Ravel - Gaspard de la Nuit (Martha Argerich, Saarbrücken 1972) (Score-Video)
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- Опубликовано: 24 июл 2024
- 1. Ondine (00:00)
2. Le gibet (06:30)
3. Scarbo (13:01)
How do I even begin talking about this performance? For me, it is the pinnacle of pianism in recorded history. Gaspard has always been my favorite work in the piano repertoire. Seldom has the piano been utilized to a fuller potential of color than in this piece - and rarer has music been imbued with such darkness and fantasy. Ravel wrote it as his father was dying, and used poetry from a collection that his father had read for him as a child. The darkness that Ravel was able to tap into from this, the satanic qualities, the sensuality, is beyond description.
Argerich performed this work many times, including in a studio recording which she has semi-disavowed, saying that due to her pregnancy it is not representative of her true intentions pianistically. It is still a fantastic recording, but rather on the safe side. This live performance from 1972 is Argerich at her best. Does she always follow what is on the page? No. Does it matter? When she plays it the way she does, no. Ondine is shimmering, sensuous with an undercurrent of danger, played at a perfect tempo with a full range of expression and color. Le Gibet is static, terrifying, a petrified and frozen cry of loneliness and isolation. Scarbo is everything: humorous, delicate, impish, satanic, terrifying, sensuous. Her abilities on the piano are nowhere better showcased than in this performance.
The only other live performances of Gaspard that match hers in my opinion are Beatrice Rana (at the Cliburn) and Pogorelich. But it is a piece that is so personal to so many people, that who is successful in it is very much up for debate. 
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![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](http://i.ytimg.com/vi/F61Zb9zIP-4/mqdefault.jpg)
I don't think I've ever heard someone play the section at 2:50 in such a languid manner. I absolutely love it, and it adds even more to the fantasy world of Ondine. Also, I'm always here for Ondine's nuclear climax at 3:45. Martha Argerich never ceases to amaze me! 🙌🏾💜
Every superlative in the English language, the only one I speak, has been used to describe Martha Argerich. I can’t think of any more. She has risen above any other mortal playing piano, young or old. Each time I listen it is jaw dropping. I guess there is
nothing else that can be said to describe her.
I went specifically to Lugano to see her play this in 2016. She always translated something special here. Glad someone else enjoys Rana too, that is an absolutely fabulous recording - I think it’s her best playing. I was lucky enough to speak to Martha after the performance, she told me she liked Grosvenor - I find his ondine truly remarkable but am less convinced by the following two movements.
Truly amazing! Martha is just out of this world.
I don’t think I’ve ever heard the repeated notes in Scarbo played with such uniformed clarity, and at such a velocity! It is truly magnificent.
2:48 Wow! That was an incredibly bold interpretation. Basically halving the tempo just for that one section, even with no indication in the score to do so. I think it's brilliant really. I want to try it, but I don't think I could pull it off, haha.
Martha is a living legend in my book. Far far above us mere mortals
Unquestionably the best version of Martha Argerich's many interpretations of Ravel's piano masterpiece. Quite close to her DG studio version but even more bewitching. And without a doubt one of the very best interpretations of Gaspard de la Nuit, even if at rare moments Martha takes some tiny liberties with the text (Ondine), but always with taste and expressiveness. Scarbo in particular is really a hallucination as Ravel wanted it to be, with this character that is both haunting and evanescent.
Le Gibet is so cool holy
love this so muuuuuuuuch..........
This is awesome
Gaspard is my favorite piece of music ever. Not usually a big fan of Martha, but she nailed Ondine and le Gibet, scarbo is good but not excellent imo. Have you listenned to Lucas Debargue performance ? For me his scarbo is even better than pogolerich, and overall it may be my favorite performance, maybe along with François Sanson and Louis Lortie.
Yes, I've listened to Debargue's performance. His Ondine is superb. But later, in Scarbo, his horrendously rapid tempo (compare to Malofeev's) erases all possibilities of any fantastical imagery to come through. After displaying a complete understanding of Ondine, how could he have approached Scarbo in such an utterly unconvincing way? He tramples it to death mercilessly, thereby robbing the listener of experiencing the magical effects contained in this work. This COULD have been a splendid performance. But sadly, it isn't.
Of course I head straight to Scarbo to hear those tremolo notes - and I wasn't disappointed. I think my fave Scarbo is Vacatello's, though
😍😍😍😍😍
2016!
Nice to read your comments in the description. What do you think about Debargue in TCH15?
I like him in this, and I think he’s only gotten better at it since. His jazz background helps I think with the sense of spontaneity he can achieve - and certainly like Martha he is willing to go to some very dark and insane places. I find myself agreeing less with some overall issues of line and sound but he is still so impressive. I’m entertained very much by his hand redistributions in scarbo, they’re very creative
@@ArgerichStan As you said, I really think his spontanious nature suits scarbo very well. The rest of the gaspard is also good, but there are better recordings... still think his scarbo is the best ever xD
Not only creative, but necessary (even moreso in Ondine).@@ArgerichStan
Come on, you can not talk about "Gaspard" and not mention ABM. As much as I love Argerich, Pogo and Rana, this is ABM's very own piece!
ABM was one of Argerich’s teachers
@@drrabner47 She apparently didn't learn much with ABM and more or less made fun of the 3 or 4 lessons she took with him.
@@Pogouldangeliwitz I don’t think she was making fun. I think she expected more than 4 lessons in 2 years.
@@drrabner47 I mean, she came from Gulda, who had been a real teacher, had worked in depths with her, had inspired and challenged her. In an interview she said about ABMs few lessons that "it was all very mysterious" - with a mocking smirk!
@@Pogouldangeliwitz I’m familiar with that interview. Don’t you think it’s rather odd in a span of two years, as a teacher he could only find time for four lessons?
pogorelichs version is better