When Fire Meets Ivory: Rediscovering Argerich’s 1965 Chopin on Vinyl

Warner Classics revives Martha Argerich’s 1965 Chopin run: raw energy, surface quirks, and vivid piano dynamics

First off, this reissue of Martha Argerich’s 1965 Chopin recordings is a bit of a trade-off. The performance bursts with intensity, but the vinyl and mastering have some rough spots that could bother anyone with sensitive equipment or who expects a polished listening session.

Packaging and First Impressions

The album shows up wrapped in a cellophane that tears too easily, and you might find little bits of plastic to pick out afterward—annoying enough to mention. The cover is a sharp black-and-white photo on a dark burgundy background, but the heavy gloss on the jacket dulls the classic vibe a bit. Inside, you get a plain white inner sleeve with just the Warner Classics logo—no liner notes or extras here.

The vinyl looks nice and glossy, but watch out for slight warps near the edges. These cause a subtle wobble in the first few millimeters, especially noticeable if your turntable’s tracking force is on the light side. A quick visual check before playing will save you from some unexpected tone fluctuations.

The Piano Work: Pure Energy, No Holds Barred

Argerich’s playing grabs you right away. The Prelude in E minor starts with a sharp attack, and the D-flat major Nocturne has a sweeping, weighty presence. The overall piano sound is upfront: the bass hits firmly, and the treble has a bright edge. It’s definitely not a tender, delicate recital—expect powerful tempo shifts and bold phrasing.

If you want Chopin with polished subtlety, look elsewhere. This pressing delivers the music like a sprint, with the left hand hammering down hard and the right hand pushing forward fast and furious.

Sound Quirks That Might Get to You

This pressing reveals its vintage roots in ways that may not suit every setup. Noticeable crackle and surface noise emerge during quieter passages, especially where the grooves aren’t perfectly smooth. The remaster bumps up the treble, which adds brightness but also brings out an ongoing hiss during the softest sections.

The tonal character tends to feel clinical rather than warm, with the original hall’s natural resonance dialed way down. If your phono stage or amp doesn’t smooth highs gently, some of those peaks can come off as harsh. The bass stays controlled and tight, lacking the enveloping warmth you’d get from a fuller soundstage.

Six Key Chopin Pieces in Thirty Minutes

The album offers a sampler of six known Chopin works: the Prelude in E minor Op.28 No.4, Nocturne Op.27 No.2, Scherzo No.2, and three etudes. It’s a concentrated half-hour, not a deep dive or complete set. If you’re aiming for the full Chopin-Argerich experience, you’ll be chasing more discs—and paying accordingly.

Getting the Best from Your Turntable

• Set anti-skate in the mid-range to keep the stylus tracking properly through intense passages.
• A stiff carbon fiber brush before each side is essential to reduce pops and crackles.
• Moving-coil cartridges help tame the bright edge here, while moving-magnet types can accentuate it.
• Tracking force around 2.2 to 2.5 grams stabilizes playback on warped edges but may slightly increase surface noise.

Who This Fits—and Who Should Look Elsewhere

This pressing works if you want a Chopin performance with aggressive energy, have a rig that can handle a forward-leaning treble, and don’t mind assembling the full collection one disc at a time.

If you expect a quiet, polished record, want a comprehensive anthology all in one, or prefer warmer, more natural piano tones, this isn’t the pressing for you.

Final Thoughts

The revived 1965 Argerich set is a bold listen with a few bumps. It captures a fiery, high-voltage performance but calls for gear that can handle its brightness and surface quirks. Fans of exciting, raw piano runs will find it rewarding. Those who want smooth, rich sound or distraction-free quiet moments would be better off hunting different pressings.