7. Träumerei (Dreaming). - Kinderszenen (Scenes from Childhood), Op.15
8. Am Kamin (By the Fireside). - Kinderszenen (Scenes from Childhood), Op.15
9. Ritter vom Steckenpferd (Ride a Cock Horse). - Kinderszenen (Scenes from Childhood), Op.15
10. Fast zu ernst (Almost Too Serious). - Kinderszenen (Scenes from Childhood), Op.15
11. Fürchtenmachen (Frightening). - Kinderszenen (Scenes from Childhood), Op.15
12. Kind im Einschlummern (Child Falling Asleep). - Kinderszenen (Scenes from Childhood), Op.15
13. Der Dichter spricht (The Poet Speaks). - Kinderszenen (Scenes from Childhood), Op.15
Track Listings (11) - Disc #2
Andante and Variation for two pianos, Op.46
Andante and Variations for Piano, 4 hands, K.501
I. Allegro. - Piano Sonata No. 16 in C, K.545
II. Andante. - Piano Sonata No. 16 in C, K.545
III. Rondo (Allegretto). - Piano Sonata No. 16 in C, K.545
Fantasue für eine Orgelwalze
Grave. - Réminiscences de Don Juan per 2 pianoforti, S.656
Duetto (Andantino). - Réminiscences de Don Juan per 2 pianoforti, S.656
Allegretto. - Réminiscences de Don Juan per 2 pianoforti, S.656
Presto. - Réminiscences de Don Juan per 2 pianoforti, S.656
Allegro energico - Grandioso - Quasi fantasia - Andante sostenuto - Allegro agitato assai - Andante, quasi marcia funebre - Più mosso - Allegro trionfante. - Concerto pathétique in E minor
Track Listings (16) - Disc #3
Ouverture. - Ouverture e Scherzo da Ein Sommernachtstraum, Op.21
Scherzo. - Ouverture e Scherzo da Ein Sommernachtstraum, Op.21
Allegro non troppo. - Sonata in F Minor for Two Pianos, Op.34b
Andante, un poco adagio. - Sonata in F Minor for Two Pianos, Op.34b
Scherzo (Allegro). - Sonata in F Minor for Two Pianos, Op.34b
Finale (Poco sostenuto - Allegro non troppo - Presto non troppo). - Sonata in F Minor for Two Pianos, Op.34b
Theme - 'St Anthony Choral'. Andante. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation I. Andante con moto. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation II. Vivace. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation III. Con moto. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation IV. Andante. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation V. Poco presto. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation VI. Vivace. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation VII. Grazioso. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Variation VIII. Poco presto. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Finale. Andante. - Variations on a theme by Haydn for 2 Pianos, Op.56b
Track Listings (14) - Disc #4
I. Barcarolle. - Suite No.1 in G Minor, Op.5
II. La nuit... l'amour. - Suite No.1 in G Minor, Op.5
III. Les larmes. - Suite No.1 in G Minor, Op.5
IV. Pâques. - Suite No.1 in G Minor, Op.5
I. Introduction (Alla marcia). - Suite No. 2 in C, Op.17
II. Valse (Presto). - Suite No. 2 in C, Op.17
III. Romance (Andantino). - Suite No. 2 in C, Op.17
IV. Tarentelle (Presto). - Suite No. 2 in C, Op.17
No. 1, Barcarolle (G Minor). - 6 Morceaux, Op.11
No. 2, Scherzo (D Major). - 6 Morceaux, Op.11
No. 3, Thème russe (B Minor). - 6 Morceaux, Op.11
No. 4, Valse (A Major). - 6 Morceaux, Op.11
No. 5, Romance (C Minor). - 6 Morceaux, Op.11
No. 6, Slava (C Major). - 6 Morceaux, Op.11
Track Listings (20) - Disc #5
I. Allegro. - Symphony No.1 in D Major, Op.25 "Classical" (for two pianos)
II. Larghetto. - Symphony No.1 in D Major, Op.25 "Classical" (for two pianos)
III. Gavotte. Non troppo Allegro. - Symphony No.1 in D Major, Op.25 "Classical" (for two pianos)
Finale. Molto vivace. - Symphony No.1 in D Major, Op.25 "Classical" (for two pianos)
I. Ouverture miniature. - The Nutcracker, Suite from the Ballet (for two pianos)
Marche. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
Danse de la Fée Dragée. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
Danse russe Trepak. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
Danse Arabe. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
Danse Chinoise. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
Danse Mirlitons. - The Nutcracker, Suite from the Ballet (for two pianos), II. Danses caractérisque
III. Danse des Fleurs. - The Nutcracker, Suite from the Ballet (for two pianos)
Adagio - Allegretto - Adagio - Allegro - Adagio - Allegretto. - Concertino for 2 Pianos in A Minor, Op.94
I. Pavane de la Belle au Bois dormant. - Ma Mère l'oye, cinq pièces enfantines
II. Petit Poucet. - Ma Mère l'oye, cinq pièces enfantines
III. Laideronnette, Impératrice des Pagodes. - Ma Mère l'oye, cinq pièces enfantines
IV. Les entretiens de la Belle et de la Bête. - Ma Mère l'oye, cinq pièces enfantines
V. Le jardin féerique. - Ma Mère l'oye, cinq pièces enfantines
Variations on a Theme by Paganini for two pianos
