MOZART 4-Hand Piano Music K381, 448, 501 & 521. Argerich/Rabinovich (Teldec) – INKPOT
Andante and Five Variations in G major for piano four-hands, K.501
Sonata in C major for piano four-hands, K. 521
Sonata in D major for piano four-hands, K. 381
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by Jonathan Yungkans | |
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Argerich has always been more comfortable playing chamber or two-piano music than as a soloist, but many of her recordings with Rabinovich have lacked a sense of repose. Even in slow movements, there has always been a sense that the music had to be kept moving, with little time or inclination to smell the flowers. There is still some of that quality in these sonatas, but less so than usual, the result being the musical equivalent of sunlight streaming through a meadow of high grass and wildflowers.
The Sonata in D major, K. 448, has been a personal favorite of mine since hearing it many years ago in the Sean Connery film The Great Train Robbery. The music’s sense of hijinks perfectly matched the general tone of the film, and a good performance carries along a highly contagious sense of good humor.
Argerich and Rabinovich become caught up in the infectiousness of this piece, and then some, playing the outer movements as such a brisk clip that it seems like they literally can’t stop themselves from running through a musical game of tag. The metaphor is apt, because there is a childlike sense of innocence and playfulness that runs deeply through this performance. Though the tempi are fast, nothing is unduly rushed, and the liveliness only adds to the general excitement.
In between these two jeux d’infants we have a meltingly tender Andante that, while taken at a slightly faster clip than usual, is charming in its simple beauty and gossamer in its lightness. With a delicate sense of give-and-take between the two players and exquisite phrasing, this is the type of playing that flows as gently and naturally as a conversation with a close friend – one on which you feel yourself surreptitiously eavesdropping by listening to it, but a tte–tte you never want to end.
The Andante and Five Variations, K. 501, starts like a child who is shy around strangers but becomes loquacious enough when the first variation begins. Variations one through three increase in exuberance as they progress. The fourth variation casts a shadow of minor-key sadness, but the fifth returns to the good humor of the first three variations in regal style, quietly recapitulating the beginning of the piece before ending softly. Again, Argerich and Rabinovich are in fine style, capturing the moods of each variation and turn of phrase with nimbleness and uncanny accuracy.
The Sonata in C major, K. 521, is played less hurriedly than the D major Sonata but with no less charm. An opening fanfare of some seriousness gives way in the Allegro to a vivacious scene, with a panoply of various moods walking through like characters on stage. A generally unassuming Andante gives way in its central episode to an ardent duet between distraught lovers, and the recapitulation carries some tinges of sadness from that exchange. The Allegretto, one of Mozart’s musical jokes, is achingly funny. Proceeding calmly, or seeming to, the music tries keeping a straight face despite some witty, tragic and madcap episodes, including a false ending of scampering runs up and down the keyboard, only to subside into measured composure before repeating the trick to conclude the work.
Throughout this comedy of manners, Argerich and Rabinovich clearly relish every twist and turn, every musical wink and nudge. They not only perform this play before our ears, but slyly comment on it as it unfolds, keeping us just clearly enough in-the-know to let us in on the jokes, the intrigue and the drama at large, but not enough to spoil our good time.
With the Sonata in D major, K. 381, we are back to the joyous Mozart of K. 448, scurrying light-hearted across the keyboard in the Allegro with only a couple of brief minor-key modulations casting any clouds on the horizon. The Andante is another sunlit meadow of spring flowers, while the Allegro molto is a dance as energetic as one any country fiddler or village band would play.
While not as memorable as K. 448, this sonata is still highly enjoyable, and Argerich and Rabinovich make the most of it. They sail breezingly through the Allegro, though not as fleet-fingered as in K. 448, giving us time to savor some delicious turns of phrase and the general delight of their music-making. They make the Adagio into something truly special, slowing down deliciously at 3:10 and 5:55, savoring the beauty of this movement as though it were some romantic interlude. For the Allegro molto, they really kick up their heels; you can easily imagine them having the time of their lives on the dance floor while this music is playing.
This is probably one of the most pleasurable recordings Argerich has made, with or without Rabinovich. While you can usually expect many things from her performances, unconditional bliss is not usually one of them. Seventy minutes of it is downright intoxicating. For anyone who loves Mozart or excellent piano playing, this disc is a must, and one that I would definitely want with me if marooned on a desert island. After hearing it, you can definitely tell why those two people on the cover look so happy.
JONATHAN YUNGKANS recommends that listeners exercise caution after hearing this disc if they drive, operate machinery or come face-to-face with a grumpy boss. He may not know what he’s missing. It’s his loss.
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