Author's product rating: 
| Advantages: |
Thrilling, daredevil chamber music performances from the legendary Martha Argerich and partner - in - crime Gidon Kremer . |
| Disadvantages: |
Violinist Kremer occasionally on the mannered, spastic side; only forty - three minutes of music . |
| Recommend to potential buyers: |
yes |
Ding! Ding! Ding! It's Fight Time!
It’s the battle of the sonata duos! In one corner is the brash and adventuresome duo of Martha Argerich-Gidon Kremer, and in the other is the steely and confident team of Anne-Sophie Mutter-Lambert Orkis! Place your bets, the fight is about to begin...
...and
...the
... winner
... is...? ? ?
Is this even a fair match? Or is this a case of pitting apples against oranges? BMWs against Benzes?
First, a boring prologue.
To those among my Kind Readers who remain sadly unaware of Martha Argerich (b. 1941), an Argentine pianist who renders mere words inadequate to describe her genius, this will serve as the briefest of introductions to her.++ Oh, but beware! With her wicked sorcery at the keyboard, she might just turn you into another zombiefied and submissively devoted listener of classical music—as she did me all those years ago. Once upon a time, I was a mere innocent, having nothing more than a mild, harmless interest in the genre, sampling its offerings only on rare occasion. Thanks to Martha, I’ve since fallen victim to its evil influence, cast away upon its sometimes raging, sometimes calm waters, never spying (pop)land for months on end. Yes, Martha had worked her magic on me, and the gates to the thrills, joys, challenges and inexpressible beauty found in that seeming netherworld of classical music were flung wide. (Pardon the terrible, mixed metaphors.)
Well, she’s done it again (sorry, Britney) with this recording.
It generally takes a whole lot more to get me raving like a maniac about chamber music, as such works usually take up the bottom rung, below a concerto, a symphony or a solo piano piece, in my unenlightened hierarchy of classical music preferences. To me, the performers are having more fun than the listeners (me, specifically) when it comes to chamber music. Well, leave it to Martha to upset another bias of mine.
Here she teams up with her good friend, Latvian violinist Gidon Kremer, to play a couple of sonatas by
Ludwig van Beethoven (1770-1827). (The CD represents only part of their recordings of Beethoven’s sonata cycle for piano and violin.) Once again, Argerich’s formidable talent is in full display. Violinist Kremer, a frequent chamber music partner of hers, proves an able and equal partner.
The Sonatas for Piano and Violin.
The works on review are the Sonata no. 4 in A minor, and the Sonata no. 5 in F major ("Frühlings-Sonate" ["Spring"]) for Piano and Violin. For comparison, I chose the Anne-Sophie Mutter-Lambert Orkis version, purely out of convenience, as I had the latter disc already in my library. I thought that hearing two distinct renditions of the same
works would help limn the qualities of each.
Although Beethoven wrote the pieces for piano and violin, either instrument may take precedence or be equal in the partnership, a choice that depends wholly upon the performers.
A Word or Two About the Artists.
Martha Argerich has long thrilled me with her high-octane, edgy performances. On the other hand, readings by Gidon Kremer are familiar to me only through his chamber music collaborations with Argerich.
Meanwhile, I have also waxed rhapsodic elsewhere about
German violinist Anne-Sophie Mutter and think she’s one of today’s foremost instrumentalists. However, of American pianist Lambert Orkis, I know nothing outside of these ensemble recordings with Mutter.
Violin Sonata No. 4 in A minor, op. 23.
Mutter and Orkis begin the sonata with a lively rhythm, with the delicate notes on the piano echoed by the violin. The more deliberate tempo suggests an aloofness in the playing here that becomes more evident when compared with the Argerich-Kremer version. Mutter-Orkis remain at cloud-level, rarely descending upon the earth to get their hands dirty, so to speak.
Listening to Argerich-Kremer, you might wonder if this was the same piece at all, so energized and hotblooded is their reading. The adrenaline flows freely in the Presto. In the Allegro molto, the volatile personalities of pianist and violinist draw exciting sparks in their musical give-and-take.
Both musicians throw caution to the winds and attack the music with a boldness, a recklessness, even. Phrases are defined and contrasted more clearly, and the resulting variety of sound colors are a joy to hear. I do, however, have a little bone to pick with Kremer’s playing, which I expound upon in the "possible cons" below.
Violin Sonata No. 5 in F major, op. 24, "Frühlings-Sonate" ("Spring").
You may have heard this one before in an old Looney Tunes or
other early TV cartoon (am I betraying my age here?). Listen to the lovely Allegro and tell me that it doesn’t conjure up delightful scenes of springtime, with chirping birds, and trees and flowers all abloom. Tell me that those rapid runs on the piano aren’t delicate yet thrilling.
In her inimitable way, Martha adds a poignancy and sweet loveliness to the Adagio molto espressivo, rendering it much more intimate than one feels with the more matter-of-fact playing of Orkis. Every phrase takes on a special meaning. The slight hesitation on the final note is subtle, but works beautifully to induce a kind of bittersweet longing.
Fun and lightheartedness spring forth on the Argerich-Kremer Scherzo, and you feel like skipping to the music. Such carefreeness is merely hinted at by Mutter-Orkis in their relatively coy version. Rounding things up is the Rondo, which sparkles deliciously as the mischievous violin just misses the beat of the piano. Its pace never slackens till the end.
