Extractions: BACH Toccata in C minor. Partita No.2. English Suite No.2. (DG Originals) CHOPIN Piano Concerti with the Montreal PO/Dutoit (EMI) MOZART Concerto No.25. BEETHOVEN Concerto No.1. (EMI) . Various/Argerich (Teldec) MOZART Music for 2 Pianos . Argerich/Rabinovich (Teldec) SHOSTAKOVICH/ TCHAIKOVSKY/ KIEEWETTER Trios for Piano, Violin and Cello. With Kremer and Maisky (DG) Misc Recitals (EMI) Argerich plays Tchaikovsky, Schumann, Bach, Chopin, etc. With the Warsaw NPO/Kord (Accord) Argerich performs Music on the theme of Prometheus . Various/Berlin PO/Abbado (Sony) Music from Saratoga featuring Argerich with various musicians (EMI)
Alink-Argerich Foundation martha argerich is the world s foremost concert pianist, admired by millions ofmusic lovers. She shows great interest in music competitions and inspires http://www.alink-argerich.org/foundation.htm
Extractions: General information about the Alink-Argerich Foundation AAF is a unique organisation, offering the most complete details on music competitions ever compiled. By its nature and background, AAF has the widest range of information on piano competitions. N.B. SEARCH : Are you looking for something specific? Most browsers include a search function, for instance CTRL-F. N.B. PRINT : You may want to print this text, since it is fairly long, and might tire your eyes when you read it from a screen. Your computer system will probably offer you the option to print this page: try the File button in the upper left corner, and there you should be able to find a print command. Index The situation worldwide The people behind AAF Aim Who can benefit from AAF? ... Various ways to contact AAF 1. The situation worldwide Competitions play an important role in the life of a musician whether one likes it or not. There are more and more music competitions all over the world, delivering a vast array of winners and losers every year. Many young talents take part with much expectation and high hopes. Some are rewarded, many are disappointed. It becomes more and more difficult to assess the situation and to evaluate the significance of the prize, the award-winner or the relevance of a particular competition. Go to the index 2. The people behind AAF
Extractions: Ravel, Prokofiev, Mussorgsky Martha Argerich (piano); London Philharmonic Orchestra/Emmanuel Krivine, Royal Festival Hall, Saturday, March 20 th , 2004 (CC) Argerich was, interpretatively, in a different universe. If there is one element of this performance to take away, it is the sheer variety of touch Argerich brought out from within Prokofievs score. True, Argerichs martellato set the adrenalin full steam ahead (it was properly martellato - this hammer has a mistress!) and the finale showed on occasion what a huge sound she can make. But there were also moments of magical soft playing (here is one pianist not afraid to play pianissimo, or quieter). Her trill that opens the pianos contribution to the second movement was a model of evenness, and I for one would happily sell my soul to the Devil to play the ensuing scale like that - just the once! The sheer blackness of the close of the second movement came as a revelation (as did the lyric climax of the last movement, which sounded unsettlingly like a nod in the direction of Messiaen). The energy of the final pages evidently transferred to the audience, as the ovation was (perhaps predictably) massive.
Music Faculty Member Gets The Gold EAU CLAIRE If pianist Alexandre Dossin were an athlete, he would be an Olympian . He has been invited to take part in the martha argerich Festival next http://www.uwec.edu/NewsBureau/release/2003/03-09/0925doss.htm
Extractions: MAILED: Sept. 25, 2003 Dossin, a member of the music faculty at the University of Wisconsin-Eau Claire, was awarded both the First Prize of $10,000 and the Special Prize of $2,000 for best performance of a composition by an Argentine composer at the Martha Argerich International Piano Competition the first weekend in September. very Dossin, a native of Brazil, left Eau Claire for Buenos Aires Aug. 22. He was among 30 competitors selected for the competition from a submitted videotape and other credentials. He has performed in 15 countries during the last 20 years and is a prizewinner in several national and international piano competitions. He also was one of 35 pianists invited to perform at the prestigious Van Cliburn Piano Competition in 1997. Two solo recitals, one chamber music performance and the final concerto round narrowed the field from 30 to the final three. The distinguished panel of judges included Argerich; Gygory Sandor, another renowned pianist who studied under Bartok; Eduardo Delgado, an Argentine who teaches in California; Aikiko Ebi, from Japan; and Alexis Gologin, a Russian who now lives in Switzerland. After the competition Dossin was invited to participate in the Martha Argerich Festival, performing with the Buenos Aires Philharmonic Orchestra under the direction of conductor Charles Dutoit. He had other solo and orchestra performances during the Festival tour, always sharing the stage with Martha Argerich. He has been invited to take part in the Martha Argerich Festival next fall in Japan.
