Chopin: Piano Concerto No.2, Introduction & Polonaise, Cello Sonata
Martha Argerich (piano), Mstislav Rostropovich (cello, conductor)
National Symphony Washington DC (DG)
(scroll down for English review)
又一張為阿嘉莉殊大壽翻出的舊錄音，把她和羅斯卓波維奇合作的蕭邦錄音集齊於一張CD，羅氏有指揮也有拿出大提琴。軌一至三《第二鋼琴協奏曲》卻並非兩道火的對決，樂隊演奏雖然洋溢奔放的熱情，鋼琴卻往往將感情引導向內，不是只求音量而是深刻。此外我也喜歡阿嘉莉殊將許多只是例行公事的音型，都彈得很有美感。
然後是兩首大提琴作品，早期作品《序奏及波蘭舞曲》（軌四）通常很少大提琴家選奏，原因應該就是蕭邦把自己的鋼琴部分寫得太搶。但如果是阿嘉莉殊彈的話，搶又何妨。這個演奏最有趣就是她當仁不讓，而羅斯卓波維奇則乖乖為她「伴奏」。
軌五至八《大提琴奏鳴曲》兩支樂器有較為平等、卻又更微妙的關係。第一樂章鋼琴部分其實也很複雜及深情，羅斯卓波維奇卻不是和阿嘉莉殊硬碰硬，而是等她的激昂過後，再四兩撥千斤地溫文回應。其餘三個樂章不只較短，大提琴的角色也較重，當中諧謔曲中段的抒情段落，應該就是全曲我最喜歡的地方。
Another DG reissue of Argerich in her prime, with all of her Chopin recordings with Rostropovich on one CD. Rostropovich first conducted her on the Second Piano Concerto, then played two cello works with her on the piano. In the concerto (tracks 1-3) Rostropovich’s orchestra was fiery yet Argerich took a very introspective approach, the passion turning inwards rather than outwards. In those figurations where most would just run through, Argerich caressed, so it is a performance that I enjoyed throughout.
The Polonaise for cello (track 4) is rarely taken up by cellists. The obvious reason is Chopin wrote excessively for the piano, leaving nothing much for the cello. But with a vigorous pianist like Argerich there is simply no excess. Rostropovich obliged and took a back seat.
The balance of the two instruments was more equal yet subtler in the Cello Sonata (tracks 5-8). The piano part was difficult and passionate enough for Argerich to deliver her goods. In the first movement Rostropovich didn’t bulge in but waited for his turn and responded nobly without losing a shred of passion. I must confess I preferred the other three movements that gave more room to the cellist. A special mention for the Scherzo (track 6), the lyrical section is my favourite of the whole sonata.