Argerich - Live from the Concertgebouw II

...at Argentine-born pianist extraordinaire Martha Argerich (b. 1941), in live performances such as these, recorded in 1978 and 1979. In this 2000 release from EMI Classics, she makes short work of Robert Schumann's Fantasiestücke (Opus 12) and Maurice Ravel's Sonatine, as well as the diabolical (in more senses than one) Gaspard de la Nuit. Indeed, these readings are nothing if not stunning. Perhaps too much so for some, particularly the Schumann.
...a fine line that Martha Argerich treads (and stretches) with such skill and seeming nonchalance. At times, just when you're sure she's ready to plunge over the edge like a runaway train, she hits the brakes and makes a swift turn, and you’re left catching your breath as she ferries you back to safety--but what a thrill the ride has been thus far. And yet her impressive playing isn't limited to thunder and lightning. Her lyrical passages can touch ... more

Too fast. Too sloppy.

That's the sort of criticism some have leveled at Argentine-born pianist extraordinaire Martha Argerich (b. 1941), in live performances such as these, recorded in 1978 and 1979. In this 2000 release from EMI Classics, she makes short work of Robert Schumann's Fantasiestücke (Opus 12) and Maurice Ravel's Sonatine, as well as the diabolical (in more senses than one) Gaspard de la Nuit. Indeed, these readings are nothing if not stunning. Perhaps too much so for some, particularly the Schumann.

Personally, I like 'em the way she plays 'em here--bold, tempestuous, uninhibitedly feral, disturbing when called for, at times mellow and genteel--yes, the powerhouse pianist is fully capable of grace and delicacy. Of technical brilliance she certainly lacks none, but technically brilliant pianists practically pour out of conservatories and piano competitions these days. It's the rare artist who actually puts that prodigious technique to good use, producing a performance that, besides dazzling its listeners, also speaks directly to their souls. I refer to the performer’s immediate, complete, unyielding hold upon the audience, who are caught in a trance in which everything else outside of the music ceases to exist. Witchcraft, you say? Perhaps in the witchhunting days of yore, Martha might have been one of those burned at the stake for her demonic powers of persuasion at the keyboard.

Much of the passion can be squeezed out of performances in the classical music world, victim to the rules of certain dogmatic segments who tut-tut at those who dare stray from the standard path and strict adherence to the score (the meaning of which can be debated till the end of time). Technical perfection is well and good, but absent the heart and soul of the performer, the playing amounts to little more than an impressive exercise, a sterile, clinical reading devoid of the human element. No, thanks.

And yet there are also limits to the musical liberties that can be taken. Interpretations that are completely befuddling and out of whack, and deficiency of control should be shunned. To my mind, the challenge facing classical musicians boils down to the ability to present a work’s essence to the audience, to reveal both overt and hidden meanings, while having the discipline to remain within certain universally accepted bounds that define it as "classical music," and not jazz or pop or rock or what-have-you. Reasonable changes in the tempo, rhythm, loudness and touch, for instance, can all be made to this end.

'Tis a fine line that Martha Argerich treads (and stretches) with such skill and seeming nonchalance. At times, just when you're sure she's ready to plunge over the edge like a runaway train, she hits the brakes and makes a swift turn, and you’re left catching your breath as she ferries you back to safety--but what a thrill the ride has been thus far. And yet her impressive playing isn't limited to thunder and lightning. Her lyrical passages can touch places in your soul that you didn’t even know existed. The depth and breadth of her reading of a single piece can be of such magnitude, they may equal a lifetime's worth for most others. (Okay, I may exaggerate a teeny bit there, but not by much.)

What immediately strikes you in this live recital is the clarity of her melodic lines. You immediately "get" the meaning of the piece through her translucent and stirring interpretations. Her playing isn't note-perfect (in the Fantasiestücke and Gaspard de la Nuit), but so what? Such highly spirited performances can only be dreamed of by lesser mortals. Besides, it also implies an endearing imperfection in this god-like pianist. (Incidentally, Vladimir Horowitz was accused of the same crime.) That Martha possesses absolute mastery over every work is clear. I often wonder if she has a secret hotline to the spirits of these fellows long dead, as they seem to speak through her. Others may disagree (and vehemently so) with my impressions here. While I'm neither a professional musician nor even a decent amateur one, I just know which performers move me at a profound level.

(Just an aside here. On hearing Russian pianist Evgeny Kissin's interpretation of Frederic Chopin's Barcarolle [in F sharp major, opus 60], I had to know how Martha's version stacked up. The stark contrast between the two readings surprised even me: it's the difference between a full-bodied cup of authentic espresso made from real Italian-roasted beans (Martha), and a cup of insipid Maxwell House java (Kissin). I find that for all his technical perfection, Kissin lacks a certain maturity and understanding, an ‘oomph’, in his playing. Listen for yourself if you ever get the chance.)

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Intentional or not, a common theme appears to unify the works in this collection--the world of fantasy and imagination, both the pleasant (as in Schumann's Fantasiestücke: miniatures on flight, whimsy, diurnal and nocturnal dreams and visions) and the gothic and ghastly (Ravel's Gaspard de la Nuit, which evokes spirits, ghosts, goblins, and death), as well as the Impressionistic (Ravel's Sonatine).