Variations on a Theme by Paganini for two pianos
Track Listings (13) - Disc #6
Amen de la Création. - Visions de l'Amen
Amen des étoiles, de la planète à l'anneau. - Visions de l'Amen
Amen de l'Agonie de Jésus. - Visions de l'Amen
Amen du Désir. - Visions de l'Amen
Amen des Anges, des Saints, du chant des oiseaux. - Visions de l'Amen
Amen du Jugement. - Visions de l'Amen
Amen de la Consommation. - Visions de l'Amen
Las Niñas de Santa Fe. - Tres Romances Argentinos
Muchacho Jujeño. - Tres Romances Argentinos
Baile en Cuju. - Tres Romances Argentinos
3 minutos con la realidad. - Tre Tanghi
Oblivion. - Tre Tanghi
Libertango. - Tre Tanghi
Martha Argerich was born on 5th June 1941 in Buenos Aires. Her interest in the piano showed itself when she was three. Vincenzo Scaramuzza, her teacher, impressed on her the importance of feeling and the singing lyrical li... more »ne - a facet of her playing which remains immediately recognisable. At the age of eight she made her debut concert playing Beethoven's first concerto and the following year she gave Mozart's Concerto No. 20 in D minor, K. 466 and Bach's French Suite in G, BWV 816. In 1955 her family moved to Europe so that Martha could study with Friedrich Gulda in Austria; in this she was supported by the Argentine government who gave her parents diplomatic posts in their Embassy in Vienna. She won both the Geneva Music and Ferruccio Busoni International Competitions in 1957, but it was her winning the seventh Chopin Piano competition in Warsaw that confirmed her as a major talent at the age of 24. Her formidable technique has often been compared to that of Horowitz. She is reputed to have learnt Ravel's Gaspard de la nuit in three days having been told it was extremely difficult. Her solo career lasted for a quarter of a century during which her talent for interpreting the romantic classics, notably Chopin and Liszt, were matched by her brilliance in the 20th century masters Ravel, Rachmaninov, Prokofiev and Messiaen. Her decision to limit her performances to chamber music and concerto was taken, as she admitted in interviews, to her feeling of loneliness on stage alone. This has been her career path for the last 30 years and she retains the aura of one of the most brilliant of all pianists of modern generations. She has been particularly generous in supporting the next generation of artists. She appears regularly as a jury member at important competitions and her friends and protégées captivate audiences with exquisite performances of chamber music at her festival at Lugano. Now at the age of 70 we can salute her as the phenomenon she undoubtedly is and wish her continued success in all aspects of her life.« less
Martha Argerich was born on 5th June 1941 in Buenos Aires. Her interest in the piano showed itself when she was three. Vincenzo Scaramuzza, her teacher, impressed on her the importance of feeling and the singing lyrical line - a facet of her playing which remains immediately recognisable. At the age of eight she made her debut concert playing Beethoven's first concerto and the following year she gave Mozart's Concerto No. 20 in D minor, K. 466 and Bach's French Suite in G, BWV 816. In 1955 her family moved to Europe so that Martha could study with Friedrich Gulda in Austria; in this she was supported by the Argentine government who gave her parents diplomatic posts in their Embassy in Vienna. She won both the Geneva Music and Ferruccio Busoni International Competitions in 1957, but it was her winning the seventh Chopin Piano competition in Warsaw that confirmed her as a major talent at the age of 24. Her formidable technique has often been compared to that of Horowitz. She is reputed to have learnt Ravel's Gaspard de la nuit in three days having been told it was extremely difficult. Her solo career lasted for a quarter of a century during which her talent for interpreting the romantic classics, notably Chopin and Liszt, were matched by her brilliance in the 20th century masters Ravel, Rachmaninov, Prokofiev and Messiaen. Her decision to limit her performances to chamber music and concerto was taken, as she admitted in interviews, to her feeling of loneliness on stage alone. This has been her career path for the last 30 years and she retains the aura of one of the most brilliant of all pianists of modern generations. She has been particularly generous in supporting the next generation of artists. She appears regularly as a jury member at important competitions and her friends and protégées captivate audiences with exquisite performances of chamber music at her festival at Lugano. Now at the age of 70 we can salute her as the phenomenon she undoubtedly is and wish her continued success in all aspects of her life.
Track Listings (23) - Disc #1
