Sergei RACHMANINOV (1873-1943)
Piano Concerto No. 3 in D minor, Opus 30
Martha Argerich
(piano)
Berlin Radio Symphony Orchestra/Riccardo Chailly
Live Rec Dec 1982, Sender Freies Berlin
Suite No. 2 for 2 pianos, Opus 17
Martha Argerich,
Nelson Freire (pianos)
Rec Aug 1982, Switzerland
Philips 464
732-2
(61.27)
Crotchet
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recommendations
Rachmaninov's Third Concerto is one of the most challenging works
of its kind, and challenging for all concerned: pianist, conductor, orchestra
and audience. Not only does it require the usual balance of virtuosity,
technique, rapport of ensemble and interpretation, it also demands concentration
across a long time span of forty minutes, with musical development of veritably
symphonic integration.
Since this is a live recording by one of the great pianists of recent times,
it is a particularly interesting interpretation. And it is nothing if not
compelling, with wonderful spontaneity of phrasing and that ebb and flow
of tension and relaxation which is the preserve of only the greatest artists
and the greatest music. In short, Martha Argerich demands to be heard in
this music.
It is the finale where the performance burns most brightly, when the range
of the musical invention is captured to the most compelling effect of all.
All credit to the conductor, Riccardo Chailly, and his Berlin orchestra,
in responding, so flexibly, to the soloist. It is a fine collaboration, driving
through to an exhilarating, truly uplifting conclusion, crowning a performance
in which the lyricism and the power of Rachmaninov's conception have been
vividly drawn.
The recorded sound, trumpeted by Philips in the accompanying booklet, is
certainly colourful and atmospheric. But I don't feel it's that good, overall.
There are some odd balances in the first two movements, especially, and woodwind
lines are not always clearly placed in the perspective. The piano fares best
in terms of the sound, of course, but there are better recorded studio versions,
in particular by Vladimir Ashkenazy. On the whole the audience is quite well
behaved.
The Second Suite receives excellent recorded sound, in the studio
this time. The performance has terrific attack and passion, and Freire and
Argerich make an excellent team. Tempi seem ideally chosen, with real momentum
but at the same time enough leeway to allow Rachmaninov's natural romanticism
to shine through. The slow movement Romance is poetically drawn, and
the final Tarantella reaches a marvellously full-toned and exciting
climax.
The accompanying notes by Bryce Morrison, well written though they are, read
more like a review - a eulogy in praise of Argerich's playing in the concerto
- than an insert note. It seems a pity that there was not room for more
information about the music.
Terry Barfoot
