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| WWE 1CD 20091 |
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Béla Bartók
piano concertos 1, 2, 3 |
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Klavierkonzert Nr. 3, Sz 119 - 1. Satz: Allegretto |
06:49 |
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| 2 |
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- 2.Satz: Adagio religioso |
09:18 |
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| 3 |
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- 3.Satz: Allegro vivace |
06:48 |
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| 4 |
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Klavierkonzert Nr. 1, Sz 83 - 1.Satz: Allegro moderato - Allegro |
08:54 |
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| 5 |
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- 2.Satz: Andante |
07:43 |
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| 6 |
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- 3.Satz: Allegro molto |
07:23 |
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Klavierkonzert Nr. 2, Sz 95 - 1.Satz: Allegro |
09:44 |
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- 2.Satz: Adagio - Presto - Adagio |
11:34 |
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| 9 |
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- 3.Satz: Allegro molto |
06:16 |
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Total Time |
01:14:29 |
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| Digital Booklet - only with album |
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| Tour de force ŕ la Bartók |
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| Today, the piano concertos by Béla Bartók are regarded as works of classic modernism and are considered suitable even for conservative audiences. Musica Viva, the concert series for contemporary music in Munich, included the piano concertos in their program back in 1957, a time when it was by no means a matter of course to hear this music in established concert halls. The man at the piano was one of the greatest of his trade: Géza Anda, a fervent and uncompromising advocate of Bartók's oeuvre, with a further repertoire that encompassed all epochs – his recordings of Mozart's piano concertos are as famous as his interpretations of Schumann, Schubert or Brahms. Throughout his life he devoted himself and his technical skill to the cause of poetical-musical performance and interpretation, far from any tedious virtuosity. He was only 56, and at the peak of his art, when he died of an aggressive form of cancer. Still today his live recordings of Bartók's piano concertos are considered to be among the most impressive examples of his skill, and of Bartók interpretations in general, in spite of the imperfect sound quality. |
1CD | Orchestral | BR musica viva |
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| Recommendation |
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Pax Questuosa (1982) vividly tells “of the vicarious suffering for peace, which, while broken again and again, remains our only hope.”  |
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| The crack in the groove of a record, a VCR whose pause function does not work and voices of demons from the Middle Ages: Bernhard Lang’s DW 8, DW 3 und DW 15 |
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| In 1951, after numerous solo compositions, Cage tried his hand at a piano concerto, naturally for the prepared variety. And in marked contrast to the concerto: Sixty-Eight. |
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