Fantasiestücke by Robert Schumann.

In Schumann's Fantasiestücke ("Fantasy Pieces"), Martha plays tenderly, flowingly and dreamily in Des Abends (Evening) and Warum (Why?), with the questioning motif in the latter a study in poignancy. The contrast between the percussive and rumbling sections in Aufschwung (Soaring) is strangely satisfying, the momentum building to a wonderfully cathartic climax. Love the rapidly rolled notes that start at 1' 13". Her accelerating, springy chords in Grillen (Whims) suggest fun and lightheartedness. Much like an approaching storm, she thunders ominously in In der Nacht (In the Night), a hint of the dangers that lie ahead. Delightfully whimsical passages alternate with slow, lazy ones in Fabel (Fable). Martha’s rapid, trill-like notes lend a charming vivacity to Traumes Wirren (Dream Visions). Wrapping up the set are the majestic major chords of Ende vom Lied (Epilogue), which announce the finale with authority but without self-importance, ending in an echoing chord softly played that speaks of a well-deserved rest.

To be sure, her Schumann may strike some as too rushed for their tastes, with the subtle, romantic nuances flung out the window. I, for one, don't mind at all, and thoroughly enjoy this fantastic flight of musical adventure with Martha at the controls. Rushed or not, it's a reading you'll find extremely difficult to ignore.

Sonatine by Maurice Ravel.

In contrast to the Fantasiestücke, Ravel's Sonatine flows like liquid, and one suspects that the score is chock-full of little notes all crammed together like sardines in a tin. It has a cooler, more subdued feel that contrasts with the previous selection. Martha's touch here is perfect, and the gentle, bell-like clarity of the Modéré and the Mouvement de menuet has a quiet elegance, while Animé is one long, breathless run filled with rippling notes, veiled in an aura of mystery. Ravishingly good stuff.

Gaspard de la Nuit by Maurice Ravel.

Ravel was inspired to write this after reading the poem triplet of Aloysius Bertrand, which derived much from medieval romance and mystery. Phantasmagorical and macabre sum up the mood and atmosphere of the work. Gaspard is supposed to represent the Satanic One himself.

Ondine has lots of flowing and cascading notes melded together via the sustaining pedal, conjuring up images of water in a dark, mysterious forest. Appropriately so, as the original poem describes Ondine as a teasing and seductive water nymph.

The creepy and sad Le Gibet (The Gallows) follows. Repeated incessantly in the background is a single note (B flat) played twice, the first slightly louder than the second, suggesting the tolling of a bell in the distance, while a hanged man's lifeless body swings pendulum-like in the cold night wind, as little creatures crawl and scurry hither and yon--unpleasant and morbid images all. Martha maintains the insistent tolling of the bell-notes admirably, a feat that demands exceptional control.

I find Scarbo to be the scariest of the lot, also reputed to be one of the most challenging pieces to play, ever. Martha easily evokes Ravel's eerie and suspenseful mood, with sharp chords suddenly leaping out at you like so many grinning, evil jack-in-the-boxes. A tremendous store of stamina and skill are required to play the feverish, throbbing chord repeats that simulate the creature's (Scarbo, a demonic gnome) game of frighten-the-poet. A remarkably sinister bit of music is brought to vivid life by Martha's death-defying virtuosity.

Hers is perhaps the fastest version of Gaspard out there, clocking in at a mere 18' 08". Gaspard forms part of the Argerich legend (true, though): her mentor Friedrich Gulda gave her a few days to study Gaspard de la Nuit (and Schumann's Abegg Variations as well), and Martha did as she was told, learning both by heart in *five* days. In interviews, she has said that she simply didn't know they were supposed to be difficult.

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I happen to like Martha's piano here, with its mellower treble section devoid of the tinny sound that can get too bright and metallic for my taste. Her wise use of the sustaining pedal hints at precious lessons to be learned by this struggling amateur.

Despite the twenty-some years of distance, the technical recording itself holds up superbly. Distracting audience noises (coughing) are kept to a satisfactory minimum and emerge (alas) only in the softer passages. You'll be so caught up in the music, these trivial annoyances won't matter one whit.

If you've grown tired of the usual, by-the-numbers playing of works in the classical repertoire, you may want to give this terrific disc a try. Familiarity with the pieces is not necessary, but beware! Martha may just seduce you with these astonishing performances. For the curious non-classical music fan, this disc might even open the door to the genre and jump-start a search for other works in the repertory...I hope. Ten glorious stars.

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CD Notes:

MARTHA ARGERICH

Live from the Concertgebouw 1978/1979

Robert Schumann (1810-1856)

1 - 8 Fantasiestücke, Op. 12 23.46

Maurice Ravel (1875-1937)

9 - 11 Sonatine* 9.19
12 - 14 Gaspard de la Nuit 18.08

Martha Argerich, piano

Live recordings
Concertgebouw, Amsterdam
7.V.1978 / *22.IV.1979

EMI Classics (c) 2000

CDC 7243 5 57101 2 3

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For more info and a couple of essays on the legendary pianist, you may wish to check out my amateur webpages (not completely updated, though):

http://www.angelfire.com/wv2/pathgirl/argerich1.html
 

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