Martha Argerich & Friends - Live from Lugano Festival 2012
Martha Argerich, Gautier Capuçon, Renaud Capuçon, Mischa Maisky, Lila Maisky, Sascha Maisky, Lyda Chen, Lilya Zilberstein, Jing Zhao, Ilya Gringolts, Polina Leschenko, Anton Gerzenberg, Daniel Gerzenberg, Lucia Hall, Dora Schwarzberg, Alessandro Stella, Giorgia Tomassi, Carlo Maria Griguoli, Nelson Braude, Torleif Thedeen, Nora Romanoff-Schwarzberg, Maria Joao Pires, Nicholas Angelich, Nelson Goerner, Alejandro Petrasso, Rusudan Alavidze, Orchestra della Svizzera Italiana, Jacek Kaspszyk
Mozart: Sonate in D K 381 for piano four hands
Schumann: Fünf Stücke im Volkston op. 102
Mahler: Piano Quartet in A minor
Mozart: Piano Concerto No. 25 in C K503
Brahms: Haydn-Variationen op. 56b for 2 Pianos
Dvorak: Piano Quartet in E-Flat op. 87
Martucci: VTema con variazioni in E-Flat op. 58
Smetana: Sonata in E minor - Rondo in C
Prokofiev Violin Sonata No. 2 in D op. 94bis
Debussy: La Mer arr. Griguoli for three pianos
Medtner: Piano Quintet in C
Mores: Tacquito militar arr. Petrasso for two pianos
Into the eleventh year now of these live from Lugano's we have many of the expected core group of Martha's friends. The one new face that surprised me this year was that of Maria Joao Pires. It's clear who Martha is and here characteristics and most of her friends in this group are there because they are characters too; they push boundaries. Well maybe that isn't entirely true. Angelich is a pianist that is quite level headed and deep. Anyway, I just couldn't help thinking Pires must be annoyed at having to push Mozart to the brink like this? I guess when you go along with Martha you leave the parachute at home and just go along for the ride and hope you can keep up.
As usual, many interesting chamber renderings within these Lugano discs but yesterday what took my interest for most of the day was Dvorak's Piano Quartet in E-flat op. 87. With Polina Leschenko on piano, Ilya Gringolts on violin, Nathan Braude on viola and Torleif Thedeen on cello you get an energy and passion not often heard. Leschenko pushes and pull and her string counterparts flex between raw heavy metal to sopping rich beauty. Not for the faint of heart but very infectious in the end. It made me realize how much I love Dvorak's chamber music again and how I must have some Slavic bone in me. I love the contrasts of a Dumky; the lament, the melancholy against a lively counterpart theme.
I think it is mostly driven by Leschenko here. I'll gladly blame her for infecting me with this Quartet again such that I can't get it out of my mind no matter who plays it. For example, contrast a Lugano 2004 version with Walter Delahunt, the Capuçon brothers and Lida Chen. A recent recording with the Schubert Ensemble is very straight-faced and dry by comparison yet I like them all. Today I'll continue on the hunt of different versions I have already and this also leads to the hunt of those that I would still like and this is how I add fuel to the musical fire burning within me.
