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Description

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This product is a preorder item.

Release date  :  Nov. 24, 2024

Genre: Concerto

Martha Argerich, piano

Kirill Kondrashin, conductor

Bavarian Radio Symphony Orchestra

Label: DECCA (formerly Philips)

Specifications: Analog record, 180g weight vinyl

Thick paper single, A-type jacket

Part Number: ESLD-10007

A tremendous live performance that heralds a new era for Argerich.

Claudio Arrau, Nelson Freire, Daniel Barenboim, and Bruno Leonardo Gerber are among the many famous pianists from South America, but Marta Argerich (born June 5, 1941 in Buenos Aires) is perhaps the most known for her unrestrained and passionate playing. She studied with the famous teacher Scaramuzza from the age of five and made her debut at the age of eight playing Mozart and Beethoven piano concertos, and at the age of 14 she went to Europe to study with such famous pianists as Goulda, Askenazé, Benedetti Michelangeli, and Magaloff. Argerich made his name in the piano world in 1957, when at the age of 16 he won two international competitions in Busoni and Geneva. In 1960, he released his debut album on the prestigious Deutsche Grammophon label, and five years later, in 1965, he won the 7th International Chopin Piano Competition, which made Argerich's name and his beautiful, dark-haired, keyboard maiden-like appearance instantly famous throughout the world. After winning the Chopin Competition, Argerich literally went on a world-wide performance tour, recording a series of piano works by Liszt, Schumann, Chopin, Ravel, and others, as well as concertos with the Abbado/Berlin Philharmonic, London Symphony Orchestra, Dutoit/Royal Philharmonic Orchestra, and others, He recorded a series of concertos with the Abbado/Berlin Philharmonic Orchestra, London Symphony Orchestra, and Dutoit/Royal Philharmonic Orchestra, and gave masterful performances in which his unique pianism was stamped on each piece, gaining immense popularity. Building on the breakthroughs and achievements of the two decades from the 1960s to the 1970s, Tchaikovsky's Piano Concerto No. 1, recorded live in 1980, appeared as if he were staring into a new era.

Perfect backup by master conductor Kondrashin

Another contributor to the success of this live recording by Argerich is the Russian master conductor Kirill Kondrashin (1914-1981). Kondrashin was a pioneer of Mahler performance in the Soviet Union, having conducted the world premieres of two of Shostakovich's problematic works (Symphony No. 13 and Symphony No. 4) as principal conductor of the Moscow Philharmonic Orchestra from 1960 after a career at the Bolshoi Theater. Fed up with the regime's interference and restrictions on the arts in the Soviet Union, Kondrashin defected to the Netherlands in 1978 while a guest with the Amsterdam Concertgebouw Orchestra, and began his conducting career in the West from his base in Amsterdam. The February 1980 concert with the Bavarian Radio Symphony Orchestra (the 6th subscription of the 1979/80 season) was also the first meeting with the orchestra. The orchestra members were so impressed with Kondrashin's meticulous rehearsals, in which he worked out every detail over and over again, that the management was satisfied with the artistic result and recommended him to replace Raphael Kubelik, who had just resigned as chief conductor due to health reasons. Kondrashin was nominated to replace Rafael Kubelík, who was stepping down as chief conductor due to health reasons, and he was chosen as the orchestra's third chief conductor for the 1982/83 season. At a rehearsal, the orchestra asked Kondrashin for one more rehearsal of the Tchaikovsky, to which he replied, “I have conducted this concerto thousands of times, so I would rather not have another rehearsal, but if you want, I will do it,” much to the amazement of the orchestra members. Kondrashin's rigorous control of the Bavarian Radio Symphony Orchestra and his ability to match Argerich's unrestrained solos were nothing short of brilliant. The performance is rather light and unobtrusive, but it is effective enough for what it needs to be. Kondrashin died suddenly of a heart attack in March 1981, a year after this performance, shortly after conducting Mahler's Symphony No. 1 in Amsterdam, and this Tchaikovsky was released as a memorial disc. Hommage à Kirill Kondrashin” on the jacket of the first release.

Analog recordings in the best condition imaginable today.

The concert was held at the Herkulessaal, a concert hall in the Residenz in the center of Munich that is known for its excellent acoustics. Built in 1953 after World War II, the 1,270-seat shoebox-shaped concert hall was home to the Bavarian Radio Symphony Orchestra for many years and was Munich's most important concert venue until 1985, when the Gasthaig Philharmonic Orchestra was established. It has been used as a recording venue in Munich since the 1950s, and many of Argerich's solo recordings for Deutsche Grammophon were made there. This Tchaikovsky recording was probably made by Philips from a live broadcast recording by the Bavarian Broadcasting Company, as there is no recording staff credit (this live performance was recorded in analog at a time when digital recordings by record companies were on the rise). The sound is well-balanced, as is typical of this broadcaster, with a bird's-eye view of the entire orchestra, and Argerich's solo is captured with enthusiasm in a moderate concert presence. Since this was the last analog recording, it was first released on analog in 1982, and the CD was released six months later as one of the first CDs by Philips. It has been remastered twice by Japanese initiatives: a 24-bit remastering as part of Philips' “Super Remastering Collection” in 1999 and the first edition of Tower Records' “VINTAGE SA-CD COLLECTION” in 2016. There was a Super Audio CD hybrid disc as a release.

This time, it will be the first domestic release on analog vinyl in about 40 years, since 1984. The original master was newly mastered exclusively for analog records by “Esoteric Mastering”. The Master Sound Discrete DAC, Master Sound Discrete Clock, and MEXCEL cables, all of which are ESOTERIC's top-of-the-line equipment, were carefully tuned and used sparingly to create a master that is thoroughly designed for high sound quality.

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