If You’re a Masochist, Then Read On.
(Those Thoroughly Bored by Now May Skip Directly to the "Cons" Further Down.)
General Comments.
Mutter and Orkis certainly do right by these works, though perhaps they’re just a dash too proper. Mutter saws away on her Strad with her usual charm and grace, with each note carefully thought out and touches of whimsy or seriousness added hither and yon. Orkis offers her an amiable, cordial and elegant support. Not surprisingly, Mutter’s violin steals the show, with Orkis’ piano providing a relatively subdued accompaniment.
With Argerich and Kremer, however, things couldn’t be more different—or risky. They two plunge headlong into the music with body and soul. With their brisker tempos, dynamic readings and intuitive phrasings, they take the sonatas to places you’ve rarely been, with exhilarating results. There is no shortage of wit and humor in the faster passages, nor of thoughtful lyricism in the slower movements.
While the piano feels more authoritative under Argerich’s guidance, the pieces really feel more like duets (duels?) between equals. It might be the irrepressible Argerich who leads the charge of this light brigade of two into unexplored lands, sabers held up high and glinting in the sun and horses running at full gallop. Her spirited tempos zip along, taking you on a heady musical joyride.
Kremer seems to be following her cue, but that may be more apparent than real. Both players come together with an explosive chemistry that I rarely encounter in chamber music. Although they seem to belong to a different plane of existence altogether (well, Argerich always does), paradoxically, it’s an earthly, human impulsiveness that makes them risk all in pursuit of their specific musical vision.
Especially marvelous is the way in which Argerich and Kremer grasp the melodic line and keep it taut throughout. Their phrasing never feels sluggish or inert. It’s this controlled unspooling of the musical thread that holds your interest through the entire movement, and thus the whole work.
**********
Possible "Cons".
I can fault the Argerich-Kremer version for just one thing: Kremer’s sometimes overly mannered style: he occasionally verges on the spastic. When his abrupt notes suddenly lunge out at you, you would hardly feel the difference were he to jab that bow directly into your ear with each stroke, as in the No. 4’s Andante scherzoso più Allegretto and in the "Spring" Sonata’s Allegro. If only he’d control his violin a bit more, as Argerich does so splendidly on the piano—this would have been a disc of absolute perfection. Still, its abundance of virtues more than merits a full five—heck, ten!—stars.
For those listeners who have come to expect the maximal playing time of seventy-plus minutes on a CD, they may feel shortchanged by the scant forty-three minutes of music on this disc. Not a big deal for me, but could be one for bean counters. (Bean counters cannot be true music lovers!) Far more vital is the enjoyment I get from the performances themselves than the mere quantity of music on hand.
Returning to the Question Posed in the Title: Who Wins?
It really depends on one’s likes and temperament. If you feel that Beethoven should reflect a certain measure of formality and elegance, something akin to a dignified and decorous salon piece, then the Mutter-Orkis recording may please you more. (For what it’s worth, the complete recordings of Mutter-Orkis of the Beethoven sonata cycle won a Classical Music Grammy ® for Best Chamber Music Performance in 2000.)
On the other hand, if you like your Beethoven sonatas vibrant and electrifying, performed instinctively, with a touch of brusqueness, then the more daredevil performances of the Argerich-Kremer duo may appeal to you.
As if you didn’t know yet, my bias lands me squarely in the second camp. Just my quirk, but with its thinner texture, chamber music has to work harder than the others to really grab me. With the few reservations mentioned above, I would thus recommend the Argerich-Kremer over the Mutter-Orkis to like-minded listeners. The readings of the former duo feel as if they were done on the fly, with that intriguing hint of danger and of losing all control always lurking nearby. Highly recommended for the thrill-seeking listener.
~~~~~~~~~~~~~~~~~
Notes:
Technically speaking, the sound on this CD is all right. I would have preferred a deeper resonance from the piano, but Argerich’s fully engaged playing more than makes up for that lack. Watch out for Kremer’s sharp, loud notes, though, in a few places. Then again, you might just like them more than I do!
++ For a more thorough introduction to Martha Argerich, you may want to read my other post (or you may not!):
http://www.ciao.co.uk/Bach_Keyboard_Works__Review_5359921
~~~~~~~~~~~~~~~~~
CD Notes:
LUDWIG VAN BEETHOVEN (1770 - 1827)
Sonata for Piano and Violin no. 4 in A minor, op. 23
1. (1) Presto 6’56
2. (2) Andante scherzoso più Allegretto 7’20
3. (3) Allegro molto 5’15
Sonata for Piano and Violin no. 5 in F major, op. 24 "Frühlings-Sonate" ["Spring"]
4. (1) Allegro 9’41
5. (2) Adagio molto espressivo 6’02
6. (3) Scherzo. Allegro molto 1’19
7. (4) Rondo. Allegro ma non troppo 6’34
MARTHA ARGERICH, Piano
GIDON KREMER, Violin
Deutsche Grammophon
(P) 1987 43’23
417 787-2
~~~~~~~~~~~~~~~~~
(Performances for comparison:)
From:
BEETHOVEN
The Violin Sonatas
ANNE-SOPHIE MUTTER
LAMBERT ORKIS
Compact Disc 2
Sonatas op. 23 & op. 24
"Spring Sonata"
("Frühlings-Sonate")
Live recordings
Deutsche Grammophon
(P) 1998
289 457 619-2
