Prokofiev: Piano Concerto No.3 in C major - Argerich / Chailly / Royal Concertgebouw Orchestra
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- Опубліковано 10 лип 2024
- Sergei Prokofiev: Piano Concerto No.3 in C major, Op.26
I. Andante - Allegro (00:00)
II. Tema con variazioni: Andantino (09:26)
III. Allegro, ma non troppo (19:15)
Martha Argerich, piano
Royal Concertgebouw Orchestra
Riccardo Chailly, conductor
December 19, 1998
Grote Zaal, Concertgebouw, Amsterdam
Simply breathtaking. She was like a shark smelling blood miles away while performing this technically demanding piece. The best rendition ever.
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Everything is an urgent glissando prestissimo until it's essential. I had loved her performance with Previn, but this is in another level! Madonna!!!!
This is a brilliant recording of a superlative performer. Such an exciting concerto and one of the most scintillating climaxes in the entire repertoire.
I agree with many people in the comments. This is probably the best recording so far.
Best version ever!
Bravo！
What a wonderful performance.
As expected Argerich and Chailly！
Maravillosa Martha Argerich. Magnífica.
Die Fraus Argerich hat vor nichts angst...!! Unglaublich ihr spiel!!!:-):-):-)
I have listened too this piece by many Orchestras and Pianoest. This was very much enjoyed. Kept in tradition yet perfect, the detail on the piano from soft too bold beautifully done. Very magical interpretation.
i am so glad to find agerich !!!!!
AMAZING.
never overcome.
La belleza está en las prodigiosas manos de Martha Argerich. Sublime.
Ik was er die avond bij en ben dit concert nooit meer vergeten.
Ik hoorde het een dag later in Utrecht, zelfde ervaring! Het was nadat ze een tijd niet gespeeld i.v.m een ernstige ziekte. Ze had daarvoor een aantal keren afgezegd en ik heb een tijd gedacht haar nooit meer te kunnen horen spelen!
프로코피에프 피협3번은 아르헤리치 연주가 최고~~ 십수년전 런던서 봤던 공연은 잊지못할 연주였어요
4 dislikes???? I don't get it.....
Please let me know how you find my music :) would be nice to know, Greets: Norman D.
Treasure hunter!
During one of the concerts that week, she almost refused to go on after the first movement because she was not happy with the instrument she was playing.
Sounds like a darker Rachmaninoff piano work
And more sarcastic
wow, had to turn it off within 30 seconds. piano's flat of the orchestra and the introduction is totally not together. her commercial recording with dutoit is much better.
Much too fast for me when she comes in, takes away the build factor in the opening salvo. It sounds like everyone is high on uppers of some kind. I know , terribly low brow of me but I've seen this piece performed many times live at the Van Cliburn competition and feel like there are tempos best suited for this composition. Extremely fast and agitated doesn't do a thing for me but put me on edge and make me start gnashing my teeth. I realize performers have to make a mark somehow and one certainly doesn't want to go too slow so i guess I get it on that level but having an intellectual understanding ( inkling) of why it's frenetic doesn't increase my enjoyment one single bit. Oh well, old guy wanting a balance between heart and mind... pshaw!
You have an excellent observation, I do however enjoy the opening tempo as I have found that Prokofiev is not necessarily a toe tapper, agitation seems to embody his process
See the thing is., it’s all interpretation. I LOVE this version. I appreciate your distaste, but I actually think this is the best interpretation of the piece. Plus, for me Argerich can do no wrong.
@@MattWeisherComposer I am only saying for myself. However, I do think that picking a tempo that changes ANY piece significantly is risky business. Too slow or too fast has ruined, oh , pick one: The Lark Ascending, Petrushka, La Mer.... One should not go too far beyond the composer's mark in either direction except as an exercise in a music class. This version feels like that to me, like, how fast can we play this? Little regard for the soft edges or breathing room. Hey, Prokoviev may find it stimulating...... as he rolls over.
Ken Ray Wilemon well another thing is, there are some pieces that have a sh*t ton of varying tempo markings: Vaughan Williams, Debussy, and Stravinsky-I think you mentioned-included. Sometimes your conducting thoughts completely alter the piece. That’s your job as a conductor a lot of the time. I’ve heard my pieces played at very different tempi and I like a lot of all of them. Shostakovich (who was apparently a very paranoid and strange man) heard Bernstein’s recording of his symphony no. 5 and said something to the effect of “that’s not what I wrote but I loved it.” We composers are not here to be loved unconditionally. We’re here for our music to be played one way or another. We’re not gods. We’re just people writing music for other people.
@@MattWeisherComposer i admit i just prefer a slower intro. I should not cast aspersions on faster versions. Such a great great piece. Basically changed my musical appreciation at an early age. I had previously thought only Stravinsky could provide such beautifully dark and evocative scenarios.