Martha Argerich plays Beethoven & Mozart

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Martha Argerich plays Beethoven & Mozart


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Release date:

26th Oct 2009




63 minutes


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Martha Argerich plays Beethoven & Mozart


Piano Concerto No. 1 in C Major, Op. 15

Seiji Ozawa


Piano Concerto No. 18 in B flat major, K456

Eugen Jochum


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A concert by Martha Argerich is always sensational, sometimes grandiose, and occasionally the audience experiences a truly stellar event. Going through the archives of Bavarian Broadcasting, the feeling was unanimous, and many “ear witnesses” themselves remembered the concerts: on these evenings Argerich was in top form, collaborated with two congenial conductors, inspired the orchestra and drew inspiration from it. In short: these live recordings should, indeed must be heard! Especially with this artist, the medium of live recording is especially valuable. Before an audience in the sold-out hall, there developed a knack for communication and spontaneous music-making with a downright personal appeal to the listener.

For the Mozart concerto, Eugen Jochum mounted the podium of the Symphonieorchester des Bayerischen Rundfunks. He had a special relationship with the orchestra, having been the first chief conductor of the newly founded ensemble since 1949, a position he held until 1960. Seiji Ozawa was and is regularly heard as a guest conductor in Munich, where audiences look forward to his return in the 2009/2010 season. After the concert evening in June of 1983 the audience and reviewers were unanimous in their enthusiasm, as attested by the Abendzeitung: “Martha Argerich, currently in the form of her life, played (…) with inimitable fire without forgetting intimacy, sensitivity and expression.”

Ludwig van Beethoven: Piano Concerto No. 1 in C major, Op. 15

I. Allegro con brio

II. Largo

III. Rondo: Allegro scherzando

Wolfgang Amadeus Mozart: Piano Concerto No. 18 in B flat major, K. 456

I. Allegro vivace

II. Andante un poco sostenuto

III. Allegro vivace

BBC Music Magazine

February 2010


“…Martha Argerich in resplendent form… the elegance and limpidness of her Mozart… are a constant joy. …in the Beethoven… Argerich's playing is again full of spirit, generating an atmosphere of mystery in the opening movement's central development section, and an infectious lilt in the finale's 'tin-pan alley' minor-mode episode.”

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