Berliner Philharmoniker & Claudio Abbado - Martha Argerich - Prokofiev: Piano Concerto No.3 / Ravel: Piano Concerto In G Major (1995/2015) [Hi-Res]
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- Title: Prokofiev: Piano Concerto No.3 / Ravel: Piano Concerto In G Major
- Year Of Release: 1995/2015
- Label: Deutsche Grammophon (DG)
- Genre: Classical, Orchestral
- Quality: FLAC (tracks) / FLAC (tracks) 24bit/96kHz / Booklet
- Total Time: 01:10:50
- Total Size: 282.7 MB / 1,27 GB
- WebSite: Album Preview
Tracklist:
[9:02] 1. 1. Andante - Allegro
[9:03] 2. 2. Tema Con Variazione
[9:09] 3. 3. Allegro Ma Non Troppo
[8:10] 4. 1. Allegramente
[9:03] 5. 2. Adagio Assai
[4:03] 6. 3. Presto
[6:19] 7. Ondine
[6:42] 8. Le Gibet
[9:20] 9. Scarbo
**********
ABOUT THE ALBUM
Album-Release: 1995
HRA-Release: 16.04.2015
Label: Deutsche Grammophon (DG)
Genre: Classical
Subgenre: Orchestral
Album including: Album Cover, Booklet (PDF)
Info for Prokofiev: Piano Concerto No.3 / Ravel: Piano Concerto In G Major
This is the original Prokofiev/Ravel concerto coupling as it appeared on LP; the Prokofiev has also been coupled with the Tchaikovsky First Concerto. I prefer this edition since superb performances of the Ravel are less common. The young (1967) Martha Argerich plays the Prokofiev for maximum brilliance but leavens the Ravel with the composer's ironic lyricism. It's very effective. The bonus is one of the greatest performances of the Ravel piano suite ever recorded, but it leaves me wondering what will happen to the remainder of the original LP. All those solo Ravel pieces should be in the catalog; as Argerich plays them, they offer a primer on what keyboard color is all about.
„There have been others to match the bustle and brilliance of Argerich's Prokofiev, her coloristic range, her drive, her flashiness, her straining at the leash. But I'm not sure I could name anyone who has so satisfyingly combined all those qualities, who has given us such a rocket-launched recapitulation in the first movement, such circus-routine vividness in the following variations (Prokofiev grew up in a Russia where `circusization of the arts' was one of the 'in' concepts), or such monstrous, hyperbolic fairy-tale imagery in the finale, and all done with the most engaging reckless abandon.
The Ravel Concerto is another bundle of energy. I had forgotten how miraculous is the blend and interplay of piano and orchestra, and how ecstatically Argerich weaves around the cor anglais restatement in the slow movement.
Embarras de richesses indeed, now that DG have added Argerich's Gaspard to the original LP coupling. Here is a version of Ravel's devilish triptych which is unusually faithful to his subdued dynamic markings, quite apart from its breathtaking agility. The results ring poetically true at the same time as defying criticism in pianistic terms.“ (Gramophone)
Martha Argerich, piano
Berliner Philharmoniker
Claudio Abbado, conductor
Recorded 5-6/1967 (Concertos) at Jesus-Christus-Kirche, Berlin and November 1974
(Gaspard) at Studio Lankwitz, Berlin-Lankwitz, Germany
Engineered by Heinz Wildhagen
Produced by Rainer Brock
Digitally remastered
**********
[9:02] 1. 1. Andante - Allegro
[9:03] 2. 2. Tema Con Variazione
[9:09] 3. 3. Allegro Ma Non Troppo
[8:10] 4. 1. Allegramente
[9:03] 5. 2. Adagio Assai
[4:03] 6. 3. Presto
[6:19] 7. Ondine
[6:42] 8. Le Gibet
[9:20] 9. Scarbo
**********
ABOUT THE ALBUM
Album-Release: 1995
HRA-Release: 16.04.2015
Label: Deutsche Grammophon (DG)
Genre: Classical
Subgenre: Orchestral
Album including: Album Cover, Booklet (PDF)
Info for Prokofiev: Piano Concerto No.3 / Ravel: Piano Concerto In G Major
This is the original Prokofiev/Ravel concerto coupling as it appeared on LP; the Prokofiev has also been coupled with the Tchaikovsky First Concerto. I prefer this edition since superb performances of the Ravel are less common. The young (1967) Martha Argerich plays the Prokofiev for maximum brilliance but leavens the Ravel with the composer's ironic lyricism. It's very effective. The bonus is one of the greatest performances of the Ravel piano suite ever recorded, but it leaves me wondering what will happen to the remainder of the original LP. All those solo Ravel pieces should be in the catalog; as Argerich plays them, they offer a primer on what keyboard color is all about.
„There have been others to match the bustle and brilliance of Argerich's Prokofiev, her coloristic range, her drive, her flashiness, her straining at the leash. But I'm not sure I could name anyone who has so satisfyingly combined all those qualities, who has given us such a rocket-launched recapitulation in the first movement, such circus-routine vividness in the following variations (Prokofiev grew up in a Russia where `circusization of the arts' was one of the 'in' concepts), or such monstrous, hyperbolic fairy-tale imagery in the finale, and all done with the most engaging reckless abandon.
The Ravel Concerto is another bundle of energy. I had forgotten how miraculous is the blend and interplay of piano and orchestra, and how ecstatically Argerich weaves around the cor anglais restatement in the slow movement.
Embarras de richesses indeed, now that DG have added Argerich's Gaspard to the original LP coupling. Here is a version of Ravel's devilish triptych which is unusually faithful to his subdued dynamic markings, quite apart from its breathtaking agility. The results ring poetically true at the same time as defying criticism in pianistic terms.“ (Gramophone)
Martha Argerich, piano
Berliner Philharmoniker
Claudio Abbado, conductor
Recorded 5-6/1967 (Concertos) at Jesus-Christus-Kirche, Berlin and November 1974
(Gaspard) at Studio Lankwitz, Berlin-Lankwitz, Germany
Engineered by Heinz Wildhagen
Produced by Rainer Brock
Digitally remastered
**********
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