Mozart: Piano Concerto No. 25 in C major, K503

EMI Classics is pleased to release the 10th annual 3CD set of highlights from the Progetto Martha Argerich in Lugano, “the delightful festival where youth meets experience and both benefit” (Gramophone). The Times described Argerich’s Lugano Festival as “community music-making on a deluxe scale, with performers and listeners mutually uplifted by music’s wonders”. The set is being released in anticipation of the Festival’s 2013 season.

Reviewing the 2011 Live from Lugano release, Nicholas Kenyon wrote in The Observer, “There are not many reliable annual treats among classical CDs these days, but the series of live recordings from Martha Argerich's Lugano festival are now a highlight of each year.” Andrew Clark in the Financial Times wrote, “Every June [Argerich] and a clutch of friends and protégés make music in a style that reflects her free spirit and total dedication. Even when Argerich is not playing, she seems to inspire the performance.”

In addition to Argerich, the performers in 2012 included many familiar names from previous Live from Lugano releases, among them the violinist and cellist brothers Renaud and Gautier Capuçon and pianist Nicholas Angelich, all of whom record for Virgin Classics. The current set also welcomes back Mischa Maisky, Lilya Zilberstein, Polina Leschenko, Dora Schwarzberg, Nora Romanoff-Schwarzberg, Lyda Chen, Ilya Gringolts, Georgio Tomassi, Carlo Maria Griguoli and Alessandro Stella. Newcomers include the pianists Maria João Pires and Nelson Goerner.

The repertoire of Martha Argerich and Friends – Live from Lugano 2012 puts the piano at the centre of the programming, focusing particularly on piano duets and rarely performed and recorded compositions. There is a group from the Austro-German Classical and Romantic tradition, followed by works from Slavic composers, sounds from Italy and France and, as a send-off, a two piano arrangement of an Argentinean tango. The performance of Mahler’s Piano Quartet is something of a family affair, performed by Ms Argerich’s longest-standing artistic collaborator Mischa Maisky, his pianist daughter Lily and violinist son Sascha and Ms Argerich’s daughter Lyda Chen. The orchestral work in this year’s set is Mozart’s Concerto K503 with Argerich and the Orchestra della Svizzera Italiana conducted by Jacek Kaspszyk.

Martha Argerich’s passion, technical virtuosity, temperament, commitment and supreme artistry have illuminated the music world and left audiences spellbound since she won the 1964 International Chopin Competition. Reluctant to perform solo for many years, she has continued to perform chamber music and concertos with orchestra where, in her own words, “I feel the musicians moving about. I watch them and I also move. I’m more natural.”

EMI Classics marked the occasion of Martha Argerich’s 70th birthday in 2011 with the release of four multi-disc sets bearing some of her finest performances from 1965 to 2009.

Few artists have nurtured and promoted emerging young musicians with the level of personal commitment shown by Martha Argerich. In the process, she has created inspired chamber music partnerships mixing established and up-and-coming artists. After setting up Meeting Point at Beppu, Japan in 1996 and the Martha Argerich Festival in Buenos Aires in 1999, the pianist decided to create a similar gathering of musical minds in Europe. The southern Swiss town of Lugano was identified as an ideal setting for a project based on the spirit of building a community of close-knit relationships among young and established artists and the Progetto Martha Argerich was launched in 2002. More than a decade later, the Festival continues to retain its original experimental ‘feel’ because of the original programming and the emergence of new performing talents. Geoffrey Norris in The Daily Telegraph wrote, “It is always instructive to see who has been invited to perform at the Progetto Martha Argerich in Lugano, because the cast list is a reliable guide to some of the most exciting talent in the musical world today.”

The twelfth season of the Martha Argerich Project will take place from 9 June to 3 July 2013 and will include performances by many of the artists on this set.

EMI would like to dedicate these recordings to the memory of Jurg ‘Abdul’ Grand, who founded the Martha Argerich Project at the 2002 Festival and co-directed the 2002 and 2003 events.

“Everything Martha Argerich touches turns to gold, not only her own piano playing but those around her whom she evidently inspires to new heights.” (The Observer)

“These discs are a reminder of a unique, ever-formidable and enchanting artist.” (Gramophone)

The Teldec recordings of the legendary pianist who rarely went into the recording studio so most of his recordings are live at concerts.

3 CDs for 2.

Along with Schnabel, in the first half of the 20th century Edwin Fischer was generally regarded as the greatest interpreter of the Germanic classics - Bach, Mozart, Beethoven, Schubert and Brahms. This was the period when recording came of age, and many first recorded performances, regarded as definitive in their time and still thought amongst the greatest even today, were set down by Fischer. Supreme among them were the first complete recording of Bach’s Well-Tempered Clavier and the Mozart concertos presented here. These are the only Mozart concerto recordings Fischer was to make commercially except for a LP remake of the D minor in 1954. Their status is such that they should never be out of the catalogue, and we are delighted therefore to reissue these APR transfers (previously on APR5523, 5524 & 5525) as a budget priced 3CD set. Also included are most of Fisher’s solo recordings of Mozart and his only recording of a Haydn concerto.

Many of the legendary opera performances and concerts that George Szell conducted in Salzburg are documented on the ORFEO label.To these, we now add two live recordings of concerts dating from 1957. In the first he is heard with the Berlin Philharmonic, which the Festival's new artistic director, Herbert von Karajan, had just introduced to Salzburg as its second great symphony orchestra alongside the Vienna Philharmonic. Szell had first conducted the Berlin Philharmonic four decades earlier in Berlin. In 1957 he was originally scheduled to give only one concert with the orchestra at the Mozarteum: an all-Mozart programme comprising the relatively little-known Symphony K201, the Piano Concerto in C major, with the then 29-year-old Leon Fleisher making his Salzburg Festival début. His precocious mellowness ideally blends with the Mozart style of Szell and the Berlin Philh. Barely a week later Szell was asked to step in at the last minute and rescue a concert in the old Festspielhaus. He conducted the concert without rehearsal from memory, reversing the planned order of pieces, ending the concert with an acclaimed performance of the'Eroica'.Yet Szell never gives the impression that in spontaneously taking over the concert he had limited himself to only the most basic essentials or that he had taken too great a risk by insisting on his own personal interpretation.Thanks to his precision and perfection the present archive recording affords further proof of George Szell's exceptional status among the leading conductors of the 20th century.

In the 1830s, Schott publishers commissioned Johann Nepomuk Hummel to make arrangements of Mozart’s orchestral works for piano, flute, violin and cello to help facilitate performances in a domestic setting.

Fumiko Shiraga’s performances were originally released on single discs between 2003 and 2006, to critical acclaim, including a Gramophone ‘Editor’s Choice’ and a ‘CD des Doppelmonats’ in Piano News: ‘This is how Mozart must sound, exactly like this…’.