Customer Reviews

Shostakovich: Piano Concerto No. 1; Concertino; Piano Quintet

5 star:		(6)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Like many, I bemoan the fact that Martha Argerich hasn't been doing any solo recitals or making any solo recordings for quite sometime now. In fact, she has eschewed the recording studio altogether, preferring to release only live concerto & chamber recordings. We can, however, take great solace in the fact that these live recordings, particularly those from the Lugano Festival, have been absolutely brilliant, this present release being no exception. These performances were recorded at the 2006 edition of the festival, where we hear Argerich at her dazzling best. The Shostakovich Piano Concerto #1 finds the virtuoso pianist offering a stunning performance of this challenging Russian masterpiece, with able accompaniment given by the Orchestra Della Svizzera Italiana, under the baton of Alexander Vedernikov.
While the concerto is sheer brilliance, the real highlight on this cd is a captivating perfomance of the Shostakovich Piano Quintet in G-minor, Op.57. Argerich's technique is simply beguiling, aided by a live recorded sound that is quite sharp & focused. All the artists in the quartet that assists her are top-notch as well, with particular mention going to long-time collaborator, cellist Mischa Maisky. What a fabulous player he is, and what wonderful music these two icons of classical performance always seem to make together.
This cd is yet another highmark in the astounding career of the amazing Martha Argerich, and it will increase admirably a reputation that has already reached beyond the stratosphere. Don't hesitate to add these otherworldly performances to your cd collection.

For me the new Argerich recording of the Shostakovich Piano Concerto 1 on EMI has been the greatest classical music disc of the year 2007!
Having always favoured her first recording of the same work on Deutsche Grammophon in 1994 I had my doubts whether this new reading would come close but Argerich did the exceptional and surpassed herself!
Although the 1st movement does not have the clear crisp and incredibly direct sound Argerich produced in 1994 there is something there which will make anyone crave for more. One has to admit that the orchestral balance is still a bit strange in the first movement and the conductor seems to lose his way sometimes with Argerich thundering away...
But the most incredible thing on this disc is the Second Movement which to my opinion never has and never will be heard again like this! The atmosphere Argerich creates here and the filigrane sound she produces is so astounding that you will forget to breathe...out of this world!!!! People who always critize her for playing too brutal should listen to this and forever hold their peace!

These are passionate, fiery performances of great Shostakovich works. Contrary to the previous reviewer, I find the sound to be vivid and crystal clear. The strings are lush, full, and have a great edge. The piano's lower register is deep and resonant and the highs crisp.

But the sound isn't what really makes this shine - it's the intensity and fire in Argerich's (and all others who appear on this recording) playing that makes this the most exciting rendition of these pieces I've yet to hear.

Highly recommended.

Although EMI gives top billing to the vivacious Piano Concerto #1, that youthful riff must bow to the Piano Quintet, arguably the composer's single greatest chamber work along with the Piano Trio #2. It's powerful, richly melodic, and instantly grabs the listener's attention. Even someone who doesn't know the work will find Argerich and friends in top form, full of vitality and sympathy for the music. They dig in with the total commitment we've come to expect from Argerich's circle in live performance.

There hasn't been a truly outstanding version since Richter and the Borodin Qt.; one could go back to the mono era for the composer himself as pianist and the great Beethoven Qt. This new version meets that stratospheric standard -- it's astonishing how delicate and intelligent Argerich is in her handling of the mercurial piano line -- and in terms of recorded sound is the best version of all.

As for the piano concerto, Argerich's style is forceful and sinewy. Clearly she favors the piece -- she recorded it once before on DG -- and she makes a success of her large-scale, rather serious approach. Personally, I miss the wit and springy lightness that Salonen and Bronfman bring (on Sony). That CD is also filled up with the Piano Quintet, where Bronfman is joined by the Juilliard Qt. in a fine performance. But this star-studded ensemble from EMI sounds more potent, and even with his impeccable Russian credentials, Bronfman isn't as impetuous and dramatic as Argerich. In anya event, it's a plasure to welcome the latest in a strong line of readings over five decades.

Beyond any doubt, Dmitri Shostakovich was one of the greatest composers of the 20th century. This statement could well be extended as to include the opinion that he actually was one of the most influential composers ever. In 2006 the musical world celebrated 100 years from his birth and the most important artists of our time took a deep bow in front of his huge musical treasure by including in their performing programs a vast amount of it.

The brilliant pianist Martha Argerich devoted to Shostakovich an entire CD recorded at the Lugano Festival that year. Among her colleagues invited to share the stage with, Argerich teamed up for this recording with Lilya Zilberstein (piano), Mischa Maiksy (cello), Renaud Capucon (violin), Alissa Margulis (violin), Lida Chen (viola) whilst collaborating with conductor Alexander Vedernikov, trumpeter Sergei Nakariakov and the Orchestra della Svizzera Italiana in Piano Concerto no.1. Impressive achievement! Argerich sparks whatever she chooses to perform. That is the case here too. Her fiery approach - especially in Concerto and Concertino - is the main attraction of this recording, focusing all the musical energies and radiating an irresistible seductive atmosphere, while the miraculous neo-Classic mood of the Piano Quintet dominates the proceedings in the chamber side of this musical event.

The refined artistry of the performers is overwhelming in all three pieces, the quality of the recorded sound is astonishing and overall effect breathes an air of great music. The result deserves all the five stars.

Martha Argerich is one of my favorite pianists among those currently playing. I've been told by a pianist friend that her playing irritates him: she has such technical competency but the liberties she takes with music bother him. I don't care. Her music is human. Humans breathe and so should piano music. It should capture the way humans phrase and the pauses they take as they move through speech. And all that Argerich does wonderfully.

I have a number of CDs by Argerich: playing Chopin (no surprise), Mozart piano concertos (outstanding), Bartok, etc. This album, a piano concerto by Shostakovich, a fairly straightforward single-movement concertino for two pianos (he wrote it to be played by his son and him), and a rich, lovely piano quintet (with her friend and colleague Mischa Maisky on cello, is brilliant in both senses of the word 'brilliant.' The pieces are performed at a very high level of technical competence and they burst with joy. This is tricky, funny, extremely listenable music, played by a masterful pianist.

At the same time that I acquired the above album, I also picked up the two-CD album of Vladimir Ashkenazy playing Shostakovich's preludes and fugues. The inspiration for these glorious creations was apparently Bach's Well-Tempered Clavier, a set of preludes and fugues running through the chromatic scale. All told, there are 48 pieces, 24 sets all in different keys. This is not the first or the last time that a technical challenge has spurred a composer to excel himself but this challenge seems to have helped Shostakovich get out of the box of late Soviet programmatic music, which was confining him. The pieces are played exquisitely by Richter, who combines musical sophistication with enough rigor and muscle to save the music from becoming a kind of high quality romantic mush. It's a revelation to me to hear this side of Shostakovich. It's not at all the syncopated, quirky early modernist stuff I'm used to from the composer --it's austere, almost classical, yet infused with the same sensitivity to tonality, harmony and syncopation that I respect and glory in when I hear Shostakovich. This album is truly worth getting.