UW-Eau Claire Assistant Professor Wins Piano Competition Dossin describes martha argerich as one of the most important pianist in all times.The competition was held in the worldfamous Teatro Colon, http://www.uwec.edu/newsbureau/release/2003/03-09/0917dossin.htm
Extractions: MAILED: Sept. 17, 2003 Alexandre Dossin, assistant professor of music at UW-Eau Claire, was recently awarded the First Prize and the Special Prize for the best performance of the Sonatina Espanola by J.J. Castro during the second Martha Argerich International Piano Competition in Buenos Aires, Argentina. The distinguished panel of jurors included Martha Argerich, Gyorgy Sandor, Eduardo Delgado, Akiko Ebi and Alexis Golovin. Dossin describes Martha Argerich as one of the most important pianist in all times. The competition was held in the world-famous Teatro Colon, one of the most prestigious opera theaters in the world. Dossin performed four times during the competition: two solo recitals, one chamber performance and one concerto with orchestra. In the final round, Dossin performed Beethoven’s Piano Concerto No. 5, also known as "Emperor.” Dossin will perform this concerto in Eau Claire Oct. 4 with the Eau Claire Chamber Orchestra, the first of several performances already scheduled in the upcoming months. After the competition, Dossin was invited to participate in the Martha Argerich Festival, performing with the Buenos Aires Philharmonic Orchestra under the conducting of Charles Dutoit. He also had other solo and orchestral performances, always dividing the stage with Martha Argerich. After a joint performance in Mendoza, Argentina, (when he performed Schumann Piano Concerto) Martha Argerich asked Alexandre Dossin to perform an encore (Prokofiev's Toccata op. 11) after she performed Prokofiev's 3rd Piano Concerto and an encore.
Extractions: reviewed by JOHN BELL YOUNG 'Ms Argerich and company pay glowing tribute to the composer's most celebrated chamber works.' Few composers have enriched the chamber music repertoire as significantly as Robert Schumann whose evergreen piano quintet remains every bit as popular today as it was a century ago. Nor has its appeal as a vehicle for chamber ensembles and pianists diminished, and with good reason: its generosity of material, memorable themes and touching sentiment haunt the listener long after the last notes have died away. In 1994, pianist Martha Argerich, joined by a select group of colleagues all personal friends as well recorded these sumptuous works in an all-Schumann concert at the Concertgebouw in historic Nijmegen, Holland (not to be confused with the world renowned hall of the same name in Amsterdam). Nijmegen is an historic college town well known for its critical, strategic role in the Second World War. In this survey of Schumann, whose spirit is amply captured on this disc, Ms Argerich and company pay glowing tribute to the composer's most celebrated chamber works. Of course, Ms Argerich has by now become something of a cult figure in classical music culture, made all the more palpable by her recent bout with and victory over cancer. Her thick mane and earth-mother persona belie that underneath it all is a spectacular virtuoso of the first rank who is not so self-centered as to set herself above a collaborative effort. Thus in the abundantly lyrical Quintet, her jewel-like sound and liquid phrasing prove ideally suited to the larger, integral task of weaving in and out, stealth like, among the soaring lines and musical precipices of the string players.
