BaL 29.02.20 - Bartók: Piano Concerto No 3.

[LeMartinPecheur]

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.

Not being condescending but you might find Schiff's way with No's 1 & 2 a good way in, even if others - and you in time - may prefer something tougher. Perhaps a latter-day 'Timid Soul's approach to Bartok'? https://www.discogs.com/Bartok-Gyorg.../master/579423 And Sandor wasn't a wimp in Bartok.

Pianophile: thanks for the mention of Eva Bernáthová's recording. Not one of my own early LP versions (Katchen and 'Bishop') but recently I picked it up s/h on a US Artia pressing and must give it another spin, particularly with Ancerl at the helm.

Overall I liked Molleson's way here, generally finding positives in her selections (perhaps not Jarrett?) rather than going for the 'Here's how not to do it' angle. Will maybe watch the cheap racks for the Bavouzet but I'm not short of decent versions other than the above with Anda, Argerich, Fischer, Schiff.

[Nachtigall]

I too have the B&H 1947 score, purchased exactly 60 years ago, I note, following my acquisition of the Annie Fischer recording on LP, coupled with the Dance Suite. I have since acquired all the recordings covered in this BAL but was surprised there was no consideration of Zoltán Kocsis.

[Beresford]

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.

Me too. I've always been impressed by Bartok's quartets, but rarely moved by anything else, so clearly I was missing something.

I heard a violinist, maybe Joshua Bell, talking about his time at the Juilliard, with a teacher who played with Bartok. The teacher kept saying "Bartok must be played lyrically", which I am now beginning to hear, behind all those spiky performances (or quixotic as Kate M described Bavouzet. She does use cliches a lot, usefully I think, to communicate some aspect of the performance - when she described Anda's opening as lumbering, I knew exactly what to expect, both bad and good).

[richardfinegold]

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.

Thanks, I wasn’t aware that the Kocsis/Fischer was part of a larger box, I had bought a used disc, thankfully in great condition. I think that Kocsis was an underrated musician. His Chopin Waltzes are wonderful.

[Pulcinella]

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

The Anda/Fricsay version is in the 'Other recommended recordings'.

Composer: Béla Bartók
Piano Concerto No. 3, Sz. 119, BB 127

Recommended Recording:

Jean-Efflam Bavouzet (piano)
BBC Philharmonic
Gianandrea Noseda (conductor)
Chandos CHAN10610

https://www.chandos.net/products/catalogue/CHAN%2010610

Other Recommended Recording(s):

Andras Schiff (piano)
Budapest Festival Orchestra
Iván Fischer (conductor)
Elatus 0927467352 (download only)

Hélène Grimaud (piano)
London Symphony Orchestra
Pierre Boulez (conductor)
Deutsche Grammophon 4775330

https://www.deutschegrammophon.com/us/cat/4775330

Géza Anda (piano)
Berlin Radio Symphony Orchestra
Ferenc Fricsay (conductor)
Alto ALC1246

https://altocd.com/product/alc1246

and
Deutsche Grammophon 4473992

https://www.deutschegrammophon.com/us/cat/4473992

[Bryn]

Thanks, I wasn’t aware that the Kocsis/Fischer was part of a larger box, I had bought a used disc, thankfully in great condition. I think that Kocsis was an underrated musician. His Chopin Waltzes are wonderful.

I stand to be corrected if my memory misserves me but I think the fact that the Kocsis was then missing from the catalogue was mentioned during the BaL on the 2nd concerto, along with the advice that is was scheduled to reappear in the Decca complete Bartok box in the then near future.

[Bryn]

One thing I am grateful to Molleson for is her mention that Annie Fischer recorded the work three times. I knew of the Markevitch and Solti issues but last year's Orfeo release of that with Fricsay has passed me by. Now listening to it via QOBUZ.

[edashtav]

[…]
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.

Thanks, ardcarp, that's news to me and helpful.

[Bryn]

Thanks, ardcarp, that's news to me and helpful.

