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Martha Argerich - Schumann: Schuman: Piano Concert | Prokofiev: Romeo and Juliet Song No. 2 from Op.64 (Schumann: Piano Concerto | Prokofiev - Import CD
Martha Argerich - Schumann: Schuman: Piano Concert | Prokofiev: Romeo and Juliet Song No. 2 from Op.64 (Schumann: Piano Concerto | Prokofiev - Import CD
CD
Classical Music
Concerto
September 22, 2014
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: ALT300
JAN/ISBN: 4543638003006
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Martha Argerich
Description:
Better than expected. Argerich and Celibidache—an unprecedented collaboration—has finally seen the light of day. This is an incredible release. Argerich and Celibidache’s legendary Schumann Piano Concerto has finally seen the light of day. This out-of-this-world collaboration between two giants—one that would be major news on its own—has been restored from the master tapes, making it impossible to remain calm. Schumann’s concerto is one of Argerich’s signature pieces, and while there are over ten different recordings available—ranging from a 1952 live performance in Buenos Aires to a 2010 live performance with Arming and the New Japan Philharmonic—this particular performance stands out as exceptionally remarkable. Argerich was 33 at the time; she unleashed her full magic right from the opening cadenza, and one is struck by the kind of musical immersion unique to a performance that really takes off in a live setting. In particular, the rich, lingering phrasing in the “Andante espressivo” midway through the first movement is a divine feat that only Argerich could pull off. In the second movement, where the piano and orchestra engage in a gentle dialogue, the contrast between the meditative style of Celibidache and the sensuous individuality of Argerich is utterly fascinating. Furthermore, the finale—filled with astonishing vitality—is so magnificent it leaves you speechless. While her ability to ignite a live performance is on full display here, she is—perhaps due to Celibidache’s demands—considerably more restrained than usual, and this restraint actually results in a wealth of nuanced expression. Celibidache’s interpretation of the orchestral parts is nothing short of astonishing. It is rare to hear Schumann’s orchestral parts sound so transparent, and Cherubini’s conducting—which stays perfectly in step with Argerich, especially through the challenging irregular time signatures of the third movement—truly lives up to his reputation as a perfectionist. While consistently keeping Argerich in the spotlight, he still allows the listener to fully savor his signature “Cherubini style.” Prokofiev’s *Romeo and Juliet* is one of Celibidache’s signature works. The unsentimental music, which explores the full potential of the orchestra, is perfectly suited to him, and with the heart-wrenching lament in “Romeo at Juliet’s Grave” and the frantic, death-laden rush of “The Death of Tybalt,” this performance is truly worthy of being called one of the finest interpretations of this ballet score. King International
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