Martha Argerich martha argerich, piano / London Symphony Orchestra (Liszt) / Berlin the nameof Argentine pianist martha argerich was catapulted to worldwide prominence http://web.singnet.com.sg/~lionelc/argerich-20c.html
Extractions: Great Pianists of the 20 th Century - MARTHA ARGERICH (b.1941) Bach - Partita No.2 in C minor; Liszt - Piano Concerto No.1 in E-flat; Prokofiev - Piano Concerto No.3 in C; Rachmaninov - Piano Concerto No.3 in D minor; Ravel - Piano Concerto in G; Gaspard de la Nuit ; Sonatine Martha Argerich, piano / London Symphony Orchestra (Liszt) / Berlin Philharmonic Orchestra (Prokofiev/Ravel) / RSO Berlin (Rachmaninov) / Riccardo Chailly, conductor (Rachmaninov) / Claudio Abbado, conductor (Philips 456 700 - 2) (2 CDs) Listen to an extract of Rachmaninov's Third Concerto: either as streaming Realaudio or download the sound clip Category : Orchestral - Instrumental - Baroque - Romantic - 20 th -century Part of the first batch of releases on Philips' mammoth "Great Pianists of the 20 th -century" series, this set really needs no introduction. After winning the Bolzano and Geneva Piano Competitions in 1957, and the Warsaw Chopin Competition in 1965, the name of Argentine pianist Martha Argerich was catapulted to worldwide prominence. Flashes in the pan dazzle and fizzle out, but Argerich has grown from strength to strength, hailed right from the very outset as a virtuoso of the highest order destined to be remembered as one of the veritable giants of the keyboard in this century. Apart from her gloriously incandescent pianism and voluptuous, blazing personality, she is also best-known for her enigmatic, elusive personality. Even now, I find it hard to imagine a keyboard giant and flamboyant entertainer like her, capable of the most fearless bravura, to fear performing so much that she had decided to give up a significant part of it altogether: Indeed, since the mid-80s, Argerich's prolonged absence from both the studios and the concert-stage in solo piano repertoire is both baffling and frustrating to her many admirers.
Argerich Plays Prokofiev & Bartok martha argerich, piano / Montreal Symphony Orchestra / Charles Dutoit (EMI Coupled with the fact that the 57year-old Argentinean pianist is one of the http://web.singnet.com.sg/~lionelc/argerich_dutoit.html
Extractions: Sergei Prokofiev (1891 - 1953) Piano Concerto No.1 in D-flat, Op.10; No.3 in C, Op.26 Piano Concerto No.3, Sz.119 Martha Argerich, piano / Montreal Symphony Orchestra / Charles Dutoit (EMI CDC5 56654 2) Listen to an excerpt of this disc: either as streaming Realaudio or download the sound clip Category : Orchestral - 20 th -century Quite some time has passed since Martha Argerich made her last recording. An even longer time has elapsed since she made any studio recordings. Coupled with the fact that the 57-year-old Argentinean pianist is one of the most incandescent yet mysteriously elusive performers alive today, there is no wonder, therefore, that this eagerly-anticipated brand new studio release on EMI Classics is being greeted by fans and classical music lovers around the world with the sort of euphoria and excitement that Horowitz must have been quite used to. And why not? Especially since Ms Argerich, who continues to bewilder millions with her curious absence from solo piano-playing, is taking on repertoire that is entirely new to her limited but highly-distinguished discography. Only the Prokofiev Third is familiar Argerich material. And inevitable comparisons with her famous recording made with Abbado and the Berlin Philharmonic (on DG) about 3 decades ago have proven to be most fascinating. For those who honestly do not know what to expect from an older Argerich, fear not that this remake will reveal sheepish signs of age. Some might want to interpret her choices of generally slower basic tempi this time round as an indication of fading technical prowess, but such is the conviction of her peerless, dynamic pianism that it would serve only to show such criticisms as both shallow and puerile. Argerich is anything but a tamed tigress.
