Mischa Maisky and Martha Argerich in Concert
Sonata for Cello and Piano in D minor, opus 40; Stravinsky: Suite italienne from Pulcinella, arranged for cello and piano by the composer and Gregor Piatigorsky; Prokofiev: Sonata for cello and piano in C major, opus 119; Waltz from The Stone Flower, opus 118, arranged for cello and piano by Gregor Piatigorsky and Sviatoslav Knushevitsky (printed Kiushevitsky).
Mischa Maisky (cello), Martha Argerich (piano).
Deutsche Grammophon 00289 477 5323. DDD. TT 72:22.
Recorded live in Studio 4, Flagey Hall, Brussels, 6 April 2003.

Being an admirer of the artistry of both Maisky and Argerich but having been unable to recommend in DSCH No. 13 their wayward recital of Shostakovich's Second Piano Trio with Gidon Kremer (Deutsche Grammophon 289 459 326-2), I am relieved to offer a far more positive assessment of their latest release, recorded at a charity concert.

The first movement of the Shostakovich sonata overflows with rubato, and though its opening is not as serene as the fine version from Petr Prause and Yakov Kasman (Calliope CAL 9326; reviewed in DSCH No. 21) it maintains a winning geniality. Argerich half-stumbles on one beat shortly before the first movement repeat, but that is as close as either musician comes to an error throughout the performance.

Maisky and Argerich's second movement is more tempestuous than Prause and Kasman's, but never loses its sense of humour. A highlight is the audaciously industrial sound of Maisky's glissando passages using natural harmonics.

In keeping with the good-natured tone set thus far, the third movement is less troubled than in Rostropovich and the composer's 1957 recording (EMI CZS 5 72295 2), and much less intense than the superb account from Pieter Wispelwey and Dejan Lazic (Channel Classics CCS SA 20003; reviewed in DSCH No. 21). It nevertheless convinces with its atmosphere of dense concentration, aided by Argerich's touchingly tentative handling.

The mathematically minded may wish to know that Maisky and Argerich cross the finish line of the fourth movement in 3:53, around 10 seconds quicker than the average for other recordings, but not as breathless as such familiar teams as Lynn Harrell and Vladimir Ashkenazy (3:48; Decca 473 807-2; reviewed in DSCH No. 21) and Rostropovich with the composer (3:33).

But forget the statistics; what sets this performance apart from all others is that the fourth movement is blatantly inebriated, and not just tipsy but pickled to the gills! Its many abrupt ritardandi and accelerandi do not represent arbitrary attempts to be different. Pauline Fairclough's insightful booklet notes report that Maisky's former teacher Rostropovich heard from Shostakovich himself that the middle section of the finale depicts a wild Russian party from which the guests stagger home. Only the dourest of listeners could suppress a chuckle at Fig. 57/1:47 when, in Maisky's words, "the cello comes in with the [solo reprise of the movement's first] theme and it's like it's four in the morning and he's completely drunk!" Those with imagination can prolong this alcoholic scenario, as the cello creeps sheepishly upstairs while the piano broods darkly inside (Fig. 58/2:03). The drunkard is confronted as soon as he enters (Fig. 59/2:10), the piano laying into him with a torrent of semiquavers. After trying in vain to defend himself with feeble interjections, the flagellated cello surrenders with a flageolet whimper.

Notwithstanding the hint passed from the composer through Rostropovich to Maisky, it is unclear how authentic this interpretation of the finale really is. Certainly, neither Rostropovich nor the only other cellist with whom Shostakovich recorded this sonata, Daniil Shafran (Eclectra ECCD-2046; reviewed in DSCH No. 14), exhibited anything like Maisky's intoxicated arrhythmia. Still, it is a delight to hear such an amusing and novel take on this familiar opus.

Two other Russian works precede the Shostakovich in this programme, opening with a suite from Pulcinella that Stravinsky arranged for another of Maisky's illustrious teachers, Gregor Piatigorsky. The highly syncopated reading here impresses for the range of timbres that Argerich coaxes from her piano. The waterfall of notes in the Tarantella fourth movement is especially invigorating.

Prokofiev's Cello Sonata is a frequent discmate for Shostakovich's, appearing on the above-mentioned releases from Harrell-Ashkenazy and Wispelwey-Lazic, the latter being a stunningly intelligent and brilliantly executed rendition, the former rather disappointing. In Maisky and Argerich's hands Prokofiev's spiky offspring is more affectionate than usual. Rapt introspection pervades the first movement, expanded to 11:08 versus 10:30 with the hot-blooded Wispelwey and Lazic and a mere 9:32 with Harrell and Ashkenazy. Maisky and Argerich insert open spaces to create an airy second movement, and offer up an ebullient, lyrical third where the wit is conspiratorial and inclusive rather than sardonic and remote.

A short Waltz from Prokofiev's last ballet, The Stone Flower, serves as an attractive encore. Enthusiastic applause follows each work, but Deutsche Grammophon have thoughtfully quarantined each ovation within its own CD track, so listeners may skip them if they feel that audience participation contaminates the musical experience. The acoustics are intimate and clear.

Although I would prescribe Wispelwey and Lazic's darker performances for those who want only a single dose of the two sonatas, to all others I warmly recommend Maisky and Argerich's uplifting concert for the brilliance, freshness and optimism of its music-making.

W. Mark Roberts
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