Post by ramesh July 31, 2006 (1 of 20)
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I'm glad someone else dived in before me and did the review! I don't disagree with PN either.
Astonishingly, there are now 10 versions of this sonata on SACD, if one counts the cello transcriptions; far more than certain Mahler symphonies!
I've lost count of the number of times Argerich has recorded this on various labels. I dimly remember that ages ago she even made a version with James Galway. One of the later versions, with Perlman on EMI, had the Beethoven Kreutzer as the coupling, a live USA performance. I missed it completely on first hearings, until a reviewer pointed out there was a huge memory lapse in the variation movement from Perlman. This is only cited because when one has a big blooper in what is marketed as a full price live recording, it does become more annoying with repetition. The blooper in the SACD isn't a textual corruption, but an additional sound effect, and becomes quite funny on repetition, at least for me. It sounds like somebody had way too many baked beans to eat before the recording session ( studio, not live ), or Colin Davis was turning the pages.
The violin and piano are recorded very well, warts and all. If one looks at Argerich's discography, she's very loyal to friends and intimates. I found this a fascinating Franck performance, because both parties do have a unified concept of the work, but on the basis of this recording, they have very different techniques. You can hear all the glorious trademarks of the Argerich style; the quicksilver reflexes which are ideal for her tumultuous playing, as the tone doesn't become over-full and bangy, the lack of lumpiness in the bass etc. The violinist has that full-boned Russian sound that Oistrakh was the greatest exponent of, and many others such as Lydia Mordkovich come to mind. It's the opposite to the sinewy Gidon Kremer tone, which made his set of Beethoven sonatas with Argerich an inspired and provocative casting. However, one hears in the outer movements what the violinist wants to do, but her bowing arm isn't flexible enough to quite get her there. If the pianist was less, this wouldn't be that noticable; but Argerich's playing puts this into high relief. This being said, it's a very passionate performance, more so than the Perlman one mentioned earlier. If artistic risks are taken with this smouldering passion, even if a few hurdles are clipped along the way, it's better than a safe but dull performance.
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Can I just check if your copy has the "grunt" too?
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Post by ramesh July 31, 2006 (3 of 20)
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Polly Nomial said:
Can I just check if your copy has the "grunt" too?
Yes, it's a grunt. Colin Davis would be proud of it.
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Dear Polly Nomial,
First of all let me thank you for the review you took the time to write on one of our production.
We deeply respect your comments.
My name is Frédéric Grün, the producer of Avanticlassic.
Concerning the disturbing 'grunt'at the end of IVth mov. of the Franck Sonata, it was left intentionally. Both the artists and the recording team (including multi award winner Hugues Deschaux) felt that this particular grunt was part of music. The grunt comes from Martha herself and this should tell you how intense this musical partnership is. Martha has hundereds of musical friends and/or protégés, and she does not record with every of them, believe me.
We do think that even if we produce high end productions, we do not necessarly have to clean everything and to risk an 'asceptical' final result.
Artists are at the center of our artistic vision. When we decided to collaborate with Dora, we knew, and she immediately told us, that she is not the most outstanding technician. But what Dora gives : the vision, the risks, the temperament, ... makes her a unique artist and one of the most respected violonist of today.
Her motto : the violin must not sing, the violin must not cry, the violin must speak!
And this is exactly what she did. And we really loved it that way. No single violonist would play the Franck like this today, that is why we are so honored to collaborate with her.
I think nobody could tell that this recording is 'just' another Franck, another Debussy or another Schumann...
And that is what we are trying to do. To bring new, fresh and intense look to the classical repertoire. We are convinced this is te best way to perpetuate our classical musical heritage.
To Apollo, we prefer Dyonisos...
Kind Regards,
Frédéric.
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Post by Edvin August 23, 2006 (5 of 20)
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The Martha grunt is acceptable in a concert, but very irritating on repeated hearings. On my first ever recording of the Bartok Concerto for orchestra there was a beep at one moment and when I hear this piece today I can still hear that beep in my head.
Thomas
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Post by brenda August 23, 2006 (6 of 20)
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Avanticlassic said:
Dear Frederik,
thank you for taking the time and effort to post on the site. However, I really don't see a grunt as having musical value. I appreciate that it communicates fervour, but it is not something I would ever want to hear at home, - certainly not more than once. It sometimes has to be tolerated on live recordings, e.g. Colin Davis on LSO Live, but that's another thing that puts me off buying from that label too. I guess it's noble that you aren't primarily concerned with sales or even your listeners, but ask yourself if you would pay to hear Monica Seles on record. Regards, B.
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Post by tream August 24, 2006 (7 of 20)
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I'm adding this one to my wish list - nothing like a controversial release to push the edge of the envelope!
I don't mind the grunts, etc. so much, which includes stage noise on live opera recordings. My own particular bugaboo is applause, which I really find objectionable. I'm thankful this is not featured on LSO Live and SFS Media, but it does turn up on other labels. I see no reason why applause can't be edited out.
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Dear Brenda,
Dear Edwin,
Did you listened to the recording ?
Kindly,
Frédéric.
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Post by Edvin August 25, 2006 (9 of 20)
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Dear Frédéric,
I listened to it once at a friends house. It was on my wish list, emphasis on was. Sorry.
Regards,
Thomas
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Artists are at the center of our artistic vision. When we decided to collaborate with Dora, we knew, and she immediately told us, that she is not the most outstanding technician. But what Dora gives : the vision, the risks, the temperament, ... makes her a unique artist and one of the most respected violonist of today.
Her motto : the violin must not sing, the violin must not cry, the violin must speak!
And this is exactly what she did. And we really loved it that way. No single violonist would play the Franck like this today, that is why we are so honored to collaborate with her.
I think nobody could tell that this recording is 'just' another Franck, another Debussy or another Schumann...
And that is what we are trying to do. To bring new, fresh and intense look to the classical repertoire. We are convinced this is te best way to perpetuate our classical musical heritage.
To Apollo, we prefer Dyonisos...
Kind Regards,
Frédéric.
Dear Frederic
Please accept my apologies for the delay in responding as I have been away for the last few days.
I find that listening to a grunt time & time again - and I note that some others here have similar feelings to me - is very distracting and doesn't make one encouraged to listen repeatedly to any performance, no matter how intense. To quote you, a "new, fresh and intense look" at classical music is just what I like to hear - the problem is that I'm not sure quite how extraneous noises can ever add to this laudable vision.
I am glad that your policy involves using interesting artists. Polina Leschenko, for example, is particularly exciting and I look forward to hearing more from her (the Schumann disc with Dora Schwarzberg is also good, who you are right to say has some interesting points in all the interpretations I have heard so far).
Incidentally, I think that the art work you use is a brilliant use of modern photography. I also like the interviews included in with some of the discs which are especially nice for introducing "new" artists.
Regards
PN
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