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Martha Argerich: Live from the Concertgebouw 1978 & 1979 - Schumann, Ravel / Argerich

Maurice Ravel (作曲), Robert Schumann (作曲), Martha Argerich (Piano) 形式: CD

4.8 5個の評価

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￥364 より

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新品

中古品

CD, インポート, 2000/12/5

"もう一度試してください。"

インポート

—

￥5,496

￥364

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曲目リスト

1	Fantasiestucke, Op.12: Des Abends
2	Fantasiestucke, Op.12: Aufschwung
3	Fantasiestucke, Op.12: Warum?
4	Fantasiestucke, Op.12: Grillen
5	Fantasiestucke, Op.12: In Der Nacht
6	Fantasiestucke, Op.12: Fabel
7	Fantasiestucke, Op.12: Traumes Wirren
8	Fantasiestucke, Op.12: Ende Vom Lied
9	Sonatine: Modere
10	Sonatine: Movt De Menuet
11	Sonatine: Anime
12	Gaspard De La Nuit: Ondine
13	Gaspard De La Nuit: Le Gibet
14	Gaspard De La Nuit: Scarbo

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This thrilling live recording of the Argentine pianist Martha Argerich preserves two concerts she gave in Amsterdam's Royal Concertgebouw in 1978 and 1979. Her playing in Schumann's Fantasiestücke op.12 is hot and passionate just as the composer would have liked it after eight forbidden months away from Clara in 1838. The misplaced accents create anxiety in "Des Abends"; thumping turbulence fires "Aufschwung". She stubs a few stretched-for top notes but who cares? It's all part of the aural wonder. One can almost hear hair flying in the agonised fortissimo tossing and turning of "In der Nacht". Even through the medium of a plastic disc and 20 years' distance, the listener can feel the electricity in the hall. Ravel's powerful Gaspard de la Nuit might have been written for Argerich. She shimmers beautifully in "Ondine". The nagging B flats hang bleakly through "Le Gibet" and the rapidity with she pumps out the demisemiquavers in "Scarbo" defy physiology. Ravel's Sonatine sounds like a grade-one practice piece by comparison. Oh to have been there! With this disc, I was. --Rick Jones

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メーカーにより製造中止になりました ‏ : ‎ いいえ
製品サイズ ‏ : ‎ 12.7 x 14.61 x 1.14 cm; 92.13 g
メーカー ‏ : ‎ EMI Classics
EAN ‏ : ‎ 0724355710123
レーベル ‏ : ‎ EMI Classics
ASIN ‏ : ‎ B000055WFF
ディスク枚数 ‏ : ‎ 1

Amazon 売れ筋ランキング: - 299,267位ミュージック (ミュージックの売れ筋ランキングを見る)
- - 3,283位現代音楽
- - 10,585位室内楽・器楽曲
- - 15,178位交響曲・管弦楽曲・協奏曲

カスタマーレビュー:
4.8 5個の評価

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jt52

Argerich at ease in Amsterdam

2015年4月17日にアメリカ合衆国でレビュー済み

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Live recordings accent music’s vitality and spontaneity while studio recordings, with all their outtakes, maximize refinement and accuracy. This rule of thumb applies to these three performances from Martha Argerich, the Schumann and ‘Gaspard de la nuit’ from a recital in 1978 and the Sonatina taken from a 1979 recital in the same concert hall in Amsterdam. Argerich brings a tremendous amount of energy to the music while seeming as if utterly at ease throughout. And she should be at ease given her absolute command of the music, a command which is combined with a master musician’s sense of improvisation and freedom.

The Fantasiestucke from Robert Schumann receive a very strong performance, one marked by a rhythmic fluidity and an emphasis on the leading melody, somewhat uncharacteristic of Argerich who I think tends to emphasize the inner or subsidiary voices in a texture more than other pianists. The rhythmic fluidity is heard in how Argerich plays the melody slightly off the beat of the accompaniment throughout much of the Fantasiestucke, something which I associate with the work of the Russian pianist Gregory Sokolov. This is a very enjoyable, alive rendition of this major composition.

Argerich has given us one of the great studio recordings of Maurice Ravel’s “Gaspard de la nuit”, that impressionist night gallery of erotic frissons and evil. This live rendition is faster and less preoccupied with this wonderful work’s sensuous sheen and range of timbral effects. In particular, the central slow “Le gibet” is sped up, which I think is a darned good idea, as it can drag if taken too slowly. The “Ondine” isn’t quite as successful as it so depends on the slow accumulation and crescendo but all in all this is a very successful performance of one of Argerich’s signature works. Though it’s almost an afterthought, I actually think the charming Sonatina is the single strongest interpretation here. Argerich gives us a wonderful performance, the energy adding to the Sonatina’s charms.

As studio alternatives, I suggest checking out Murray Perahia’s very sensitive and refined Fantasiestucke and Ivo Pogorelich’s brilliant version of “Gaspard.” The only criticism I would make of this Argerich recital disc is the mediocre sound. Argerich’s piano is somewhat recessed, which irons over some of the timbral nuances she likely put forth. There are audience sounds here and there but it’s overall very good from that standpoint. As a listener who is always very aware of sonic shortcomings, I soon got past the mediocre sound, though, and was able to appreciate the life and relaxed musicality Argerich brings to these three wonderful pieces. This is a very strong and worthwhile recording.

