How can it be that a recording by one of today's indisputably unequaled pianists performing some of her prime repertory--made fresh within months of her triumph in the 1965 Warsaw International Chopin Competition--could languish for decades in the vaults before its official release? Chalk it up to the exclusivity clauses of rival recording companies and legal constraints from which not even Wotan with the help of Loge could extricate himself. Thankfully this belated EMI release--recorded in a few sessions at the Abbey Road studios--is finally available.

It's a significant complement to Argerich's other accounts of Chopin on disc. From the white-hot intensity of Argerich's way with the composer, you can easily extrapolate a sense of what had recently wowed the jury in Warsaw. The Argentinean pianist undertakes the Third Sonata as a vast, big-voiced, far-reaching statement that encompasses both molten power and moments of almost unbearably intimate lyricism (listen closely to her gestures of illumination in the Largo). With a characteristically unforced spontaneity, Argerich sounds the shattering chords that launch the finale (recorded in one take); her sense of flow in the Nocturne No. 4 is a perfect mesh for the illusion of improvising that is so central to Chopin. She commands the logic--both emotional and musical--of the composer's skittish turns in the Scherzo No. 3 and crafts three of the mazurkas into perfectly chiseled character pieces. The sheer force of Argerich's personality might seem overwhelming to those accustomed to a tamer Chopin--listen to how she dives into the A-flat Polonaise--but it's always at work dusting off tired clichés and uncovering the music's expressive wealth. For those who know about Argerich's artistry, this disc is indispensable; anyone who has yet to make that enviable discovery will find it (together with the Argerich anthology in Philips' Great Pianists series) a great place to begin.

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Martha Argerich
1998/Polygram Records

An encounter with the searing artistry of Argentinean pianist Martha Argerich, as her fiercely loyal following attests, can resemble a conversion experience. Like her close friend Nelson Freire, Argerich takes a natural-sounding, unstudied virtuosity merely as her starting point, so that the most fearsome technical challenges emerge as thrillingly musical ones, as well.

In Argerich's landmark account of the Ravel triptych Gaspard de la Nuit, for example, you're almost tempted to forget what an Everest these pieces represent to the most intrepid virtuoso, so gripping are the poetic conjurings. Unpredictability and magnetic presence define Argerich's style, but not at the price of distortion. There isn't a track of filler on this collection, which displays Argerich's range from the glistening, mirrored surfaces of Ravel's Sonatine to a Rachmaninoff Third pushed to the breaking point and back again (in the legendary live recording with Riccardo Chailly--an essential performance of the work), as well as her extraordinarily immediate, vital Bach. Quick tempos and imaginative finger weightings convey personality without pointing away from the music. And in the Liszt Piano Concerto No. 1, Argerich's visceral imagination can actually make the score sound better, richer in substance, than it is. One of the top-drawer collections in the entire Philips series, this set offers a portrait of an artist who will involve you in the passion of music making more deeply than you may have thought possible.

CD available at:
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