\ Rome


 
  Rome, February 9 2001. Auditorium of Santa Cecilia.
    Claudio Abbado, Martha Argerich & Berliner Philharmonic

 
Translation from Italian, and layout, by Paolo Pettinato
via Microsoft Generator.
          
         Soon after the Beethoven Concerto No 2, the radio reporter tries to 
         meet Argerich, in order to interview her. He says that she can't 
         speak to him at that moment, as she is surrounded by many people 
         and eating a box of chocolates with Abbado...
         But she promises him she'll speak with him on the radio at the end of the 
         evening.

         In the meantime, the reporter says that he met Argerich on the 
         morning, during the rehearsal. He says that she (very modestly) 
         asked him if she was playing too loudly. And, of course, he and 
         his colleagues reassured her that her playing was just perfect. 

         The concert was ended by Beethoven's third Symphony. And so, 
         finally, the reporter can meet her:


 R.  We've never seen such an audience enthusiasm
        [as this one] for
you,  Ms. Argerich...

 
A.  I've just heard, listened to the "Eroica" by
       Maestro Abbado, which is such a thing...I am really stunned...
       It is such a wonder...I've never heard...

 R.  [interrupting] Are you moved?

 
A.  I am very moved, yes...there is a mixture of intensity and
       sensitivity, which is something...[sighing] whole and this
       is very rare...

 R.  Yes. We saw during the Beethoven Concerto a great
       between you and the Maestro Abbado...

 
A.  Did you? [surprised]. It's simple!: We always had a great
       understanding!...I don't know...but nearly whenever I play with
       him I feel as if I were being guided.

 R.  Safe?...

 A.  Yes, yes...I feel guided...
       even, I am very nervous, and he does know it, and understands
      
[laughing] what to do...no?

 R.  When did this your friendship begin?

 A.  I met Claudio when I was 14 years old, in Vienna... because he
       was a pianist at that time [laughing]!. He was also a pupil of
       Friedrich Gulda, a little, in Salzburg, and so I knew him...and
       I played for him the second piano part of the third Beethoven
       Concerto, during the final of the course with Friedrich Gulda.
       He played on that occasion because he was the best in that class!
       Then I recorded my first disc with orchestra with him...with  
       Berliner...and it was his first disc as well...

 R.  The Beethoven Piano Concerto we heard this evening is
       one of the less frequented, less performed ones...

 A.   It's true...

 R.  How is it possible?

 A.  Actually, it's the first (Beethoven) Concerto, this one you mean...
       I don't know why people find it less interesting than others,
       but I find it very interesting...I like it very much. The first
       time I heard it was with Friedrich Gulda in Argentina... I do
       like it...But, above all, I don't know what you think of it...

 R.  Oh, I like it very much, and moreover we've just heard it in
       an extraordinary performance...

         [At this point, the colleague of the reporter asks him to tell
         Argerich that during the performance she gave them the same
         emotion she felt with Abbado. But he doesn't know that Argerich
         can hear what he says]

 A.  [laughing, embarrassed] Ha!...I heard you

 R.  But it's true!

 A. Thank you...

 R.  [another speaker says]: while I was listening to the performance,
       I was thinking of the Prokofiev third Concerto, which Martha
       Argerich recorded also with Abbado.  It seems we find much         the same contemporary style in this (Beethoven) Concerto.


 A.  [surprised] Ah...
 
 R.  Yes, we've been thinking of it all the time...the rhythm, the
       syncopations of the last  movement. [...]
       There is a 'piano of the future' (in Beethoven)?

 
A.  Yes...Beethoven, yes, is eternal...like Rome! [she laughs]

                      [they laugh all together]  

 
R.  It's a pity you didn't play an encore...

 
A.  No, because you shouldn't do it with Berliner...I know it,
       and so...

 R.  We were all waiting for that, as you play it usually, and it
       is always a surprise...

 
A.  Is it? OK, next time...

 R   We are somewhat greedy...

 A.  Is that so?

 R.  We are all fans of your Scarlatti Sonata...

 A   [laughing] Really? Ha ha...

 R.  And so, next time...

 A.  OK!

 R.  Thank you!

Slight editing for idiom, by Andrys - don't blame Paolo