Martha Argerich, Mischa Maisky - Schubert: Sonata for Arpeggione, Schumann: Fantasiestücke, Op. 73 (1985)

In 1823 Johann Georg Stauffer invented the arpeggione, a freak instrument, a hybrid of 'cello and guitar, with strings tuned in fourths. Schubert invested such attractive melodies in this queer contraption, he must have believed in its future. The melodies that float throughout the "Sonata for Arpeggione", are indeed attractive to say the least. The first point that strikes one in this performance is the clarity that cellist Mischa Maisky maintains. The opening offers playing that conveys the winsomely lyrical character with a happily burbling second subject. As a team, Maisky and Argerich are both incisive and musically refined innately sensing what each other is doing. They provide the inspiration and graciousness of the longer phrases with remarkably clear textures. The Adagio is like a song without words sung over a rocking accompaniment with the utmost simplicity. Maisky and Argerich create an atmosphere that richly enhances the imaginative daring of Schubert's modulation, especially in the more mysteriously romantic second half. In the concluding "Allegretto", the playing is artistically self-generating and offers fleeting moments of minor-key temperament yet never seriously clouding the sunshine radiating from the lyricism of the tuneful, recurring main theme. The overall performance is melodically refined, with exceptionally clean textures again reflecting the outstanding acoustic qualities. In the "Fantasiestucke", Schumann envisaged the three pieces as a continuous suite travelling in mood from nostalgic lyricism to firm resolution. Maisky and Argerich give a performance that is captivating in every respect. In all three pieces the varying moods are superbly conveyed, powerful motoric rhythms, tingling temperament and glowing ardour. Remarkable for their intrepid emotional scope, Maisky and Argerich make each piece equally persuasive.
The "Funf Stucke im Volkston" (five pieces for piano and cello) begins with a droll main theme and gypsy-like character. It is intriguingly inscribed "Vanitas vanitatum." Argerich and Maisky play the second piece with remarkable emotional scope and delicacy, but still retain the simplicity of a "Wiegenlied", like a pre-echo of Brahms. No.3 is filled with strong contrasts of minor and major tonalities, sharp motoric rhythms and a deeply felt reflective theme. Maisky plays with magnificent melodic refinement and his use of nuance has superb finesse. No.4, takes on a dramatically robust, ballade style which is enhanced by a bouncily sprung rhythm and a fresh and incisive finale. This team close the group with No.5. It returns to the key of A minor and the character of the first. The performance is kept at a relatively steady pace though its contrasted sections become compelling and at times infuriating. The gentle, lyrical theme is warmly expressed and quietly distinctive. It is a performance notable for its passion and finesse, neat, sensitively judged harmonic flavor. "I could hardly award it higher praise." The overall playing purely respects the musical priorities.
"I highly recommend this recording especially if you are just beginning to add duo and chamber music to your library. The Schumann Violin Sonata's No. 1&2 with Martha Argerich and Gidon Kremer is excellent as well."