Martha Argerich (born June 5, 1941) is a concert pianist from Buenos Aires… Read Full Bio ↴Martha Argerich (born June 5, 1941) is a concert pianist from Buenos Aires, Argentina. Her aversion to the press and publicity has resulted in her remaining out of the limelight for most of her career. She has given relatively few interviews. As a result, she may not be as well known as other pianists of similar caliber. Despite this, she is widely recognized as one of the greatest piano virtuosos of our time.
Martha Argerich was born in Buenos Aires. From the age of five, she took piano lessons with Vicenzo Scaramuzza. In 1955 she went to Europe with her family, and received tuition from Friedrich Gulda in Vienna; her teachers also included Nikita Magaloff and Stefan Askenase. Following her first prizes in the piano competitions in Bolzano and Geneva in 1957, she embarked on an intensive programme of concerts. Her victory in the Chopin Competition in Warsaw in 1965 was a decisive step on her path to worldwide recognition.
Martha Argerich rose to fame with her interpretations of the virtuoso piano literature of the 19th and 20th centuries. But she does not regard herself as a specialist in "virtuoso" works - her repertoire ranges from Bach through Beethoven, Schumann, Liszt, Debussy and Ravel, to Bartók.
Martha Argerich has worked as a concert pianist with many famous conductors. She has also attached great importance to chamber music ever since, at the age of 17, she accompanied the violinist Joseph Szigeti - two generations older than herself. She has toured Europe, America and Japan with Gidon Kremer and Mischa Maisky and has also recorded much of the repertory for four hands and for two pianos with the pianists Nelson Freire, Stephen Bishop-Kovacevich, Nicolas Economou and Alexandre Rabinovitch. Martha Argerich has performed at Gidon Kremer's festival in Lockenhaus, at the Munich Piano Summer, the Lucerne Festival and at the Salzburg Festival, where she gave, for instance, a recital with Mischa Maisky in 1993.
She appeared with Claudio Abbado and the Berlin Philharmonic at the 1992 New Year's Eve Concert with Strauss's Burleske and also at the Salzburg Festival at Easter 1993. May 1998 saw the long-awaited musical "summit meeting" between Martha Argerich, Mischa Maisky and Gidon Kremer. On the occasion of a memorial concert for the impresario Reinhard Paulsen, the three artists came together in Japan, where they performed piano trios by Shostakovich and Tchaikovsky (recorded live by DEUTSCHE GRAMMOPHON). In March 2000 Martha Argerich gave her first great solo appearance in almost 20 years in New York's Carnegie Hall.
Martha Argerich has close ties with DEUTSCHE GRAMMOPHON, dating back to 1967. She has recorded prolifically during this period: solo works by Bach, Brahms, Chopin, Liszt and Schumann; concerto recordings of works by Chopin, Liszt, Ravel and Prokofiev with Claudio Abbado, Beethoven with Giuseppe Sinopoli, and Stravinsky's Les Noces with Leonard Bernstein. Her recording of Shostakovich's First and Haydn's Eleventh Piano Concertos with the Württembergisches Kammerorchester Heilbronn conducted by Jörg Färber was crowned with the Tokyo RECORD ACADEMY AWARD in 1995 and that of Tchaikovsky's Piano Concerto No. 1 with Claudio Abbado and the Berlin Philharmonic Orchestra was awarded the CD COMPACT AWARD in 1997.
She has also dedicated herself to chamber music, and has recorded works by Schumann and Chopin with Mstislav Rostropovich, and cello sonatas by both Bach and Beethoven with Mischa Maisky. She has made numerous successful recordings with Gidon Kremer, such as violin sonatas by Schumann and works by Bartók, Janácek and Messiaen (PRIX CAECILIA 1991), and Mendelssohn's concerto for violin and piano with the Orpheus Chamber Orchestra. Their recording of Prokofiev sonatas and melodies received the 1992 Tokyo RECORD ACADEMY AWARD, the DIAPASON D'OR 1992 and the EDISON AWARD 1993. One of their most outstanding recording achievements was that of the complete Beethoven violin sonatas (Nos.1-3: RECORD ACADEMY AWARD 1985), which was concluded with the release of the Sonatas op. 47 "Kreutzer" and op. 96 in 1995. Among her more recent releases is the above-mentioned live recording of piano trios by Shostakovich and Tchaikovsky with Mischa Maisky and Gidon Kremer.
