In 1961, Ruggiero Ricci was already a world famous violin soloist. He asked the brilliant up and coming Martha Argerich, who was only 19, to join him on a tour to Russia. Part of their recital in Leningrad was broadcast and preserved by the Leningrad Radio. This part is presented here, completely remastered, for the first time ever. The program includes Prokofiev sonata for solo violin that Ricci gave the World Premiere of in 1959, 6 years after Prokofiev's death.
Most of these recordings were made in 1960, when the pianist Martha Argerich was just 18; there is a fearsomely proficient Prokofiev Piano Sonata No. 7 in B flat major, Op. 83, from seven years later, after Argerich had won the Chopin Piano Competition and was on her way to stardom. The recordings are taken from radio broadcasts that are quite good sonically by 1960 standards, and they give abundant evidence of why those in the know spotted the young Argentine and began to give her bigger opportunities.
The performances heard on this recording by the superstar duo of violinist Itzhak Perlman and pianist Martha Argerich do not exactly form a discrete group: the first work, Schumann's Violin Sonata No. 1 in A minor, Op. 105, was recorded live in 1998, while the rest consists of 2016 studio recordings. The 1998 performance, however, was part of a concert in Saratoga Springs, New York, that provided the stimulus for the joint recording. The Schumann sonata performance was not released at that time, and the rest of the program expands on the music it presents. It's nice to have the Schumann, which has a good deal of tension and energy. As for the rest, it's hard to point to a clear decline in the skills of either of the septuagenarian performers.
The first new release for ten years from Martha Argerich and Claudio Abbado is their first ever album of concertos by Mozart. The legendary pianist and conductor add the sublime music of Mozart to their unrivaled, multi award-winning DG discography of concertos by Tchaikovsky, Chopin, Ravel, Prokofiev, Beethoven and Liszt. Both concertos were recorded with Claudio Abbado s Orchestra Mozart, at concert performances at the 2013 Lucerne Festival that had critics searching for new superlatives. The album contrasts two very different works. Written in D minor, the key of the Queen Of the Night and the opening of Mozart s Requiem, the darkly dramatic No.20, K.466 has a stormy, operatic temperament that looks forward eighteen months to the premiere of Don Giovanni. With its majestic and radiant opening and a march famously reminiscent of the Marseillaise, No.25 in C major, K.503 is the culmination of the twelve transcendent concertos Mozart wrote in Vienna between 1784 and 1786. This release is Martha Argerich s first recording of solo concertos by Mozart on Deutsche Grammophon.
A case of deja entendu here, since I reviewed these performances when they originally came out. I enjoyed them then and still do, for both artists offer wit, affection and agility. One can at times think the sheer force and passion of Martha Argerich's personality a bit too obvious, not least in the C major Sonata, where Maisky characteristically sounds smoother and more persuasive.
The connections between Martha Argerich and Daniel Barenboim run deeper than the fact that they are both Argentines; Argerich studied with Vincenzo Scaramuzza, who also taught Barenboim's father, and the pianists both have Russian-Jewish-Argentine ancestry. They have the kind of instinctive understanding, coming from shared experiences, that makes for successful duo piano work, and that sets this live recording apart from the majority of superstar pairings.