For decades, Prokofiev’s Piano Concerto no. 3 in C major has been one of the pillars of Martha Argerich’s repertory. Her performances have remained remarkably consistent over the years – unromantic, percussive, deeply respectful of the original score, including the frequent and sometimes unexpected accents. Despite a little coordination slip during the piano’s first entrance, this Enescu Festival performance with the Hungarian National Philharmonic Orchestra and Charles Dutoit was nothing short of remarkable.
Argerich skilfully tempered the inherent virtuosity of a score lacking a self-contained slow movement, infusing several segments with profound poetic insight. Relying on a conductor who easily comprehends her artistic intentions, she imbued the first movement’s slow central episode with a whiff of aggression, while highlighting the music’s eerie qualities in the second movement’s fourth variation and in the Finale’s meno mosso serenade. Throughout, her playing brought to mind all sorts of connotations from pearls glimmering on a necklace to ominous stampedes taking the listener to an impromptu encounter with The Fiery Angel. Argerich's pianism has lost none of its impishness, buoyancy or magical allure.
After enthusiastic applause, Argerich graciously returned to the piano adorned with the many bouquets she had received. With Dutoit leaning over its side, she treated the audience to two encores: a serene but tensionless Von fremden Ländern und Menschen, followed by a delightfully ludic Gavotte from Bach’s Suite no. 3 in G minor.
An esteemed responsibility of this biennial festival has consistently entailed featuring George Enescu’s compositions whether they were completed or just mere sketches. In most cases, the organisers prefer engaging foreign guests for these initiatives, anticipating that their interest will contribute to the wider dissemination of Enescu’s body of work within the worldwide musical audience.