Argerich’s talented proteges

Brahms: Sonata in F Minor for Two Pianos, Opus 34b Mendelssohn: Piano Trio No. 1 in D Minor

Renaud Capucon, violin; Gautier Capucon, cello; Martha Argerich and Lilya Zilberstein, pianos (EMI)

*** 1/2

Franck: Violin Sonata Rachmaninoff: Cello Sonata

Renaud Capucon, violin; Gautier Capucon, cello; Alexandre Gurning and Lilya Zilberstein, pianos (EMI)

*** 1/2

Beethoven: Clarinet Trio in B-flat Major, Opus 11 Mozart: Piano Quartet No. 1 in G Minor, K. 478

Marek Denemark, clarinet; Martha Argerich and Evgeny Brakhman, piano; and others (EMI)

*** 1/2

“Face a Face”

Renaud Capucon, violin; Gautier Capucon, cello (Virgin)

*** 1/2

The exciting pianist Martha Argerich seems most comfortable on stage these days when she is egging on extravagantly gifted young players, such as the French brothers Renaud and Gautier Capucon. Last summer, she became artistic director of a chamber music festival in Lugano, Italy, where she could egg on to her heart’s delight. The first three of these discs contain live performances from last year’s festival. The fourth is a program of violin and cello duos by the Capucon brothers, for whom stardom is surely just around the corner.

Whether Argerich is playing or not, the Lugano performances all have one thing in common: They are electric. That may not be to every taste. Chamber music aficionados who pride themselves on their sophistication probably don’t need to hear music points invariably made with such breathless fervor. But when the playing is so fresh, alert and technically spectacular, objections are easily overlooked.

In their 20s and photogenic as movie stars, the Capucons both draw velvety tone from their bows. They are magnetic players with that rare ability to fasten your attention on every detail in their playing. Renaud Capucon’s elegantly creamy performance of the Franck Violin Sonata is like an injection of aural foam into the inner ear. His brother’s rapt Rachmaninoff performance contains some of the smoothest cello playing to be heard anywhere. The brothers take off when joined by the wired Argerich in the Mendelssohn Trio, where only the lack of lightness keeps this from equaling the classic Heifetz-Piatagorsky recording.

The Capucons’ joint recital disc is highlighted by an effusive performance of Kodaly’s Duo. It also contains irresistible confections such as the Halvorsen/Handel Passacaglia and a virtuosic 19th century series of variations on “God Save the King,” brilliantly played. Eric Tanguy’s Sonata for Violin and Cello, composed for the Capucons last year, has little substance but lots of opportunity for the brothers to show off.

The other player who stands out most on the Lugano recordings is the clarinetist, Marek Denemark. To hear him leap into exuberant flight in Beethoven’s neglected early trio is a revelation. After this arresting recording, the piece will probably be neglected no more.

-- Mark Swed

Bocelliville

gains population

“Duetto”

Marcelo Alvarez, Salvatore Licitra, tenors (Sony Classical)

**

In this market-driven crossover effort, the young, very fine tenors Marcelo Alvarez and Salvatore Licitra establish a beachhead in overproduced pop ballad territory (think Andrea Bocelli). The two sing with sincerity, power and gorgeous diction, although producer and arranger Steve Wood -- who is represented on four of the 14 selections -- didn’t see to it that the liner notes identify which singer has the lead when it’s appropriate. The pop tunes are full of extravagant emotional claims and are readily forgettable. There are also echoey, syrupy arrangements of Bach (Air on the G string), Gounod, Bizet and Rachmaninoff. The famed duet from Bizet’s “Pearl Fishers” (“Au fond du temple saint”) is the closest to a straight performance, but even here Wood feels he needs to add a chorus. Opera purists will want to hurl the disc through the nearest window, open or not.

-- Chris Pasles

Paul Lewis

channels Schubert

Franz Schubert: Final Piano Sonatas: D. 959 in A, D. 960 in B-flat

Paul Lewis, piano (Harmonia Mundi)

****

Remember the name: Paul Lewis. The 31-year-old British musician could be the next Murray Perahia. He has the burning intensity, the flagrant technique, the fervid imagination and the command of detail these ultimate examples of Schubertian inspiration demand. Here, Lewis delivers the entire kaleidoscope of the composer’s pianistic genius. These performances are articulate and spontaneous, seraphic and overheated, and filled with both passion and grace.

-- Daniel Cariaga