Ionarts martha argerich at the piano Argentinian pianist martha argerich has madea (relatively) rare appearance at the Festival International de Piano de la Roque http://ionarts.blogspot.com/2005/08/martha-argerich.html
Extractions: If sound could kill, I'm not sure anybody could have emerged from an Argerich concert alive, or at least unscathed. And I certainly wouldn't have survived to write this. On October 2-4, 1998 Argerich made her belated debut with the San Francisco Symphony conducted by Michael Tilson Thomas performing the Prokofiev Piano Concerto No 3 , her signature piece since 1957. Thirty minutes before the concert, I double-checked with the box office to see if she would indeed show up. I only stepped into the concert hall after their affirmative answer. After all, I was not about to be stood up by Martha for the fourth time. After the piano was set in place and the orchestra seated and tuned, an eerie silence ensued. Then thunderous applause when a gracious and matronly lady in black stepped on stage followed by MTT. My heart was in my throat. It was indeed Martha. For all these concerts she cancelled, there she was now bowing smilingly to the audience, as if to assure them she would indeed play. And God did she play! The second movement started in a relaxed but somewhat alert tempo. When the piano solo made its entry, however , what I heard was simply out of the world. Following low trills in E and F sharp, Argerich lashed out a scale passage that put the common notion of
Biography Of Martha Argerich martha argerich has worked as a concert pianist with many famous conductors.She has also attached great importance to chamber music ever since, http://www.deutschegrammophon.com/artist/biography.htms?ART_ID=ARGMA
Argerich / Kremer / Bashmet / Maisky Play Brahms And Schumann Insights Also constantly in service is one of the pianist s daughters, Stephanie, The next day martha argerich, Gidon Kremer and Mischa Maisky the team that http://www.deutschegrammophon.com/special/insighttext.htms?ID=argerich-kremer-ba
Concert Note By Jay Nordlinger martha argerich had not given a recital in New York since 1981. argerich isknownjustlyas a Prokofiev pianist, but when she brings the qualities of http://www.newcriterion.com/archive/18/may00/JAY2.htm
Extractions: by Jay Nordlinger I When she showed up at Carnegie Hall on March 25, the public went mad. The applause that greeted her was thunderous, frenzied, as at a rock concert, one imagines. This obviously annoyed Argerich, who was impatient to begin. All through the first half of her program, she played like a woman who was somewhat shocked to be there and who could not wait to get off the stage. She opened with the Partita No. 2 of Bach, in C minor. This was cold, harsh, aggressive Bach, with little lyricism to it. It was also grossly overpedaled, sometimes turning to mush. Argerich jabbed and poked and banged at the keyboard. Nothing was melting or affecting; everything was bulled through, with scant beauty. Seldom do you get both overpedaled and Argerich then assayed a couple of Chopin pieces, the beloved Barcarolle and the Scherzo No. 3 in C -sharp minor. The Barcarolle , like the Bach, was rushed and impatient, but at least it showed some lyricism and sweep. Argerich, for all her technical skill, is not an interesting pianist coloristically; her palette is rather limited. She did, however, give the Barcarolle Argerich concluded the first half of her program with one of her specialties, the Prokofiev Sonata No. 7 in
Alex Ross: The Rest Is Noise: Madame X: Martha Argerich I was terrible, martha argerich said, after drawing hysterical applause With the help of argerichs daughter, Annie Dutoit, whom the pianist visits http://www.therestisnoise.com/2004/05/martha_argerich.html
Extractions: "I was terrible," Martha Argerich said, after drawing hysterical applause with a recent pair of performances at Carnegie Hall. "I was in a strange state. My mind was on other things." Argerich was sitting in a midtown hotel restaurant, amid a motley, lively group of friends. She had just played Beethovenâs First Piano Concerto with the Montreal Symphony. The friends, speaking in various accents of Argentina, France, Hungary, and California, protested that she had in fact been stupendous, colossal, magical. The conductor Charles Dutoit, who is nearly as famous for being one of Argerichâs former husbands as for leading the Montreal, joined in the campaign of reassurance as he hastened to catch a plane to Paris. "You were not terrible at all, pas du tout," he told her. But Argerich had made up her mind. "I played better in April," she said. She waved the praise away as if it were a silly dessert. Argerich, a sixty-year-old native of Argentina, reigns supreme over the feudalistic world of virtuoso pianists. Rivals become mere fans around her, lingering at the door of her dressing room and then skulking away. Her concerts conjure up scenes from another place and time: grown men running down the aisles clutching bouquets, world-renowned musicians pummelling the railings of the upper boxes, jaded critics breaking into foolish smiles. Argerich brings to bear qualities that are seldom contained in one person: she is a pianist of brainteasing technical agility; she is a charismatic woman with an enigmatic reputation; she is an unaffected interpreter whose native language is music. This last may be the quality that sets her apart. A lot of pianists play huge double octaves; a lot of pianists photograph well. But few have the unerring naturalness of phrasing that allows them to embody the music rather than interpret it.
