Wang, Argerich, and Grimaud

I have nothing against Yuja Wang; but when push comes to shove, Martha Argerich and Hélène Grimaud simply speak to me more—especially when it comes to Prokofiev and Ravel. (Perhaps this is akin to the debate over Hahn, Frang, and Mutter, or something like that.)

I suppose it could be argued that Wang does add a little je ne sais quoi to Prokoviev—at least in the way of an alternative interpretation—but I can’t think of anything in particular to say in her favour—even while I can’t say much against her, either. That said, her 2010 recording of Prokoviev’s third piano concerto in Het Concertgebouw is a pleasure—as is just about anything performed in that room. (I had the opportunity to hear it in person, once, and what pieces were played really is beside the point.)

Grimaud has a wee tendency to flirt overmuch with rubato—sometimes to the extent that one may be tempted to think Wolfgang Rübsam had been called in as guest conductor. And yet, (rather unlike Rübsam, at times), she consistently makes it believable. Her second movement of the piano concerto (M. 83) is, to my ear, sublime.

Meanwhile, Argerich’s playing is perhaps more straightforward than Grimaud’s, while still stopping short of predictable. Although I find it difficult to choose a favourite between the two, I suppose it’s worth noting that Argerich is simply a more mature player, both literally and figuratively: as of this writing she is 83, whereas Grimaud is only 55. It should be interesting to see how Grimaud changes over the next quarter century!