5人のお客様がこれが役に立ったと考えています

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Alan Lekan

An evening with a legend

2005年11月10日にアメリカ合衆国でレビュー済み

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Those who had the priviledge to attend any of Martha Argerich's solo recitals will usually say her concerts were major events in the classical-music world and were attended by the best and brightest. When people heard of Argerich playing in town, calanders were cleared and buzz began. People came with a tantalizing sense of expectancy to witness something unique, awesome and, sadly, something all too rare (she largely stopped solo recitals in the 80's). And while many in attendance were devoted purists, for one night this "purity" was often set aside to be freely engulfed by the sheer magnetism and pure drama of Argerich's playing and alluring Argentinian mystique - albeit much of her playing being heavy on individualism.

The live recordings of Schmumann and Ravel on this CD capture the electricity of such long-talked about concerts and are a special piece of history for Martha's fans. Of course, much of the tempos will be fast and overdriven, but perhaps the question is to what extent such tempos and rhythms adds to (or detracts from) the resulting music. I think a main thing that attracts people to Miss Argerich's music is her ability to create "a true event" from the music - music filled with a sense of an unfolding drama and an animated life that she breathes into the music - all combining to create an event that is a memorable moment in time that moves you and leaves you even tingling with excitment, awe or musical inspiration. True, with this artist much of this excitement and sheer drama will be from the performer and less perhaps from the composer. But, is that a bad thing? I guess it depends on many things and your perspective at the time.

No piece better represents Argerich's ability to create this unfolding sense of drama better than her electrifying performance of Ravel's rather strange and seethingly-virtuostic work, "le Gaspard de la Nuit." This is the star of the CD and a performance often noted in the music critic world as most fascinating. Right from the cascading opening bars of the mesmerizing "water-effects" of Ondine, Argerich creates an charged atmosphere of expectancy and excitement. Her dramatic rolling build up in the middle and later "outburst" from the so-called water nymph is sheer mastery of pianism for its tingling effects. The middle movement le Gibet (the gallows) like the others is based on a scene from a imaginative literary work. Here, Martha exudes a most convincing stillness of death and desolation (in spite of a brisk pace even) as she continues her (Ravel's) build-up of the drama. Strangely in this movement, an audience member's creaking chair eerily adds to the chilling scene (like the corpse swinging on the wooden gallows). A rather creepy coincidence! In the last movement, she introduces the audience to the menacing figure Scarbo in the first few bars climaxing with a stunning, two-note "flutter" possessing a piercing electricity unlike any other. Its enough to send chills down your spine especially if you know the story behind this work. So, especially in this most frenzied-by-design movement, Argerich's blazing pianism finds its perfect home and definately adds - or even creates its own category of performance - by its uniqueness and ability to powerfully move the listener. The Gaspard is one of her most notable concert performances to be experienced, and she delivers the imagery and effect that Ravel probably intended in this piece of program music.

If there is one movement that Argerich's rushed tempos starts to detract, it is the opening movement of the Sonatine (Modere). Here, Argerich speeds by the more subtle beauty inherent in this work and creates more inner tension and nervousness than ideal for its more subtle intentions. Critics often cite her missing the inner beauty and soul of some music in the quest for virtuosity and this is one example of that I think. Some movements in the Schumann work also fall in this category too in an otherwise passionate performance (Schumann's music takes well to her style for sure). Yet, she turns right around in the second Sonatine movement (menuet) to reveal a work of delicate artisty and nuance with a wonderfully flowing and most natural tempo.

So, while other artists (Angela Hewitt for one) consistently represent more accurately the composer's musical intent and tempo indications, the final measure to many will be the overall effect on the music and listener - does it just seem rushed or does it seem to match the spirit of the music and add to its powers of peruasion? I would say in this CD, the "Gaspard" is the piece that Argerich does best in this manner, the Fantasiestuck also, but less in parts of the Sonatine. Gramophone gave this CD high marks and was not able to resist the allure of her mesmerizing performance of 'le Gaspard.' As far as sound quality, it is bright and full, fairly closely miked. There is some analog "hiss" (heard mostly in headphones) and some audience coughing, but nothing bad enough to detract from its magical moments and sense of being witness to a musical legend and magical moment in time.

9人のお客様がこれが役に立ったと考えています

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CD 💿 and book 📖 lover ❤️

VERY communicative, beautiful music making!

2022年9月29日にアメリカ合衆国でレビュー済み

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Wonderful, beautiful album! Just exquisite interpretations! This is the first solo piano playing of Agerich I've heard, and I must say I totally agree with another reviewer that she is possibly the most gifted pianist alive. For me, so far, only Gordon Fergus-Thompson and Tzimon Barto can compare.

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Pinot

Schumann; Fantasiestucke/Ravel: Sonatine; Gaspard de la nuit

2011年11月10日にアメリカ合衆国でレビュー済み

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I really like it. The way she plays is just amazing to me. For example, the first music of Fantasiestucke, first time when I listened,I thought that it's completely different music as I expected to hear. It's so romantic, it leads you to "evening dream" in relaxed mood. I am glad I bought this.

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Martha Argerich: Live from the Concertgebouw 1978 & 1979 - Schumann, Ravel / Argerich

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曲目リスト

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Martha Argerich: Live from the Concertgebouw 1978 & 1979 - Schumann, Ravel / Argerich

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曲目リスト

商品の説明

Amazonレビュー

登録情報

カスタマーレビュー

この商品をレビュー

上位レビュー、対象国： 日本

他の国からのトップレビュー

上位レビュー、対象国：日本