- Concerto for piano, violin, cello & orchestra in C major ("Triple Concerto"), Op. 56
- Piano Concerto in A minor, Op. 54
- Get it by Thursday, September 28 , Order now and choose Expedited Delivery during checkout.
Martha Argerich has recorded Schumann's Piano Concerto twice before -- with Mstislav Rostropovich and the National Symphony Orchestra (Washington, D.C.) for DG (currently unavailable) and also with Nikolaus Harnoncourt and the Chamber Orchestra of Europe for Teldec. This new outing is considerably more volatile than her first, and though the orchestral playing of the Orchestra della Svizzera Italiana is perfectly respectable, it's not nearly as polished as the crackerjack COE's in her second version. Also, Harnoncourt made the concerto into a real partnership, while here conductor Alexandre Rabinovich-Barakovsky lets Argerich take the lead, for the most part. But those who adore this pianist for her fiery impetuosity will find this performance an absolute delight. Argerich clearly views this as an arch-Romantic work, and her flights of fancy do sound truly inspired on this live recording. The Beethoven Triple Concerto is a particularly welcome coupling, as it's a work new to Argerich's discography. Joined by her old friend cellist Mischa Maisky and her favorite new collaborator, violinist Renaud Capuçon, Argerich has formed a very tight little solo group indeed, and the three attack this tricky score with great gusto -- which is really how it must be played. One only wishes that the brief Largo would be longer, so raptly does Maisky play the opening solo. The Alla Polacca finale, on the other hand, has plenty of swagger, without skimping at all on detail. Note, for example, the delicacy of Argerich's first entrance -- and the electricity she can generate in a simple scale passage. The recordings, made at the Palazzo dei Congressi at the Lugano Festival in Switzerland, place the soloists rather forward, but the overall effect is sonically warm and reasonably clear.