‘It was nearly impossible not to be swept along with the tide,’ wrote Musical America of Martha Argerich, ‘[She] tore into the score with a recklessness – and accuracy – that had to be heard to be believed ... It is clear that she is operating on a loftily instinctive level of musicianship where spontaneity rather than calculation is the order of the day.’ On these four CDs, Argerich illuminates a characteristically eclectic collection of works for piano and orchestra. Reviews of the original recordings which make up this set: Beethoven, Schumann Martha Argerich's caution in committing new items from her once extensive repertoire to disc is proverbial. So a warm welcome to her first recording of Beethoven's Triple Concerto where, with her esteemed colleagues Renaud Capuçon and Mischa Maisky, she relinquishes all sense of stardom and does what comes naturally; namely performing music with her friends and allowing the microphones to eavesdrop, as it were, on her unalloyed happiness. Renewing her love for Beethoven (the Third Concerto will hopefully follow and there is even a promise of an Emperor Concerto later this year in Japan) Argerich confirms her status among the great chamber-music players, responding to her partners with exemplary tact and verve. Listen to the sense of interplay at 945', to Argerich's reply to Maisky's eloquence in the central Largo, or to the almost comic relish at 450" of the finale's bustling and ceremonious Polonaise, and you will be aware of musicmaking caught on the wing and filled with an unselfconscious delight and enjoyment. The performance of the Schumann (Argerich's third on disc) is so vital and assertive that you are stunned and gratified by her ability to recreate music she has performed countless times with the white heat of first love. The opening is launched with a wild thrust and, throughout, there are innumerable little spur-of-the moment details and asides, a quick drawing of attention to this or that felicity. Of course, such playing is a personal taste and you would never confuse Argerich for a moment with regal Myra Hess or sober-suited Pollini in this music but, again, she carries all before her, allowing her playing to pulse with a nervous vitality that trumps even her own previous performances. She is skilfully partnered by Alexandre Rabinovitch-Barakovsky, a pianist and conductor who somehow holds the reins of his fiery and unpredictable steed. -- Bryce Morrison, Gramophone [9/2004] Prokofiev "EMI has reissued a series of its classic recordings at mid-price all of which were praised by the Gramophone and Penguin Guides. The disc under review here is part of that series. It is interesting to note that in the current Penguin Guide this recording does not receive the accolades that some of its competitors in all three works do, although it is generally given a positive spin. No matter. Any performance by Martha Argerich is cause for celebration or at least a high level of interest. This one is no exception. She has always shown a real affinity for Prokofiev, and her Bartók is no slouch either. As to be expected, she is partnered extremely well by Dutoit and the Montréal orchestra. What’s there not to like! Well, if there were no other recordings of these works to be had, one could be very satisfied. However, in all three concertos, especially the “Thirds,” there is plenty of competition. In Prokofiev’s First Concerto, among Argerich’s strongest competition are Ashkenazy/Previn on a Decca Double of all five concertos and Kissin/Abbado (DG). Argerich finds more lyricism in the concerto than does Ashkenazy, but less brilliance. Nevertheless, her pianism is pretty astonishing throughout. The slow movement is especially lovely. I haven’t heard the Kissin recently, but recall being impressed by it when it was first issued. Argerich and the orchestra are well balanced here as they are in the other two concertos, and Dutoit for the most part provides exemplary support by allowing the music to speak for itself. The disc ends with Prokofiev’s Third, one of Argerich’s signature works. Her famous recording with Claudio