I seem to remember this DG recording of two of Prokofiev’s finest
chamber works rather dividing the critics on its first release.
Listening to it in its latest mid-price incarnation, I can see
why, though with such a volatile partnership as Kremer and Argerich
the ‘faults’ are hardly a surprise. In fact, the somewhat brittle,
hard-edged tone that Kremer produces and which seemed to elicit
the most criticism, strikes me as virtually ideal for much of
this music. Given Argerich’s similarly steely-fingered accompaniments,
this is not a comfortable ride – nor should it be.
The Sonata No.1
is, to my ears at least, the finer of the two works, a dark,
sombre and powerfully brooding piece that fully captures the
atmosphere in which it was conceived, that of Stalin’s terror
and the ever-present fear of the ‘knock-on-the-door’. Argerich
sets the tone for this mood superbly in those bleak opening
bars, the deep octaves building in intensity before Kremer’s
icy-toned violin joins in. Forget the warm, burnished tone of
other players, Kremer sees this for what it is – full of foreboding,
yet almost hypnotic in its doleful lyricism. The second movement
allegro brusco sees the players going full pelt, freewheeling
virtuosity laid firmly at the door of the music. The ghostly
andante seems full of painful memories, and Kremer’s
beautifully-gauged harmonic wisps (2:27) seem to say it all.
The finale rounds things off in true style, these two artists
obviously enjoying the fireworks but really listening to each
other.
The Sonata No.2
is an altogether warmer, more obviously approachable work, adapted
from an earlier flute piece at the suggestion of David Oistrakh,
who famously recorded both sonatas with Richter in the early
1970s. Though it suits the Kremer/Argerich approach rather less
well, this is still a performance brimful of character, fully
bringing out the nuances and subtleties in Prokofiev’s ironic
juxtapositions. This is most obvious in the lovely third movement
(another andante) where their playing even suggests shades
of Ravel. It’s true a mellower tone from Kremer and a shade
less aggressive accompaniment may be what some listeners would
want here, but there is such musicality and conviction that
I doubt you’ll feel short-changed.
The Five Melodies,
originally for wordless voice and piano, are like a compendium
of the composer’s stylistic thumbprints, with echoes of Romeo
and Juliet and the Classical Symphony abounding throughout
in an enjoyable addendum to the main fare. It proves to be the
choice of filler for many of Kremer and Argerich’s competitors,
including very well received discs from Vadim Repin/Boris Berezovsky
(Erato), Joshua Bell/Olli Mustonen (Decca) and the Shaham siblings
on Vanguard.
In fact, these works
have been extremely lucky on disc, but I can only say that I found
these readings extremely rewarding, with two obviously temperamental
artists showing a fierce, uncompromising brilliance in both works.
Whether such diamond-edged playing is for you will remain a personal
choice, but with close, intimate sound to suit the playing, and
an interesting liner-note from Julian Haylock, I think this disc
puts itself firmly back in the front line.
Tony Haywood
Gidon Kremer
(violin); Martha Argerich (piano) 
