Classic CD review: Argerich/Barenboim: Mozart, Schubert, Stravinsky

CD cover: Argerich and Barenboim.

Touring the country earlier this year, Diedre Irons and Michael Endres must have introduced many to the beauties of Mozart's only sonata for two pianos.

The same work is a lively launchpad for Martha Argerich and Daniel Barenboim's new recital. This pianistic pairing has stirred up predictable talk of living legends, in this case, totally justified.

Now in their early 70s, these two Argentinian pianists have charisma aplenty. They have earned respect and adoration, as much for their personal stands and battles as for their unrivalled musicianship.

The two have immense fun with Mozart, which is as it should be. The outer movements have a real joie de vivre.

The central Andante is gorgeous, as the pair tease out the sometimes bitter-sweet filigree into a Viennese mix of swoons and sighs. A promotional video has Barenboim placing an assuring hand on Argerich's before they play Schubert's 1824 Variations on an Original Theme.

It's a lovely touch, especially for one of the most lovable of all composers.

Schubert's gentle march-like theme, tinged with passing melancholies, is spun through all manner of delicious decoration, although the seventh variation is more serious.

Check it out at 11'12" and be astounded at how three minutes of poignant enchantment are drawn from just 29 bars of score, admittedly with the assistance of some extraordinary harmonic writing.

The high point must be Argerich and Barenboim fronting up to Stravinsky's The Rite of Spring on two powerhouse Steinways -- a brave venture, with a work that made history through the piquant colours and visceral power of its orchestration.

One misses that signature bassoon at the opening but, as textures coalesce, one can hear just how much Stravinsky was influenced by contemporary French music -- ironically Debussy himself played this transcription with its composer in 1913.

Argerich, on the second piano, draws some terrifying sonorities from her instrument, especially when the chosen victim is being celebrated. Yet there is also room for chilling simplicity before a wild Sacrificial Dance that sounds as if we are being thrust decades ahead into the manic soundworld of Conlon Nancarrow's Player Piano Etudes.

Verdict:

Piano legends in superlative form on one and two keyboards.