This interpretation is a reminder that it takes a genius to do service to another genius. It's like Chopin gave the instructions on how to paint a masterpiece, but how many interpreters can paint something as eery, fierceful, relentless, imploring, desperate and compassionate, in such detail and with such unity as Martha paints it?
It's crazy how she uses the listeners expectation of a piece to make you feel each movement how it was intended to. I realized after hearing how she was able to play so sweetly after playing abruptly that she was preparing for us to experience the contrast more effectively than I've heard from others playing this piece. On the first time listening to this I felt like she was overplaying certain parts but listening again it seems like she conveyed an unsettling aspect intentionally so that the transition to playing sounds so releiving when hearing how it is especially delicate when taking the entire piece into consideration. It's hard to imagine her being only human like all of us when there's something unexplainable happening like she's communicating secrets without language but making so much sense at the same time.
I would say Martha plays with all the passion and dynamic range of Horowitz but with a softer and more compassionate sensitivity to Chopin’s feelings expressed through the music. In so doing she finds voices and expressiveness that most other pianists miss in their rush to the finish line. A stunningly beautiful performance of this very complex and turmoil-filled piece. Is that last movement the soul of the departed struggling to get free of its earthly bonds? And if it was, Martha gave it a sweet and loving farewell. Bravo!!!
If it can be said that there's a touch of genius in this performance, the 4th movement instantly comes to mind. Her unusually creative, 'blurry' pedalling and masterful control of dynamic shadings conjure up a scene so nightmarish as to never be forgotten. Astonishing!
An exquisite interpretation. She totally understood this piece. In Argerich's 3rd movement A section you can hear the "walking" unlike a lot of versions. She took it a little faster than an average performance. In 4th movement dynamics, legato and pedalling is so perfect that you can totally hear the "wind howling through tombstones".
Il 4° movimento è spettacolare (come tutto il resto della sonata), è incredibile come Martha riesca a creare l'atmosfera lugubre e a riprodurre nei minimi particolari i rumori dei venti oscuri, è così realistica la sensazione che provoca a tal punto da farti dimenticare che tutto ciò è ''imitato''' attraverso un pianoforte.
Bella y magistral interpretacioin de la Marcha Fúnebre de Chopin, un lamento etéreo que resuena en el alma con una solemnidad trascendental, es un viaje emocional hacia la profundidad de la existencia. Cada nota es un suspiro que atraviesa el velo entre la vida y la muerte, tejiendo una melancolía que eleva el espíritu a lo divino. En este río de sonidos, la belleza solemne se encuentra en la elegancia con la que abraza la inevitable transitoriedad de la vida, recordándonos la fragilidad de nuestra propia existencia. La marcha se convierte en un poema sonoro que invita a la reflexión filosófica sobre la belleza efímera que yace en la solemnidad de nuestros pasos hacia lo desconocido.
Это восхитительно!!!! Самое лучшее исполнение!!!! Особенно третья часть!!!! Без соплей, как у молодого поколения!! Все изумительно по своим местам и чувственно «по-шопеновски», без переборов! Люблю!
Chopin Piano Sonata No 2, Finale LE GENIE a la force d'exprimer l'univers illimité dont il se sent de plus en plus attiré mais les "formes traditionnelles" qui restent derrière ne lui suffissent pas pour illustrer le nouveaux univers qu'il ressent, qu'il découvre, et avant d'y pénétrer, quand le corps semble être épuisé, abandonné, il a encore l'énergie de peindre en sons le manque de contour de devant qu'il flaire, la nébuleuse, le néant, la perspective de la fin ... après tant de recherches tourbillonnantes et précaires, la force qui l'habite encore marque deux points vigueurs, deux accords qui le ramène, le retient, le réveille d’un sommeil hallucinant... Il est encore là !... !! (dans un état d’esprit pareille je ne suis pas sûr si Chopin si aurait eu le temps de penser à l'atonalisme...(voir Ligeti)
An amazing interpretation of the #35. Her performance of the first two movements were particularly memorable here, with her precise strikes and use of touch and pedal to make the piano swell and diminish to marvelous effect. I thought her third movement - that elemental dive into the very human condition itself - was a little rushed; it seemed she was carrying a coffin to the grave at a brisk walk rather than the slow, resigned plodding at which we're all inexorably headed for. The finale she presented was so unique - soft, almost like cotton-soft breezes at first, then slowly increasing in strength and coldness to the level of "night winds sweeping over the church-yard graves", to which A. Rubenstein referred it. However the interpretation, Martha's actual performance sounded flawless. As usual.
It is good that it is not tense and rigid like the competition performers. It is expressed in one's own language very naturally and this is very convincing.
Beautiful and masterful interpretation of Chopin's Funeral March, an ethereal lament that resonates in the soul with transcendental solemnity, it is an emotional journey into the depths of existence. Each note is a sigh that pierces the veil between life and death, weaving a melancholy that elevates the spirit to the divine. In this river of sounds, solemn beauty is found in the elegance with which it embraces the inevitable transience of life, reminding us of the fragility of our own existence. The march becomes a sound poem that invites philosophical reflection on the ephemeral beauty that lies in the solemnity of our steps towards the unknown.
I recently saw her video where she admires and pays homage to Vladimir Horowitz , I knew I always liked her..Her playing was the first thing of course I noticed the Rach 3 ..she is a master of the piano I don't think you would get an argument out of anyone .
A familiaridade dela com o compositor é determinante ! Não sou muito o cachorrinho dela, e tenho visto ela correr léguas de problemas ---- quem acredita num ecumenismo não é muito sagaz ---- , mas, nesta sonata específica, está fazendo ---- suas próprias palavras ---- aquilo que gosta Gosta, e faz de maneira quase única Tão longe quanto é documentável , ninguém fez melhor
That's actually the first recording I've heard of this sonata, thanks to my grandmother who gave me the CD (which also includes the scherzo 3 and the third sonata)
For me the best op35-2 is Sergei Rachmaninov ; movement one is an energic revolutionary against the death movement 4 one unbelievable whisper on the graves : in second for me Vladimir Aschkenasy wuth perhaps the best virtuosity in movement 4 ; j don't known if Argerich has understood the real meaning of Funeral Sonata , j'm not sure .
An admirable attempt to channel her inner Rachmaninov, but it ultimately falls far short of his performance of this sonata. That said, it lays waste to a lot of other interpretations.
