Martha perfectly captures the mind-bending, hallucinatory turbulence within this astounding work. Everybody else seems to be playing notes in quick succession, which is merely the first requirement.
She's about the only pianist I can think of who has the fingers and the temperament to play Schuman's crazy tempo markings ("faster", "even faster", and "still faster") in tempo...and she practically paints the slow movement, so beautifully is it played; from both a technical and musical perspective, this performance is unprecedented...
there os not something technical and musical point of view...Thechnic is part of music,unseparable,what is technic? Only that time during the practice work,but finaly,there is no technical aspect...
Ive heard more people saying they don't like beethoven than people ever criticizing schumann in ANY way, every good listener know that he is great therefore I disagree with the comment IN A GOOD WAY
Listening to this knockout performance of a notoriously crazy knockout piece, while I meditate on the picture of the lady pianist who did this - definitely a beautiful sombre knockout in her prime - just knocks me out and my socks off.
Dear user ArgerichHD, "Andantino. Getragen ("worn"--there could not be a more appropriate marking for this movement)". Indeed "Getragen" means worn in German, but in musical terms it should be translated as "Solemn". Martha Argerich is a Goddess. Incredible version.
Que veux tu dire espèce de pied nickelé verdâtre .... Mine is slightly better ( but not too much ... i work still hard for pulverize my own record ... Working pulverizing Fredo's pif - lol )
I hadn't really heard much of Martha Argerich's playing but was always entranced by her sultry beauty. But I happened upon this video and...holy cow! Holy moly! Gadzooks! Gosh! Blimey! Geez Louise! Gads! Oh, man! Oh! What a recording! The first movement alone was a stunning tour-de-force and/or Tour de France of flyin' fingers on fire! Seriously, absolutely incredible pianism. But then even more surprising and "jaw dropping" in its way is the hushed beauty of the second movement. Absolutely exquisitely played! I always knew that Martha Argerich had "technique to burn," but I now see (hear) that she can play with the greatest beauty and depth of feeling. Extraordinary! Why hasn't she recorded many solo piano albums? Another recording of hers that I came across a year ago or so was her recording of the Brahms B-minor Rhapsody Op. 79 no. 1. It is also extremely beautiful and the way she ends it especially so: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VchnVmlYI04.html
Sorry to be late in responding! I didn't get any "notifications" from RU-vid or at least I didn't notice any. To answer your question, no, I haven't heard her in Rach 3. Maybe I should give her recording a listen. I actually grew up hearing Rach 2 and Rach 4 more than Rach 3. I don't know why Rach 4 doesn't seem to be played very often--I love it! (Even if the slow movement seems to echo "Three Blind Mice"!) In Rachmaninoff, I'm generally a big fan of Horowitz's recordings. But then again, if forced to make a choice, I choose "hot-blooded" passion over "icy" precision. Speaking of Rachmaninoff, Edgar Self (the wonderful gentleman who used to work in the classical recordings part of Tower Records in Chicago) gave me Rustem Hayroudinoff's CD of the Rachmaninoff Preludes, saying he thought it was the best recording he'd ever heard of the Preludes. I haven't heard that many recordings of the "Rachy" Preludes, but I agree that Rustem Hayroudinoff's recording is fabulous! Thanks for bringing up Martha Argerich's recording of the Rach 3 Concerto--I'll give it a listen! And, just for grins, here's Cyprien Katsaris playing (wonderfully!) an etude by Bortkiewicz that you might like: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gkjb6INBbL8.html
Thanks for uploading this masterpiece and out-of-this-world performance. Just to point out German "Getragen" only ever means "worn" in the context of clothes. It does not have the same figurative connotation. In music (or generally mood/atmosphere) it translates to solemn, carried, measured. Which is oddly indecisive here. It's like "Andantino ma non troppo".
Clara was noted for her technical dexterity and this is one of the reasons for the markings. He dedicated it to a past friends, Henrietta Voigt, and Clara loved it; "I love it as I love you."
Mis mejores deseos de vida para Martha Argerich. Música impetuosa, vibrante y amorosa las que sus manos y gran pensamiento nos brindan. Muchos deseos de buena vida le mando a usted y a los suyos.
The slow mvt is the equal of anything else ever composed. With just a handful of opening notes “Clara Schumann’s husband” brings us into a whole world.
The performance is about perfect, as i can imagine, however, it's Schumann, who i do not understand. Why is that first movement "so rasch, wie möglich" ? I feel like it should be just an Allegro appassionato...
Excellent recording. Usually I would bash Argerich for having absolutely no respect for the time signatures especially in the first movement but... Schumann did mention "as fast as possible" so... brava Argerich!
In my opinion,as beautiful as some of Robert Schumann's works are,they all seem to have passages of mental instability within them. To me,this work represents Schumann's uncontrollable racing thoughts.
Merci Pat de m'avoir envoyé une copie depuis B-A ( Argentine du Nord )... Manque de bol c'était pas la bonne tonalité ( brune pouff ! ) Besos qd même ( the Leman kleine green fischer ... named Lionel ... Humpf )