Martha Argerich takes a great supportive interest in young artists. In September 1999 the first International "Martha Argerich" Piano Competition took place in Buenos Aires - a competition which does not only carry her name but in which she is president of the jury. In November 1999 the second "Martha Argerich Music Festival" took place in southern Japan, with concerts and masterclasses being given not only by Martha Argerich but also by Mischa Maisky and Nelson Freire among others.
Martha Argerich was born in Buenos Aires. From the age of five, she took piano lessons with Vicenzo Scaramuzza. In 1955 she went to Europe with her family, and received tuition from Friedrich Gulda in Vienna; her teachers also included Nikita Magaloff and Stefan Askenase. Following her first prizes in the piano competitions in Bolzano and Geneva in 1957, she embarked on an intensive programme of concerts. Her victory in the Chopin Competition in Warsaw in 1965 was a decisive step on her path to worldwide recognition.
Martha Argerich rose to fame with her interpretations of the virtuoso piano literature of the 19th and 20th centuries. But she does not regard herself as a specialist in "virtuoso" works - her repertoire ranges from Bach through Beethoven, Schumann, Liszt, Debussy and Ravel, to Bartók.
Martha Argerich has worked as a concert pianist with many famous conductors. She has also attached great importance to chamber music ever since, at the age of 17, she accompanied the violinist Joseph Szigeti - two generations older than herself. She has toured Europe, America and Japan with Gidon Kremer and Mischa Maisky and has also recorded much of the repertory for four hands and for two pianos with the pianists Nelson Freire, Stephen Bishop-Kovacevich, Nicolas Economou and Alexandre Rabinovitch. Martha Argerich has performed at Gidon Kremer's festival in Lockenhaus, at the Munich Piano Summer, the Lucerne Festival and at the Salzburg Festival, where she gave, for instance, a recital with Mischa Maisky in 1993.
She appeared with Claudio Abbado and the Berlin Philharmonic at the 1992 New Year's Eve Concert with Strauss's Burleske and also at the Salzburg Festival at Easter 1993. May 1998 saw the long-awaited musical "summit meeting" between Martha Argerich, Mischa Maisky and Gidon Kremer. On the occasion of a memorial concert for the impresario Reinhard Paulsen, the three artists came together in Japan, where they performed piano trios by Shostakovich and Tchaikovsky (recorded live by DEUTSCHE GRAMMOPHON). In March 2000 Martha Argerich gave her first great solo appearance in almost 20 years in New York's Carnegie Hall.
Martha Argerich has close ties with DEUTSCHE GRAMMOPHON, dating back to 1967. She has recorded prolifically during this period: solo works by Bach, Brahms, Chopin, Liszt and Schumann; concerto recordings of works by Chopin, Liszt, Ravel and Prokofiev with Claudio Abbado, Beethoven with Giuseppe Sinopoli, and Stravinsky's Les Noces with Leonard Bernstein. Her recording of Shostakovich's First and Haydn's Eleventh Piano Concertos with the Württembergisches Kammerorchester Heilbronn conducted by Jörg Färber was crowned with the Tokyo RECORD ACADEMY AWARD in 1995 and that of Tchaikovsky's Piano Concerto No. 1 with Claudio Abbado and the Berlin Philharmonic Orchestra was awarded the CD COMPACT AWARD in 1997.
She has also dedicated herself to chamber music, and has recorded works by Schumann and Chopin with Mstislav Rostropovich, and cello sonatas by both Bach and Beethoven with Mischa Maisky. She has made numerous successful recordings with Gidon Kremer, such as violin sonatas by Schumann and works by Bartók, Janácek and Messiaen (PRIX CAECILIA 1991), and Mendelssohn's concerto for violin and piano with the Orpheus Chamber Orchestra. Their recording of Prokofiev sonatas and melodies received the 1992 Tokyo RECORD ACADEMY AWARD, the DIAPASON D'OR 1992 and the EDISON AWARD 1993. One of their most outstanding recording achievements was that of the complete Beethoven violin sonatas (Nos.1-3: RECORD ACADEMY AWARD 1985), which was concluded with the release of the Sonatas op. 47 "Kreutzer" and op. 96 in 1995. Among her more recent releases is the above-mentioned live recording of piano trios by Shostakovich and Tchaikovsky with Mischa Maisky and Gidon Kremer.
