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1967 Frederic Chopin Martha Argerich Piano Vinyl LP Record VG+
FREDERIC CHOPIN (1810-1849) A-SEITE: Klaviersonate Nr. 3 h-moll op. 58 Piano Sonata No. 3 in B minor, Op. 58 • Sonate pour piano n° 3 en si mineur, op. 58 l.Satz: Allegro maestoso • 2. Satz: Scherzo: Moito vivace 3. Satz: Largo ■ 4. Satz: Finale: Presto, ma non tanto B-SEITE: Polonaise Nr. 7 As-dur op. 61 (Polonaise-Fantaisic) No. 7 in A flat major • n° 7 en la b6mol majcur Allegro maestoso Polonaise Nr. 6 As-dur op. 53 No. 6 in A flat major • n° 6 en la bemol majcur Maestoso 3 Mazurkas op. 59 Nr. 1 a-moll (in A minor • en la mineur): Moderato Nr. 2 As-dur (in A flat major • cn la bemol majcur): Allegretto Nr. 3 fis-moll (in F sharp minor ■ cn fa diese mineur): Vivace PMartha oArgerich, Piano The young Argentinian Martha Argerich is one of the most greatly gifted pianists of our time. This has been the unanimous opinion of critics ever since 1957. At that time, when she was only sixteen, Martha Argerich was victorious in two of the most renowned international musical competitions within three weeks: she won the first prize in the Busoni Competition .at Bozen, and the first prize at the Geneva Competitive Festival. Eight years later she again demonstrated her outstanding abilities by a further triumph: in March 1965 she won the first prize at the great Chopin Competition in Warsaw, when she proved herself to possess the greatest talent among 85 young pianists from all parts of the world. This was the latest official recognition, so far, of a prodigious talent which is already transforming immense promise into complete fulfilment. Martha Argerich was born in Buenos Aires on the 5th June 1941. She was only three years old when her interest in music began to be evident; regular piano lessons began when she was five, and when she was eight she played Mozart’s D minor Concerto and Beethoven’s C major Concerto, with a Bach Suite between the Concertos, at a single public performance in her native city. Later such renowned musicians as Gieseking, Arrau, Solomon, Szigeti, Francescatti and van Beinum confirmed the remarkable extent of her talents, as did her teachers Vincenzo Scaramuzza, Friedrich Guida, Mme. Lipatti, Nikita Magaloff, Arturo Benedctti-Michelangeli, and her mentor Stefan Askenase. Martha Argerich commands a phenomenal keyboard technique: the vehemence of her octaves and the brilliance of her passage work, for example, are as striking as her immense rhythmic vitality and her pronounced feeling for tonal values, enabling her to exploit to the full the potentialities of her instrument. Her inter- pretations of such works as Liszt’s Sixth Hungarian Rhapsody, Chopin’s Scherzo in C sharp minor, or Prokofieff’s challenging Toccata (all of which were included in this pianist’s first recording, made when she was twenty, which was released by Deutsche Grammophon) have become internationally famous. They even impelled Vladimir Horowitz (who is, incidentally, one of this young artist’s pianistic idols, together with Serge Rachmaninov) to express his admiration. Unusual musicality, assurance, intensity, natural power and pronoun- ced temperament distinguish Martha Argerich’s playing, in which gentle, lyrical qualities are also by no means lacking. All the characteristics already mentioned make Martha Argerich a born interpreter of the works of Chopin, some of the most important of which she recorded for the present disc in January 1967. All of these, without exception, date from the last, most productive period of Chopin’s career— the years 1810—1849 covered his entire life. The two Polonaises and the Sonata form the crowning conclusions to his work in these fields, and the three masterly Mazurkas, Op. 59, which date from 1845, also had few successors. Not many works of the piano repertoire have achieved such fame as the grandiose Polonaise in A flat major, Op. 53, which Chopin composed in 1842, with its forward-driving middle section in E major, whose extrovert power has a poetic counterpart in the imaginatively flowing Fantasy- Polonaise of 1845/46. Chopin wrote his third and last Piano Sonata in 1844. In contrast to the brief, dramatic Sonata in B flat minor Op. 35 (“with the Funeral March”), his broadly conceived Op. 58 is fundamentally epic-lyrical in character, though this does not apply to the concluding Rondo: this Finale impresses through its impassioned breadth, and through the relentlessness of its powerful animation.
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