Rachmaninov:Suite for 2 Pianos No.2 Op.17/Ravel:La Valse for 2 Pianos/Lutoslawski :Paganini Variations for 2 Pianos (8/1982):Nelson Freire(p)/Martha Argerich(p)

1900年作曲のラフマニノフ、1920年にアルフレッド・カゼッラと作曲者がウィーンで初演した《ラ・ヴァルス》、1941年に書かれたルトスワフスキ作品と、約20年毎に生まれた2台ピアノのための傑作3作を並べた1枚。アルゲリッチはデビュー以来、常に実力・人気ともに世界の超トップ・クラスを維持し続けているが、現在のようにソロよりも室内楽へ傾倒していったのは実はこのアルバム録音の頃から。共演のフレイレもお馴染みだが、故郷ブラジルでは生まれた町の名前が彼の名前に改称されたり、彼の映画まで作られている程の人気。このアルバムは、2人が40歳前後の録音である。[コメント提供；ユニバーサルIMS]

Like her other duo-recording venture with pianist Alexandre Rabinovitch, this album again demonstrates why pianist Martha Argerich is the grand dame of two-piano works. This album, with pianist Nelson Freire, offers another interpretation of the Rachmaninoff Second Suite for Two Pianos as well as a transcription of Ravel's La Valse and Lutoslawski's Variations on a Theme of Paganini. Unlike many other piano duos, Argerich and Freire are capable of drawing an amazingly convincing, almost symphonic sound out of their two instruments. The blend between the two artists is virtually organic; the difference between the two instruments is almost unidentifiable. The sound is amazingly clear and retains a dark, almost foreboding power. This rendition, which is slightly more aggressive and energetic than the Argerich/Rabinovitch recording, showcases the best of both profound technique and deep musical understanding. The Ravel is one of the few instances where a version for two pianos comes close to obtaining the same variety of textures and colors that the full orchestral version incorporates. Most impressive is an incredible range of dynamics, from pianissimos that make the listener lean forward to pay close attention to fortissimos that push you back in your seat. Concluding with a ravishing performance of the frenetic Lutoslawski, the only regret this album leaves is that there is not more to be heard from this accomplished duo.