Martha Argerich takes a great supportive interest in young artists. In September 1999 the first International "Martha Argerich" Piano Competition took place in Buenos Aires - a competition which does not only carry her name but in which she is president of the jury. In November 1999 the second "Martha Argerich Music Festival" took place in southern Japan, with concerts and masterclasses being given not only by Martha Argerich but also by Mischa Maisky and Nelson Freire among others.
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Piano Sonata No. 2 in B-Flat Minor Op. 35: III. Marche funèbre
Martha Argerich Lyrics
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The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@andersonvercosa1285
A familiaridade dela com o compositor é determinante !
Não sou muito o cachorrinho dela, e tenho visto ela correr léguas de problemas
---- quem acredita num ecumenismo não é muito sagaz ---- ,
mas, nesta sonata específica, está fazendo
---- suas próprias palavras ---- aquilo que gosta
Gosta, e faz de maneira quase única
Tão longe quanto é documentável ,
ninguém fez melhor
@bruce_daddy
It's crazy how she uses the listeners expectation of a piece to make you feel each movement how it was intended to. I realized after hearing how she was able to play so sweetly after playing abruptly that she was preparing for us to experience the contrast more effectively than I've heard from others playing this piece. On the first time listening to this I felt like she was overplaying certain parts but listening again it seems like she conveyed an unsettling aspect intentionally so that the transition to playing sounds so releiving when hearing how it is especially delicate when taking the entire piece into consideration. It's hard to imagine her being only human like all of us when there's something unexplainable happening like she's communicating secrets without language but making so much sense at the same time.
@alfredomanriquereyes752
Beautiful and masterful interpretation of Chopin's Funeral March, an ethereal lament that resonates in the soul with transcendental solemnity, it is an emotional journey into the depths of existence. Each note is a sigh that pierces the veil between life and death, weaving a melancholy that elevates the spirit to the divine. In this river of sounds, solemn beauty is found in the elegance with which it embraces the inevitable transience of life, reminding us of the fragility of our own existence. The march becomes a sound poem that invites philosophical reflection on the ephemeral beauty that lies in the solemnity of our steps towards the unknown.
@ElenaPapanikolaou81
This interpretation is a reminder that it takes a genius to do service to another genius. It's like Chopin gave the instructions on how to paint a masterpiece, but how many interpreters can paint something as eery, fierceful, relentless, imploring, desperate and compassionate, in such detail and with such unity as Martha paints it?
@carlpalumbo5811
One of the finest interpretations of this magnificent work. Argerich makes the piano sing so beautifully.
@alfredomanriquereyes752
Bella y magistral interpretacioin de la Marcha Fúnebre de Chopin, un lamento etéreo que resuena en el alma con una solemnidad trascendental, es un viaje emocional hacia la profundidad de la existencia. Cada nota es un suspiro que atraviesa el velo entre la vida y la muerte, tejiendo una melancolía que eleva el espíritu a lo divino. En este río de sonidos, la belleza solemne se encuentra en la elegancia con la que abraza la inevitable transitoriedad de la vida, recordándonos la fragilidad de nuestra propia existencia. La marcha se convierte en un poema sonoro que invita a la reflexión filosófica sobre la belleza efímera que yace en la solemnidad de nuestros pasos hacia lo desconocido.
@claudio4127
Il 4° movimento è spettacolare (come tutto il resto della sonata), è incredibile come Martha riesca a creare l'atmosfera lugubre e a riprodurre nei minimi particolari i rumori dei venti oscuri, è così realistica la sensazione che provoca a tal punto da farti dimenticare che tutto ciò è ''imitato''' attraverso un pianoforte.
@raftom4454
That 4th movement, what an incredible performance.
@amber40494
She had me in tears
@em8714
It's amazing. The piece genuinely sounds scary. Like I hate listening to it, which I'm sure is the effect Chopin wanted.
@DavitMinasyan-rn3fv
Sounds like op 28 no 14