Argerich, Maisky and the elixir of youth

Martha Argerich and Mischa Maisky have history. Five decades of history. In recital, they communicate almost telepathically, although that instinct doesn’t extend to platform logistics and stage bows which are charmingly shambolic negotiations of who is going where. They are rare visitors to London – their last recital together was at the Barbican in 2018 – and the queue for returns extended out of the Wigmore Hall foyer and into the street. 

Earlier in the week, the entire advertised programme – sonatas by Beethoven, Schubert and Grieg – went out the window, replaced by Bach, Haydn and Mendelssohn, along with the addition of violinist Yossif Ivanov to make up a piano trio. I guess such a capricious attitude to programming is your prerogative when you have a combined age of 160 years, although it could well have been necessitated by Maisky’s long period of rehabilitation since spinal surgery last June. The cellist only returned to the stage last month. 

Solo Bach opened each half. Maisky, in a white silk shirt with billowing sleeves matching his billowing white hair, launched the familiar Prélude of the First Cello Suite with energy, digging deeply into the open C string. His tone is still velvety rich, laced with lashings of vibrato. The Courante and Gigue were robust, the Menuets I and II danced boisterously, albeit with occasionally smudged intonation. At the suite’s centre, the Sarabande was given the full cantabile treatment, Maisky very much in his soulful element. 

Martha Argerich gave up solo recitals decades ago. Even her post-concerto encores tend to be four-hand piano collaborations with the conductor these days, so her performance of Bach’s Partita no. 2 in C minor, BWV826, was a collector’s item. With remarkably little fuss – she seemed perplexed by the huge cheers at her appearance – and defying a hacking cough, Argerich had the stage to herself and the Wigmore Hall audience held its breath for 20 precious minutes. 

Music just pours out of her. After the declamatory opening phrases of the Sinfonia, the Andante brought the softest playing, her wrists remarkably relaxed, Argerich balancing the different voices with noble clarity. Crisp articulation and lightness of touch marked the dance movements and the closing Capriccio brimmed with vigour. Once again a Sarabande was at the heart, this one unfurling gently. This was no frills Bach and I could have listened to it all evening.

Ivanov joined Argerich and Maisky for two piano trios. In Haydn’s “Gypsy Rondo” Trio the violinist has the most to do and Ivanov’s sweet tone and neat trills were most pleasing. With the piano shunted to the right of the stage so that the keyboard was dead centre, Argerich was in prime position between her partners, although there was little eye contact between the three. Argerich made herself as unobtrusive as possible, although a mistimed string entry at the start of the central Poco adagio movement drew pursed lips. Haydn’s Rondo all'Ongarese finale was whippy, full of teasing rubatos and a zesty sprint finish. 

The Mendelssohn D minor Trio brought a change – and not just to Maisky who, true rockstar that he is, now appeared in a spangled black shirt. Here, Argerich kept a close eye on her team, throwing distrustful glances when not peering at her score. She need not have worried. The first movement soared, the second was a pool of warm vibrato and the finale was the most amiable of dialogues. The highlight was the quicksilver Scherzo scampering off into thin air in Puckish style. Mendelssohn’s fairy music is clearly an elixir of youth.