Martha Argerich Nelson Freire Since then, martha argerich has performed as a concert pianist with the worldsleading orchestras and conductors. Specifically in North America, http://www.carnegiehall.org/textSite/box_office/events/evt_5190.html
Extractions: Nelson Freire Isaac Stern Auditorium Wednesday, March 30th, 2005 at 8:00 PM Martha Argerich, Piano Nelson Freire, Piano BRAHMS Variations on a Theme by Haydn in B-flat Major, Op. 56b RACHMANINOFF Suite for Two Pianos No. 2, Op. 17 LUTOSLAWSKI Variations on a Theme by Paganini SCHUBERT Rondo in A Major for Piano Four Hands, D.951 RAVEL La Valse A pianistâs life can be a lonely one. Much time is spent in the isolation of the practice room, and sometimes hours can pass without any human contact. Forming a piano duo with a partner of like-minded sensibilities is an attractive antidote to solitude. Matching the attack and release of 20 fingers requires the finest precision work. Balance is also an issue: sheer decibel overkill is a major occupational hazard. The pay-off is the treasure trove of the duo literature, including the masterpieces featured on this eveningâs program. Most of this music is written for the two-piano format, including Brahmsâs well-loved âHaydnâ Variations, a glittering suite by the young Rachmaninoff, and Lutoslawskiâs virtuosic take on the same familiar Paganini theme that captured the imagination of so many other composers. Schubertâs gentle Rondo in A Major, D.951, is the calm before the storm of Ravelâs electrifying tone poem
Martha Argerich Plays Chopin The Legendary 1965 Recording Chamber of Argentinean pianist martha argerich from being released for 34 years. When martha argerich plays Chopin it tends to sound like Dave Brubeck http://www.thaipro.com/shop/2u-martha argerich plays chopin legendary 1965-B0000
Extractions: The Legendary 1965 Recording Powerful Chopin, exceptional mazurkas This is a great recording. Argerich plays Chopin in a strong, fresh and powerful way. Only comment I have is that I feel that sometimes her tempi are (a bit) too fast, especially in the nocturne. The recording sound is not that great, but acceptable....
J.S. Bach Toccata, Partita, English Suite 2/ Martha Argerich Chamber Given martha argerich s career, you would not expect Bach to be at the forefront These performances have the pianist s typical intensity of approach. http://www.thaipro.com/shop/2u-bach toccata partita english suite martha-B00004R
Extractions: Toccata, Partita, English Suite 2/ Martha Argerich Authoritive readings Given Martha Argerich's career, you would not expect Bach to be at the forefront - and it isn't - but when she put her mind to the Baroque master in this recording, the result was brilliant. Right from the opening first few bars of the C-minor Toccata,... Product Description: A lot of pianophiles have been waiting for the reissue of this 1980 LP, Argerich's only Bach recording. She played the same Partita at her Carnegie Hall recital in the Spring of 2000, suggesting that she just doesn't play much Bach. These performances have the pianist's typical intensity of approach. Her fingers do the talking, with some dazzling clear articulation reminiscent of Glenn Gould on a good day, and she seldom blurs any of the textures. She also has a very good feeling for Bach's dance rhythms; the closing Gigue of the Partita makes you want to jump up and put on your dancing shoes. Argerich uses an unusually wide dynamic range for Bach, and some of the dreamy slow movements won't be to the taste of all listeners. Nobody, though, will be able to ignore these performances; while they are playing, they seem like the only way to do it. The 1980 sound is still fine, and although the disc is LP length (50 minutes), the price is right.
Musical-instruments: Keyboard: Piano: Pianists: A So Musical Polish/Canadian Classical pianist, includes brief biography and contact information . argerich, martha (b.1941). Excerpts from a 1979 interview with Dean http://www.somusical.com/musical-instruments/keyboard/piano/pianists/a/