Indeed, and quite a shock to me to read that his adoption of Unitarianism did not come late in life. His public declaration was as early as 1916. An aspect of Bartok's life which had somehow eluded me.

[edashtav]

Otto Klemperer:
"In 1933 I conducted Bartók's Second Piano Concerto in Vienna with him as soloist. That was a great experience for me. He was a wonderful pianist and musician. The beauty of his tone, the energy and lightness of his playing were unforgettable. It was almost painfully beautiful. He played with great freedom, that was what was so wonderful. He was a strange man -- very reserved, very shy, but very sympathetic. He had a new wife at the time. But the old also came to the rehearsal, so he appeared with two wives."

* Beauty of tone
* Energy
* Lightness
* Almost painfully beautiful.
* Great freedom.

Well, I settle for those qualities and over the last few days, I've found similar characteristics in Jean-Efflam Bavouzet's recording of Bartok's last piano concerto. I'd add one more quality that I find in many works by Bartok: a mercurial spirit.
Jean-Efflam's playing is mercurial almost to the point of being wayward.

A man accompanied by two wives sounds mercurial and wayward to me.
Kate Molleson found the right winner for me.

[Alison]

Indeed, and quite a shock to me to read that his adoption of Unitarianism did not come late in life. His public declaration was as early as 1916. An aspect of Bartok's life which had somehow eluded me.

I believe Grieg was Unitarian too.

[edashtav]

I believe Grieg was Unitarian too.

Well, well!

Stravinsky detected BB's piety (my emphasis):

"I met Bartók at least twice in my life, once in London, in the 1920s and later in New York in the early forties, but I had no opportunity to approach him closer either time. I knew the most important musician he was, I had heard wonders about the sensitivity of his ear, and I bowed deeply to his religiosity. However, I never could share his lifelong gusto for his native folklore. This devotion was certainly real and touching, but I couldn't help regretting it in the great musician. His death in circumstances of actual need has always impressed me as one of the tragedies of our society."

[pastoralguy]

A man accompanied by two wives sounds mercurial and wayward to me.
Kate Molleson found the right winner for me.

I once played at a wedding where BOTH ex wives were present! The man was fantastically wealthy so may that had something to do with it! (His enormous downstairs bathroom was also used for wine storage! All these vintage wines against the opposite wall from the bath! I remember we were paid the absolute minimum rate!)

[Nick Armstrong]

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.

I vaguely knew about this (but not that the church was Unitarian) as my godmother’s mother often used to talk about her friend Béla whom she used to meet on church trips, and correspond with. It was a considerable shock to this young(ish) music fan when at some point she said casually that Béla’s dad had been “quite a well-known composer”

Tolerated KM this morning as she’s not quite so unbearable when analysing sensibly, but as usual these days, the chat largely washed over me in favour of concentrating on the extracts and making up my own mind. I personally don’t feel the need to add to the Schiff/Budapest recording.

[MickyD]

Not being condescending but you might find Schiff's way with No's 1 & 2 a good way in, even if others - and you in time - may prefer something tougher. Perhaps a latter-day 'Timid Soul's approach to Bartok'? https://www.discogs.com/Bartok-Gyorg.../master/579423 And Sandor wasn't a wimp in Bartok.

Pianophile: thanks for the mention of Eva Bernáthová's recording. Not one of my own early LP versions (Katchen and 'Bishop') but recently I picked it up s/h on a US Artia pressing and must give it another spin, particularly with Ancerl at the helm.

Overall I liked Molleson's way here, generally finding positives in her selections (perhaps not Jarrett?) rather than going for the 'Here's how not to do it' angle. Will maybe watch the cheap racks for the Bavouzet but I'm not short of decent versions other than the above with Anda, Argerich, Fischer, Schiff.

Not at all condescending, LMP - on the contrary, your thoughts are much appreciated. I think 'timid' is a very good adjective for my approach to Bartok until now! Will definitely snap up the Schiff disc on your recommendation.