the festival. This collection of recordings dates from 205 edition of the festival in Lugano where Martha simply shined surrounded by her younger colleagues. What an incandescent Beethoven (Piano Quartet in C No\3 WoO) has she achieved teaming up a triplet of sparkling string players: the Capucon brothers (violin & cello) and her daughter Lida (viola)! What a high-voltage Brahms (Haydn Variations) in duo with Russian rising star Polina Leschenko! No less flame when it comes to Rachmaninov's deep feelings (Suite No.2 for two pianos) unfolded so passionately and elegantly along with Gabriela Montero, the Venezuelan-American sensation of the piano. Other two young pianists paired successfully Argerich in seductive jewels of the repertory for two pianos - Piotr Anderszewski (in a Mozart Sonata arranged by Grieg for two keyboards) and Mauricio Vallina (in Guastavino's pieces imbued with South-American flavor). Of course, there are also instrumental combinations without Argerich (a sumptuous Brahms Piano Quintet or a Mendelssohn Trio, a sensitive Rachmaninov Cello sonata or some Iberian rhythms) but the inspiring figure of this festival (implicitly of these recordings) is Argerich herself.

Don't prevent you from an enjoyable musical experience! So go for this recording! If you are accustomed with Argerich's pianistic wizardry you will luxuriate in following it one more. If this is your first exposure to Argerich's art you will certainly become a fan of her! Strongly recommended!

Another very interesting & high quality, live performance. All the artists are superb. One or two performers & pieces I was not familiar with but I wasn't disappointed. Next best thing to going to Lugano!