Bela Bartok – Duke Bluebeard’s Castle

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn Morris, Sir Georg Solti, Fritz Reiner, Szigeti, Serge Koussevitzky, Kodaly, Dohnanyi, Shostakovich, Vaclav Talich, Lionel Salter, James Mallinson, James Lock, Concerto for Orchestra, Dance Suite, Duke Bluebeard's Castle, Mark Elder, Bela Balazs, Endre Ady, Zoltan Kodaly, The Wooden Prince, The Miraculous Mandarin, Gretry, Offenbach, Dukas, Debussy, Peleas, Gwynne Howell, Sally Burgess, John Lloyd Davies, Robert Cowan, Arthur RackhamBela Bartok (1881-1945)

Duke Bluebeard’s Castle

BBC National Orchestra of Wales – Mark Elder, conductor (BBC Music)

Recorded: Live at St. David’s Hall, Cardiff, Wales – January 11, 1992

ONE-SENTENCE REVIEW:

For some reason, I thought Bluebeard was a pirate story – but, in reality, he is a violent guy who keeps marrying and murdering his wives – and then brings the next potential wife to his castle (think Sweeney Todd with less of a motive).

ORIGINAL LINER NOTES:

The early years of this century witnessed radical developments in Hungarian music and literature. Endre Ady and Bela Balazs achieved significant reforms in poetry and drama, and Bela Bartok joined forces with his friend Zoltan Kodaly to explore the riches of Hungarian folk music.

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The idea of male secrecy challenged by female curiosity must have greatly appealed to him: he was, after all, a profoundly private individual whose life was underscored by powerful infatuations and deep-rooted relationships.

All three of Bartok’s stage works – Bluebeard’s Castle, The Wooden Prince and The Miraculous Mandarin – deal with some aspect of man’s relationship to woman.

Bartok wasn’t the first composer to set the story of Bluebeard to music: Gretry, Offenbach and Dukas preceded him. But the Bartok/Balazs collaboration is unique – in its narrative simplicity, the psychological force that lies behind the characters and in its very personal symbolism.

The drama is internalized, its outward manifestations merely the guides to a whole range of repressed conflicts. The descriptive power of the music equals, indeed surpasses, most other works of its kind; seven doors and seven meaningful spectacles behind them, all reflected in orchestration that is so startlingly graphic that a physical stage set hardly seems necessary.

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Although its musical language is firmly rooted among the somber woodlands of Debussy’s Pelleas, Bluebeard has its own spicy tang and graphic impact.

Bartok revised his original score before the 1918 Budapest premiere and continued in effect minor changes up until the Thirties.

In its final form, Bluebeard’s Castle is unquestionably one of the century’s most magnetic operatic masterpieces.

TRACK LISTING:

  • 1: Prologue: auguries of darkness and desire [3:16]
  • 2: The arrival [15:21]
  • 3: First Door: the torture chamber [4:41]
  • 4: Second Door: the armory [4:17]
  • 5: Third Door: the treasury [2:17]
  • 6: Fourth Door: the garden of flowers [4:52]
  • 7: Fifth Door: expansive domains [6:46]
  • 8: Sixth Door: the lake of tears [13:52]
  • 9: Seventh Door [9:47]

FINAL THOUGHT:

It’s pretty dark, disturbing stuff – now some of those pictures of Bartok (from previous blogs here and here) make a little more sense.

piano_rating_75

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

 

Bela Bartok – Concerto For Orchestra

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Concerto for Orchestra

Dance Suite

Chicago Symphony Orchestra – Sir Georg Solti, conductor (London)

Recorded: Orchestra Hall, Chicago – January 1981

ONE-SENTENCE REVIEW:

Yeah, now we’re talking – that’s SIR Georg Solti to you, buddy – close personal friend of Mr. Bartok!

ORIGINAL LINER NOTES:

Bela Bartok, A Personal Note (Georg Solti, London, 1981):

“When I was studying music in Budapest, I was lucky enough to encounter Bela Bartok in very varied circumstances. He was a calm and introverted man, who spoke little, but who greatly enjoyed the company of young people and who was enormously touched by their admiration. Above all things he hated intolerance, dictatorship and fascism, which drove him from the native Hungary he so loved.

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A little later, as a member of the jury for the Liszt Academy’s composition examinations, he had occasion a number of times to judge my compositions, which must have been particularly horrible to him!

In 1938, I turned pages for him at the first public performance of his Sonata for Two Pianos and Percussion, which he played with his wife. This took place at the Budapest Opera, but sadly only the young people in the audience applauded the work and saw the true importance of such a masterpiece.

It was also at the Budapest Opera that I was able to watch him while he was supervising the production of The Miraculous Mandarin. He was very meticulous and I remember how he would stand in the hall, his metronome in his hand, checking the tempi.

When preparing these two works for the recording, I was determined that the tempi should be exactly as Bartok wrote and this led me to some extraordinary discoveries, chief of which was in the second movement of the Concerto for Orchestra. The printed score gives crochet equals 74, which is extremely slow, but I thought that I must follow what it says.

When we rehearsed I could see that the musicians didn’t like it at all and in the break the side drum player (who starts the movement with a solo) came to me and said “Maestro, my part is marked crochet equals 94,” which I thought must be a mistake, since none of the other parts have a tempo marking.

