Bartók - Piano Concerto No. 3 Sz. 119 / Remastered (Century's recording: Géza Anda Ferenc Fricsay)

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Béla Bartók (1881-1945) The 3 Piano Concertos & Rhapsody by Géza Anda / Ferenc Fricsay.
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Click to activate the English subtitles for the presentation (00:00-01:43)
00:00 Piano Concerto No. 2, Sz. 95, BB. 101 - I. Allegro (Remastered 2021)
07:13 Piano Concerto No. 2, Sz. 95, BB. 101 - II. Adagio, Presto, Adagio (Remastered 2021)
17:28 Piano Concerto No. 2, Sz. 95, BB. 101 - III. Allegro molto (Remastered 2021)

Piano: Géza Anda
Berlin Radio Symphony Orchestra
Conductor: Ferenc Fricsay
Recorded in 1959, at Berlin
New mastering in 2021 by AB for CMRR
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This Concerto occupies a special place in Bartók's output. Aware of his poor health and concerned for his wife's future, Bartók wrote it for Ditta Pásztory so that she could embark on a new career as a concert pianist. However, he was unable to complete his project, and after his death, Tibor Serly took on the task of completing the final cadenza and providing the score with agogic and dynamic indications.

A feminine work par excellence, this Concerto ignores the dense and dense writing of the previous works and reduces the role of the percussion to a minimum. For the first time, the musician expresses himself in a total economy of means and crystallizes the ultimate stylistic traits of his art. Testament of a man on the threshold of death, it is distinguished by lines of great purity, a crystalline touch and a serenity of atmosphere that recall Mozartian poetry.

Also very close to the pre-classical concertos, it tends to consider the piano as the equal of the other instruments. The presence of unisons, octaves, thirds and sixths gives the orchestration a touch of delicate transparency. But above all, the work takes shape and lives around admirable melodies. Long melismatic themes in tempo giusto crisscross the score and determine the character of each movement. To support them, a discreet harmony bends to the meanders of the modulations and does not hesitate to give way to the unison or the octave. Finally, the polyphony plays a role of very first plan. Scattered throughout the development of the first movement, omnipresent throughout the second, it reigns supreme in the third.

Click to activate the English subtitles for the presentation (00:00-01:43)

Bartók - For Children Complete, Gyerekeknek Sz.42 / New Mastering (Century's recording : Géza Anda): https://youtu.be/zTd-WwVkmnA