Abbado and the Berlin Philharmonic for DG is still available and for most listeners will probably be the greatest competition for this one. It is a scintillating performance that does not let up. If the newer one seems more relaxed, it brings more variety to the central, slow movement variations and more romantic warmth to the big tune in the finale. Nevertheless, the excitement produced in the earlier encounter with the work is never quite reached here. That 1967 recording still sounds amazing. Argerich adds about two and a half minutes to the later performance, which is partly responsible for this impression. Both accounts are superior to almost anyone else’s in this particular work." -- Leslie Wright, MusicWeb International Shostakovich "**** Argerich's fire makes this disc essential listening. She crackles at the scales in the First Piano Concerto and lights the jaunty beacon themes. She ignites, too, the Orchestra della Svizzera Italiana, who follow like the wind...." -- Times of London Works on This Recording 1. Concerto for Piano no 1 in E minor, B 53/Op. 11 by Frédéric Chopin ■ Performer: Martha Argerich (Piano) ■ Conductor: Charles Dutoit ■ Orchestra/Ensemble: Montreal Symphony Orchestra ■ Period: Romantic ■ Written: 1830; Poland 2. Concerto for Piano no 2 in F minor, B 43/Op. 21 by Frédéric Chopin ■ Performer: Martha Argerich (Piano) ■ Conductor: Charles Dutoit ■ Orchestra/Ensemble: Montreal Symphony Orchestra ■ Period: Romantic ■ Written: 1829-1830; Poland 3. Concerto for Piano no 1 in D flat major, Op. 10 by Sergei Prokofiev ■ Performer: Martha Argerich (Piano) ■ Conductor: Charles Dutoit ■ Orchestra/Ensemble: Montreal Symphony Orchestra ■ Period: 20th Century ■ Written: 1911-1912; Russia ■ Date of Recording: 10/1997 ■ Venue: St. Eustache Church, Montreal, Quebec ■ Length: 15 Minutes 56 Secs. 4. Concerto for Piano no 3 in C major, Op. 26 by Sergei Prokofiev ■ Performer: Martha Argerich (Piano) ■ Conductor: Charles Dutoit ■ Orchestra/Ensemble: Montreal Symphony Orchestra ■ Period: 20th Century ■ Written: 1917-1921; USA ■ Date of Recording: 10/1997 ■ Venue: St. Eustache Church, Montreal, Quebec ■ Length: 29 Minutes 5 Secs. 5. Concerto for Piano no 3, Sz 119 by Béla Bartók ■ Performer: Martha Argerich (Piano) ■ Conductor: Charles Dutoit ■ Orchestra/Ensemble: Montreal Symphony Orchestra ■ Period: 20th Century ■ Written: 1945; USA ■ Date of Recording: 10/1997 ■ Venue: St. Eustache Church, Montreal, Quebec ■ Length: 24 Minutes 44 Secs. 6. Concerto for Piano, Violin and Cello in C major, Op. 56 "Triple Concerto" by Ludwig van Beethoven ■ Performer: Renaud Capuçon (Violin), Mischa Maisky (Cello), Martha Argerich (Piano) ■ Conductor: Alexandre Rabinovitch ■ Orchestra/Ensemble: Orchestra della Svizzera Italiana ■ Period: Classical ■ Written: 1804; Vienna, Austria ■ Date of Recording: 2003 ■ Venue: Live Progetto Musica Center, Piacenza, Italy ■ Length: 35 Minutes 14 Secs. 7. Concerto for Piano in A minor, Op. 54 by Robert Schumann ■ Performer: Martha Argerich (Piano) ■ Conductor: Alexandre Rabinovitch ■ Orchestra/Ensemble: Orchestra della Svizzera Italiana ■ Period: Romantic ■ Written: 1841-1845; Germany ■ Date of Recording: 2002 ■ Venue: Live Progetto Musica Center, Piacenza, Italy ■ Length: 29 Minutes 19 Secs. 8. Concerto for Piano no 1 in C minor, Op. 35 by Dmitri Shostakovich ■ Performer: Sergei Nakariakov (Trumpet), Martha Argerich (Piano) ■ Conductor: Alexander Vedernikov ■ Orchestra/Ensemble: Orchestra della Svizzera Italiana ■ Period: 20th Century ■ Written: 1933; USSR ■ Date of Recording: 06/17/2006 ■ Venue: Live Congress Palace, Lugano, Switzerland ■ Length: 5 Minutes 56 Secs. 9. Nights in the gardens of Spain by Manuel de Falla ■ Performer: Martha Argerich (Piano) ■ Conductor: Alexander Vedernikov ■ Orchestra/Ensemble: Italian Switzerland Radio/TV Orchestra ■ Period: 20th Century ■ Written: 1911-1915; Spain 10. Fantasia Elvetica by Mikhail Pletnev ■ Performer: Martha Argerich (Piano), Alexander Mogilevsky (Piano) ■ Conductor: Mikhail Pletnev ■ Orchestra/Ensemble: Italian Switzerland Radio/TV Orchestra ■ Period: 20th Century ■ Written: 2006