Dear Mars(h)a, dear Nelson

Attending a Martha Argerich concert or recital is like visiting a friend you see only occasionally. And you know they'll never let you down, because they're the kind of person who always puts artistic truth first.

This is the case, I insist, of the Argentine pianist who became a Swiss citizen. Each and every one of her performances constitutes a unique evening, one that permeates and leaves a lingering sense of well-being amidst the hustle and bustle of daily life.

For the opening concert of the Ibercamera season, the Palau de la Música was dressed in its finest, with a nearly sold-out audience eager to see the performance. This time, the audience's delight was not only in seeing and hearing the exceptional pianist once again, but also in doing so alongside another great musician, an Argentinian pianist like herself, Nelson Goerner.

They were never alone on stage, because the entire program—and therein lies the brilliance of the performance—was based on pieces for two pianos or piano four-hands. A highly original and unusual format, which made it undeniably interesting. But there was also the well-chosen repertoire that gave full meaning to the evening: the classicism and post-classicism of Mozart and Beethoven in the first half, and the Russian and French avant-garde in the second, with Shostakovich and Ravel.

Goerner, with his impeccable drawing, knew how to imbue the film with doses of humor and lightness. Sonata KV 521 Mozart's, while Argerich responded with her gravity, always with the utmost naturalness.

The contrast was evident (and necessary) in Beethoven's transcription for two pianos of the Great escape to conclude Quartet op. 130The resulting product (op. 134It reveals the greatness of the Bonn musician with a naked, raw, and stark work. Personally, it was the first time I had heard him in this version—the manuscript was found twenty years ago—and the effect was breathtaking, thanks also to the performance of the two musicians.

There was a bit of a respite in the second half, starting with a Concertino Shostakovich's music was anything but easy, yet seemingly supple, before the two concluding Ravels of the magnificent recital. Once again, the rapport between Argerich and Goerner was evident. And we hope they return.