Pno Ctos Import
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|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|
The Prokofiev No. 1, with its intense driving opening and closing and its dreamy slow movement, is one of the most spectacularly inventive works ever to be offered as a graduation exercise; the future Soviet conformist won the Rubinstein prize, but the press called for his incarceration as a lunatic; perhaps his finest concerto, the Piano Concerto No. 3, is a less flashy work, but even dreamier and even more delightful--Prokofiev could be a charmer when he wanted to. As could Bartók--his Third Concerto starts with experimental pyrotechnics of the sort we associate with its two predecessors, and moves in its finale, without betraying their radical promise, to a Romantic Big Tune to end all such. What these three concertos have in common--their combination of aggressive athletic solo writing with a bitter-sweet emotional content--is precisely what makes Martha Argerich one of their ideal interpreters. The sensitive intelligence of her playing is matched by its ruthless brilliance of sound and energy; Charles Dutoit's discreet management of orchestral sound make these very much soloist-dominated performances, unlike some recordings of the Prokofiev 1 and Bartók 3 where the temptations offered by the orchestration are too much for some conductors. --Roz Kaveney
Top Customer Reviews
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 ›
This CD is so incredible I can scarcely think or sit still, no less decide where to begin extolling its endless virtues. Well, helter-skelter it is, then, on enthusiasm gone amok.
Listen, for example, to the majestic unfurling of the glorious opening Allegro brioso of Concerto No. 1... and, then, after a thrilling horn fanfare, Argerich comes in with the most phenomenal, articulated, running passagework. It takes my breath away! Hear how well Argerich has "aged" playing this work, her panache, her quiet intensity. There's no fierceness anymore, no aggression, just revelation and a manifold interconnectedness with the music.
It's moments like this, throughout, that propel this performance, that make it so completely appealing and uncanny.
Listen, again, for instance, to the flutes' eerie fluttering at around the 28 second mark into the Andante assai... and then Argerich's magical piano entry whispers in, cat-like and hushed. This is soul-stirring stuff! Unforgettable playing of the most sensitive kind.
Prokofiev? I'd hardly recognize you.
Indeed, in my experience, this is the only recording of his First Piano Concerto wherein the relentless keyboard banging and typical hectoring orchestral volatility take a subservient role to the abundant beauties imbued in this music. (The exact same truth holds for the Third Concerto, as well, needless to say.)
Continuing then: Listen to how Argerich and Dutoit pursue the cyclical material of the Allegro scherzando finale to a hair-raising conclusion. I felt like jumping to my feet and applauding! (Actually, I think I did.)
As if this weren't enough, Prokofiev's Third shimmers and glows in the outer movements and is translucent in the Andantino "variations.Read more ›
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.
Most recent customer reviews
This recording demonstrates typical relationship between Dutoit and Argerich in that Dutoit always tries to pull Argerich down to earth, in a way. Read morePublished 4 months ago by Loverssss
Ms. Argerich has always given a smashing Prokofiev and on this CD you get that, twice. I owned her recording of Prokofiev's Toccata in C Major, Opus 11, before I bought this CD. Read morePublished on June 8 2004 by Stephen G Bowden
Martha Argerich's gives the listener an invigorating view of Prokofiev's youthful iconoclasm. Her entire reading is less hard-driven than Richter, but arguably more zestful and... Read morePublished on Feb. 25 2000 by M. Seeley
It is amazing how Marta plays these wonderful piano concerti of Prokofiev. The third is simply out of this world. She is aware of every single detail in the score of the work. Read morePublished on Feb. 13 2000 by Nicolas Constantinou
Even though her Prokofiev 3rd is not as volatile as her earlier DG recording with Abbado, this one is more thoughtul and represents her mature interpretation of the concerto after... Read morePublished on April 10 1999 by Harold J. Sauer, M.D.
It is my favorite Argerich recording. It has such a modern and elastic sound. And it is very playful and light, not heavy and dark. It has a wonderful character. Read morePublished on Jan. 26 1999 by Adam Fryderyk Golka (firstname.lastname@example.org)