BaL 29.02.20 - Bartók: Piano Concerto No 3.

[Bryn]

Thanks.
Having no image confused me, in case their offering was the piano reduction: I should have (and now have done) checked the ISBN.

I took the "HPS 100" as an indicator that it was the right thing.

[edashtav]

Almost sixty years ago, I invested pocket money on Julius Katchen's interpretation with Ernest Ansermet and his hard-pressed Suisse-Romande musicians. That LP was cheap; Katchen smoothed out accents and rhythms making the music slip down as easily as a nice cup of tea. However, it did Bartok's reputation no good to my ears, so I soon shelved the disc and it must have been forty years before I snapped up a Charity Shop copy of Anda and Fricsay, more to have the work on CD than in expectation of the wonderful enjoyment that ensued and survived frequent repetition.
Last weekend, I jumped Kate Molleson's starter pistol and invested in Bavouzet plus Noseda, based on good reviews on this Forum, and elsewhere. I'm converted by the clarity and naturalness of Jean-Efflam's lines and rhythms plus the unity shared between soloist, conductor and orchestra. Shall I be confounded on Saturday? Maybe...however, I'm ready to smuggle another winner past by wife and onto our heaving shelves.

[verismissimo]

Now listened again to my six existing recordings - Anda/Fricsay (1961), Ashkenazy/Solti (1981), Katchen/Ansermet (1953), Lipatti/Sacher (1947), Ranki/Ferencsik (1976) and Schiff/I Fischer (1996).

It's the Schiff that emerges from that pack for me - the playing, of course, and the superb (fairly) recent recording. Although already from a quarter of a century ago …

Oh and we have tickets for Piotr Anderszewski and the CBSO/Mirga in Symphony Hall, March 10. With Bruckner 6.

[edashtav]

Now listened again to my six existing recordings - Anda/Fricsay (1961), Ashkenazy/Solti (1981), Katchen/Ansermet (1953), Lipatti/Sacher (1947), Ranki/Ferencsik (1976) and Schiff/I Fischer (1996).

It's the Schiff that emerges from that pack for me - the playing, of course, and the superb (fairly) recent recording. Although already from a quarter of a century ago …

Oh and we have tickets for Piotr Anderszewski and the CBSO/Mirga in Symphony Hall, March 10. With Bruckner 6.

That's a fascinating six-pack, verismissimo, that displays, possibly, a leaning towards BB's own piano sound, which, I would expect PA to simulate in Brum. I've checked out that unusual programme on the CBSO website and it gave me this guff:
"And that in the hands of the phenomenal Piotr Anderszewski, Bartók’s explosive Third Piano Concerto should bring the house down."
Oh dear, I thought Piotr was a Chopinesque pianist, and that the 3rd was the least explosive and most reflective of BB's piano concerti. But... what do I know?
(I'm tempted to buy a ticket but wonder will it be too much of a rush as I'm lunching with a former colleague in MK's longest established Curry House ,on that day?)

[Maclintick]

Now listened again to my six existing recordings - Anda/Fricsay (1961), Ashkenazy/Solti (1981), Katchen/Ansermet (1953), Lipatti/Sacher (1947), Ranki/Ferencsik (1976) and Schiff/I Fischer (1996).

It's the Schiff that emerges from that pack for me - the playing, of course, and the superb (fairly) recent recording. Although already from a quarter of a century ago …

Thanks for the tips, Verismissimo. I learnt to appreciate this piece via Entremont/NYPO/Bernstein on vinyl (1968) -- as with Ed, paid for with saved-up pocket-money. That CBS LP also introduced me to the 2nd -- tough going for my musically-conservative parents who gallantly put up with me playing it at full volume -- this was over half-a-century ago, of course. Later I invested in Barenboim/BBC Symphony/Boulez in which 3rd was coupled with the 1st concerto...a fruitful journey in reverse order, as it turned out. Schiff/Fischer looks tempting...

[richardfinegold]

I’ve listened to Anda/Fricsay twice on Qobuz and it is mighty impressive. I still prefer my favorite, Kocsis/Fischer/Budapest. My previous two versions featured non Hungarian musicians, and both A/F and K/F have Hungarian Soloists and Conductors, but the difference is is Fischer’s Budapest players phrase so much more idiomatically than the German Orchestra for Fricsay

[Pulcinella]

My copy of the study score (revised edition, 1994) has arrived.

