- Audio CD (Sept. 15 1998)
- Number of Discs: 1
- Format: Import
- Label: EMI Music Canada
- ASIN: B00000C2J8
- Average Customer Review: 4.6 out of 5 stars See all reviews (10 customer reviews)
|1. I. Allegro brioso|
|2. II. Andante assai|
|3. III. Allegro scherzando|
|4. I. Allegretto|
|5. II. Adagio religioso -[poco più mosso] - tempo I|
|6. III. Allegro vivace - [presto]|
|7. I. Andante - Allegro|
|8. II. Tema (Andantino) & Variations|
|9. III. Allegro ma non troppo - meno mosso - Allegro|
5 out of 5. This was a very easy decision, and it should be the same for you to buy it.
Argerich isn't just an important living pianist, she is one of the all time greats. Whether you always agree with her choices or not, she is always compelling. She is a treasure.
Here, the Bartok is performed by Argerich in an absolutely wonderful way. The orchestra does a spectacular job in making this music sounds as wonderful as it is.
The two Prokofiev concertos (1 & 3) are done with humor and energy as well as with intellect and taste.
Look, if you are still trying to get into twentieth century music, here is a CD that can help you make that move. These pieces are proof of the beauty and greatness of music making in the last century.
Listening to this CD is as much fun and intoxicating as your favorite roller coaster ride.
Her Bartok is again technically brilliant. Her intuitive musicality is put into wonderful use, as it sounds well-thought-out, but it also sounds naturally spontaneous.
I am afraid to say the Prokofiev 3rd concerto fares less well. And for this, I put the blame on Dutoit, not Argerich.
After the lyrical slow introduction, the piano introduces the main theme. All is fine at the start. But less than one minute after the pianist has entered, one hears strange tempi fluctuations from Argerich. They not only sound forced, but they don't make musical sense. For example, where the piano has repeated runs in octaves, here at 6:21, Argerich starts very quickly, but slows down (a very subtle change, but noticeable). To me, it sounds as if Dutoit is forcing her to keep her speed at a safe measure. That is the last thing a soloist needs, to be forced by a conductor. Isn't a conductor supposed 'support' a soloist?? (in the second octave runs, repeated at 9:09, the same thing happens, only it is much more noticeable)
While all this is happening, one can sense that she doesn't like all the pushing around she is getting from Mr. Dutoit. Compared to her first recording, the whole performance takes almost 3 minutes longer than her 1967 recording.
Having said all that, I hear things in the piano part I didn't hear before, enhancing one's knowledge and enjoyment of the music.Read more ›