20.6.2006, Essen / Argerich, Freire

Last Saturday (May 20) the German piano festival ("Klavierfestival Ruhr") opened, and the first time I read the program I knew I was in for a treat this year: The opening concert would be played by Martha Argerich and Nelson Freire. The program initially announced featured works I would have loved to hear - the transcription of Prokofiev's first symphony or Rachmaninov's symphonic dances. However, some time before the actual concert, the program was changed and now consisted of works they have very often performed together, also in this particular order. But we'll come to this in a moment. This year, that opening concert was a reason for a nice get-together of some "usual suspects" - friends or acquaintances I have frequently met at Argerich's or Freire's concerts. The lunch some of us took together was already an excellent occasion for sharing reminiscences and to talk shop...I guess all of you know what I mean.
The concert itself took place in Essen, a mid-size town in the middle of Germany with a nice, recently renovated concert hall. Excellent acoustics, good seating and two nicely tuned Steinways made for really good conditions to enjoy the evening. Right before the concert started we got together with some more pianophiles and talked somewhat with a friend of Freire's who told us that there would be a reception after the concert, for the sponsors and some VIPs. We hoped to be able to catch both pianists before that...

Argerich and Freire came on stage as is their habit, like strolling in a park and chatting a bit among themselves. Short bows, then they took their seats and the magic started. First with the Haydn variations by Brahms, and from the first few bars on you could feel that there was something like electricity in the air. It was quite hard to distinguish the two pianos, so synchronized were the two pianists. All the more astonishing as they used quite a lot of rubati (subtly, though) and let the music breathe very naturally, yet also unpredictably so which made for very spontaneous playing. The sound they got from their two concert grands was gorgeous, round, full and very well balanced between the two players. In the more extrovert passages it sounded almost orchestral, and it was hair-raising to hear what kind of sonority they were able to get from their instruments. The faster sections were - as usual with those two - taken at a brisk pace, yet everything still stayed quite clearly and transparent.
They continued with one of their warhorses, the second suite by Rachmaninov. I have the impression that every time they play that particular piece they take the first two movements faster, but maybe that's just the fascination of the moment. In any case - I have heard that work played by several piano duos, but none even gets close to the temperament and musicality of those two. It's really incredible how they seem to fuse into one player with twenty fingers and a singular, unique musical mind that seems to flow through the rather complex score with an ease and serenity that is quite confounding. And even at that speed - the second movement was a real whirlwind of notes - they never lost contact with each other or conveyed the impression of playing head over heels. Somehow they always managed to slow down at the right moment so as not to exaggerate, almost without any visible signals like
eye contact or head-bobbing. They just seemed to know each other's reflexes by heart, and that blended into an experience that was very rare indeed.

After the intermission, time for Paganini seen through the eyes of Lutoslawski. As we were sitting on the left side of the concert hall, until now we had seen Argerich's hands; now they changed pianos and we could see over Freire's shoulder. He actually played the part that, at least in my opinion, was technically more difficult. The rhythmic complexity of that piece and the huge, ultra-fast jumps are really scary - but to see Freire manage sail through those challenges was almost unreal. Such ease, a cat-like grace and also power when needed - the cliché from the steel in the velvet glove was quite apt in that case. Spectacular playing from both, and though knowing that they have been playing that piece for more than 40 years it is still an extraordinary feat. Next was the Schubert Rondo which they also frequently play (one piano, 4 hands of course). Simplicity and transparence were exhibited here, and a singing, lyrical side of their playing that let me enjoy that piece very much. One almost got the impression, from their very intimate way of playing, that they had forgotten that they were in a concert hall and only played for their own pleasure.
The recital was concluded with Ravel's "La Valse" - a work Argerich and Freire excel in. It's probably their favorite piece, at least that's what they once said in an interview, and it shows. Fluid, marvelously polished pianism which suits french music so well. The music really danced, even if that waltz was rather dark and apocalyptic, like an inevitable maelstrom that no listener could stay indifferent to. After this, lots of applause and Bravo!s of course, and the audience were rewarded by several encores: an excerpt from Ravel's "Ma mère l'oie", an excerpt from Rachmaninov's pieces for piano four hands op. 11 and Gustavino's "Bailecito" for two pianos. Standing ovations, naturally - everyone was really swept away. What a concert!

But it was not over yet...the evening, I mean. Of course we all wanted to have a word with that Argentinian/Brazilian dreamteam, so we waited not far from the hall that was reserved for the reception afterwards, so as to intercept them before they could disappear where we could not follow. After some good 30 minutes of waiting, we were rewarded by seeing them walking in our direction, with the whole entourage - the festival director, other VIPs and several pianists (Sergio Tiempo, Mirabela Dina for example). We succeeded in exchanging some words with both of them - especially Freire was in a really good mood and told us he had already recorded his next CD (Beethoven sonatas, among them "Les Adieux", "Moonlight" and "Waldstein") and would play Prokofiev's second piano concerto in June (he'll also play it in Paris and Cologne, among others...). Great news. Maybe also a Beethoven concerto cycle, but that's not definite yet. A nice conclusion to an exceptional evening!

P.S. Today's concert in Luxembourg (Argerich/Rabinovitch) was quite disappointing after such an event. Bad coordination, partly asynchronous playing, lots of mannerisms and lack of technique with Rabinovitch...the only work halfway good was Rachmaninov's first suite. Especially horrible was the Mozart KV 448 sonata, drowned by R. in pedal, uneven runs and wilful slow-downs.