There appears to be one significant correction.

The Publisher's Note says (inter alia):

The editorial suggestion of Presto, dotted minim = 69 at bar 644 in that [the third] movement corrects the previous, presumably erroneous, marking of dotted minim = 96.

Bar 644 is just after a two-bar general pause (rest). I need to listen with the score and see if some earlier recordings did actually follow the 'erroneous' indication.

[Bryn]

My copy of the study score (revised edition, 1994) has arrived.

There appears to be one significant correction.

The Publisher's Note says (inter alia):

The editorial suggestion of Presto, dotted minim = 69 at bar 644 in that [the third] movement corrects the previous, presumably erroneous, marking of dotted minim = 96.

Bar 644 is just after a two-bar general pause (rest). I need to listen with the score and see if some earlier recordings did actually follow the 'erroneous' indication.

Thanks for that. I will make a note of it in my old 1947 version of the study score.

[Pianophile]

Listened to the Kocsis/BFO/Fischer recording from the Decca complete Bartok box last night. For me, considerably more idiomatic than the Bavouzet. No wonder it took pride of place in that Decca box.

My first recording of the work was that by Eva Bernáthová with the Czech Philharmonic and Karel Ancerl. Must dig that out for a listen, too, though I recall it having been fairly comprehesively eclipsed by later acquisitions of recordings of the work, Ancerl's contribution notwithstanding.

I got to know this work through Eva Bernáthová's recording with Ancerl on Supraphon when I was a student and I've always had a great affection for this recording.
I would also reach for her fellow Hungarian, Annie Fischer's recording with Markevich and the LSO. Looking forward to hearing this BaL.

Bernáthová died a year ago at the age of 96. Here's a link to the Guardian obituary:

https://www.theguardian.com/music/2019/mar/26/eva-bernathova-obituary

[Bryn]

I got to know this work through Eva Bernáthová's recording with Ancerl on Supraphon when I was a student and I've always had a great affection for this recording.
I would also reach for her fellow Hungarian, Annie Fischer's recording with Markevich and the LSO. Looking forward to hearing this BaL.

Bernáthová died a year ago at the age of 96. Here's a link to the Guardian obituary:

https://www.theguardian.com/music/20...thova-obituary

As I wrote, must dig it out again. Where is Kocsis in this review? Is it because it can only be found in the Decca complete Bartok box? My prediction re Bavouzet turned out to be right, though no historical choice of Anda.

[Barbirollians]

I have not listened to a whole BAL in a while but I found that pretty dreadful largely due to Molleson rather than AMcG superfluous though his interruptions were. She cannot help but overload with cliches and it was all very superficial. Her dismissal of Anda’s opening to the finale as lumbering was just bilge to my ears.

[MickyD]

Still not keen on the twofer format, but one positive thing is that upon hearing these extracts, I suddenly felt that I 'got' Bartok for the first time in my life, for which I am very grateful! Might order the Schiff, I liked the sound of it.

[Pulcinella]

Still not keen on the twofer format, but one positive thing is that upon hearing these extracts, I suddenly felt that I 'got' Bartok for the first time in my life, for which I am very grateful! Might order the Schiff, I liked the sound of it.

We seem to be getting longer extracts, which helps in the comparison of interpretations.

Happy with the versions I've got (and surprised, as usual, by some of the omissions).

The fact that Bartok didn't complete the work was mentioned a few times, so why does the website still say that he did?

[ardcarp]

I suddenly felt that I 'got' Bartok for the first time in my life

The 'dissonance' associated with much of Bartok (eg the SQs) is somehow moderated in these late pieces. A sweeping generalisatiom I know.
The Wiki biog (OK, not very scholarly) made an interesting read during the 'well, what have we got next' twaddle.

Kate M, referring to the religioso marking of the slow movement, said Bartok was without religion. Well, apparently he was brought up a Catholic, became an atheist, but later espoused the Unitarian church; and indeed one of his sons went on to become a Unitarian minister.

[Pianophile]

I have not listened to a whole BAL in a while but I found that pretty dreadful largely due to Molleson rather than AMcG superfluous though his interruptions were. She cannot help but overload with cliches and it was all very superficial. Her dismissal of Anda’s opening to the finale as lumbering was just bilge to my ears.

I agree. Couldn't believe there was no historical choice.