"[Argerich's playing of Bach] is a thing of beauty. It is also a model of unusually pure piano-playing, with very little pedal and only occasional ‘agogics’ – the small delays which draw attention to a structural landmark. Argerich achieves character with great discipline, by varying her touch, by balancing sounds immaculately against each other, and by her irresistible sense of rhythm, so important in the dance movements of the Partita and Suite. Her buoyancy and alertness in the lively movements are almost alarming. And who else would dare make the Sarabande in the Partita so simple? You’ll feel years younger after listening." Performance: 5 (out of 5), Sound: 5 (out of 5) -- Adrian Jack, BBC Music Magazine [reviewing
Read more href="album.jsp?album_id=1278">DG 463604]
"...[Argerich's] legendary DG performance [of the Liszt Sonata] from 1972...suggests an entirely different level of both technical and musical achievement. Her prodigious fluency unites with a trail-blazing temperament, and Valhalla itself never ignited to such effect as at the central Andante's central climax. Both here and in the final Prestissimo there are reminders that Argerich has always played octaves like single notes, displaying a technique that few if any could equal. As I said when first commenting on this disc in my history of the Sonata, 'there are times when she becomes virtually engulfed in her own virtuosity' yet 'this is a performance to make other pianists turn pale and ask, how is it possible to play like this?'... Argerich's Schumann, too, is among her most meteoric, headlong flights. In terms of sheer brilliance she leaves all others standing yet, amazingly, still allows us fleeting glimpses of Eusebius (the poetic dreamer in Schumann, and one of his most dearly cherished fictions). The Brahms and Liszt Rhapsodies, taken from Argerich's very first 1963 DG disc, are among the most incandescent yet refined on record..." -- Bryce Morrison, Gramophone [2/1993, reviewing DG 437252]
"Her mercurial playing, in which extremes of speed, clarity, and color are often combined to an almost unprecedented degree, is admittedly not to everyone's taste—though it usually is to mine... Chopin's Prelude, op. 45, is as perfectly poised and beautifully sung as you are likely to hear on records; and the Preludes, op. 28, contain many amazing moments (Nos. 16 and 24, above all!)... The Scherzo No. 2 and Polonaise-fantasie are magnificently interpreted throughout, and her magical way with the mazurkas will surely win over those who might think that Argerich is simply a pianist's pianist. Highest recommendation." -- Charles Timbrell, FANFARE [reviewing Philips 456703]
"...The color and dexterity of her [Ravel Sonatine and
Gaspard de la nuit] make them among the greatest performances of these works ever recorded..." -- Leslie Gerber, FANFARE [reviewing Philips 456700]
Piano Sonata No.3 in B minor, Op.58: 1. Allegro maestoso
Piano Sonata No.3 in B minor, Op.58: 2. Scherzo (Molto vivace)
Piano Sonata No.3 in B minor, Op.58: 3. Largo
Piano Sonata No.3 In B Minor, Op.58: 4. Finale (Presto non tanto)
Polonaise No.7 in A flat, Op.61 Polonaise-Fantaisie: Allegro maestoso
Polonaise No.6 in A flat, Op.53 -"Heroic": Maestoso
Mazurka No.36 in A minor Op.59 No.1
Mazurka No.37 in A flat Op.59 No.2
Mazurka No.38 in F sharp minor Op.59 No.3
Average Customer Review: ( 2 Customer Reviews )
Terrific PerformancesOctober 21, 2013By David G. (Lakebay, WA)See All My Reviews"An outstanding bargain for so many singular performances. While I have always admired Argerich, my classical collection was largely comprised of Richter and Gilels with a smattering of Argerich and others. Having lost most of my CDs from theft of Chopin through Brahms (150) and all of my LPs (350), as I've slowly rebuilt I've discovered just how great Argerich truly is. The Collection 1 replaces many of the staples, and all of it is spectacular. Although sometimes controversial -- some bad reviews the reason I stayed away for 40 years -- I find her Chopin Preludes overall the best. Where she she goes fast, it works, removing the syrup while remaining lyrical. She makes the polonaises palatable, which I generally have found odd and awkward. And in her hands the scherzi are beautiful and convincing, avoiding the schizoid abruptness of so many performances. The Schumann in the collection satisfies as few other performances do. Argerich's poetic voice is not overshadowed by technique, in my opinion, and she belongs in the canon alongside Richter and Gilels."Report Abuse
Listen to all your favorite classical music for only $20/month.
Sign up for your monthly subscription service and get unlimited access to the most
comprehensive digital catalog of classical music in the world - new releases.
bestsellers, advanced releases and more.