Martha Argerich came back and cut her breath

Martha Argerich came back and cut her breath

Martha Argerich (piano). program: Pieces by Johann Sebastian Bach.
interpreters: Martha Argerich, Graciela Reca, Mauricio Vallina and Alan Kwiek (piano); Rafael Gintoli and Cecilia Isas (violin).
In the symphonic hall of the CCK.
Our opinion: excellent

Bach's keyboard music, his willingness to play or not at the piano, has the effect that there are so many Bach – always the same, always different – as pianists. Some conquer their voices in the great journeys of Bach, such as the well-tempered key or the art of flying. Martha Argerich has had enough
Match N° 2 in C minor BWV 826, which we already know from its recording in the Concertgebouw of 1978/1979, to demonstrate a completely unusual wisdom. It was with the
Second Game that Argerich began his performance at the CCK Symphony Hall. It would be unfair to say that this beginning, those little less than 20 minutes, could have been the end, but in a certain way everything has already been said and in the best way that can be said.

Usually we think, not without some reason, that Bach's performance consists in solving the problems related to the melodic line flow, the contrapuntal movement of the voices or the
time. But actually, as Glenn Gould noted, there is no aspect of Bach's music that is not crossed by harmonic considerations. Nothing escapes from Argerich. There is no affectivity, and in some crucial passages (the reversal of the Symphony) reaches the most extreme expression in Andante and, without interruption, a clarity of steel in the Allegro. The same could be said of Capriccio. It is not a technical problem (stopping in that aspect would be trivial); it is, rather, a thorough understanding of the Bachian discourse.

It was nothing but the beginning of the program entirely dedicated to Bach that Argerich had prepared with his friends. With the violinist Rafael Gintoli, of an incorruptible musical nobility, Argerich realized an extremely sensitive reading of the
Sonata BWV 1017, also in C minor, which in a way prolonged the atmosphere of the
Game. The introduction of the piano in the second movement cut the breath, while at the end Gintoli seemed to touch the tip of the feet. The same Gintoli, now with the ensemble Estación Buenos Aires and the soloist Cecilia Isas, has made a brilliant version of it, even if this is no stranger to meditation,
Concert for two violins. But first, the Cuban Mauricio Vallina did the
concert No. 4 BWV 1055. It was the same piano on which Argerich had played, but it sounded like another, and this does not imply any impediment: simply, Vallina is a very different pianist, and her way of understanding Bach is different, and maybe Baroque in general: more modest, perhaps more intimate.

After the interval, there was a short uncertainty. The ensemble was already on stage for the
Concert for 4 minor pianos BWV 1065 (Vivaldi's concert version for 4 violins), but the pianists did not appear. With Argerich, anything can happen. Fortunately, what happened was wonderful again. Graciela Reca, Vallina and Alan Kwiek (old friend of Argerich and Isas musical accomplice) have spared nothing in 10 minutes of inexorable electricity and precision. Of course there were prizes, decided on the pucho, almost suddenly: the "Chacarera of 55", flanked by two Allegros, the one at the end and the beginning of the BWV 1065. As always, Daniel Barenboim he's right: nobody plays the piano better than Argerich, and he never touches him better than his friends.

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