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Furthermore, Bartok headed it ‘Presentando le coppie’ (Presentation of the pairs) not ‘Giuocco delle coppie’ (Game of the pairs). I was most excited by this, because it becomes a quite different piece.

The programme of the first performance in Boston clearly has the movement marked ‘Allegro scherzando’ and the keeper of the Bartok archives was able to give us further conclusive evidence that the faster tempo must be correct.

I have no doubt that thousands of performances, including my own up until now, have been given at the wrong speed!”

BARTOK: CONCERTO FOR ORCHESTRA (Notes by: Lionel Salter):

While Bartok was ill in the USA in 1943, Koussevitzky came to his hospital room to offer him a commission for an orchestral work; in reality this had been urged by Szigeti and Fritz Reiner in an effort to alleviate the composer’s impoverished condition and his feelings of frustration, though this had to be kept secret from him, as his pride would not have allowed him to accept anything that smacked of charity.

The outcome was the Concerto for Orchestra – his last orchestral work except for the Third Piano Concerto and the unfinished Viola Concerto – which was completed in eight weeks and called for a very large orchestra, instruments often being treated “in a solostic manner,” as he said in his initial analysis.

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn Morris, Sir Georg Solti, Fritz Reiner, Szigeti, Serge Koussevitzky, Kodaly, Dohnanyi, Shostakovich, Vaclav Talich, Lionel Salter, James Mallinson, James Lock, Concerto for Orchestra, Dance SuiteIts first performance in Boston on December 1, 1944 was an instant success. The gratified composer wrote in a letter, “Koussevitzky is very enthusiastic and says it is “the best orchestra piece of the last 25 years’ (including the works of his idol Shostakovich‘).” The last words refer to Bartok’s pique that, while he himself had been neglected, Shostakovich’s “Leningrad” Symphony, with its “ridiculous” march theme, had, owing to wartime feelings, been widely welcomed: the Concerto bears evidence of his understandable reaction.

The andante opening of the Introduzione begins mysteriously with a characteristically Hungarian theme in the bass, built up on the interval of the fourth (which is to pervade the entire work and assume basic importance). A rhythmic theme of declamatory character develops from a flute phrase, and a rising five-note scale spanning a tritone appears, persists, and turns into the opening bar of the ensuing Allegro vivace, which is in orthodox sonata-form.

The first subject contains, in addition to the tritone scale, two rising fourths; and these (the second filled in with the intermediate notes) become the basis of a trombone theme, which is later to be taken up in two fugati.

The actual second subject, first heard on the oboe over a string drone, vacillates between two notes in a curious way. The movement as a whole is full of ingenious contrapuntal resource – including elaborate strettos and canons both forwards and in reverse – and culminates in a blazing statement by the brass of the early trombone theme.

The gay scherzo, in the printed score entitled Giuoco delle coppie, is in fact, int he composer’s manuscript, headed Presentando le coppie. A side drum without snares (in a rhythm about which the autograph reveals that Bartok had at first been undecided) ushers in the instruments, which trip on in pairs; the bassoons in sixths, the oboes in thirds, the clarinets in sevenths, the flutes in fifths, and the (muted) trumpets in major seconds.

The brass, accompanied by the side drum, then pronounce a benediction over the couples in the form of a short chorale (the opening notes of which are ingeniously derived from the closing line of the first movement) after which the instruments return in the same order as before, but this time fructified by additional instruments of their own (or similar) kind pattering along beside them, mirroring their activities or interlocking with them. A final cadence combines all the original instruments, in their initial relationships into a single chord.

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn Morris, Sir Georg Solti, Fritz Reiner, Szigeti, Serge Koussevitzky, Kodaly, Dohnanyi, Shostakovich, Vaclav Talich, Lionel Salter, James Mallinson, James Lock, Concerto for Orchestra, Dance SuiteThe Elegia harks back to the start of the Concerto, and uses among its kaleidoscopically-presented, folk-like material both the motif in fourths and the “declamatory” theme from the Introduzione.

The scoring is impressionistic – an example of the “night music” which consistently obsessed Bartok – and at the end of the solo piccolo’s repeated single notes recall the repeated xylophone notes in the Music for Strings, Percussion and Celesta.

The fourth movement is basically an Intermezzo in which two folk-like melodies of flexible, wayward shape alternate. But halfway through comes a rude interruption. The clarinet forgets itself so far as to wander into a burlesque of the notorious march-tune in Shostakovich’s “Leningrad” Symphony (with a half-recollection of The Merry Widow at the back of its mind): it is greeted with jeers and catcalls from the orchestra, which then strikes up a German-band oom-pah bass over which the violins join in with the tune and are rowdily mocked by the wind; the tuba gives a final elephantine echo of the clarinet’s original lapse of taste.

Order being restored, the serene Intermezzo is resumed and, after short flute cadenza, ends with fragments of the first theme.

The Finale, the most considerable and brilliant movement of the Concerto, begins (after a brief horn-call) with a bustling perpetuum mobile in the strings, and throws off numerous thematic motifs, the most important of which is a trumpet theme that is extensively developed: it becomes the subject of a fugue, and is treated in inversion, stretto, augmentation, diminution and every other contrapuntal ingenuity.

There is an abbreviated recapitulation, and the movement ends with a short coda after the trumpet theme has been hammered out in triumph by the full brass.

BARTOK: DANCE SUITE:

The Dance Suite dates from exactly twenty years earlier. To celebrate the 50th anniversary of the amalgamation of the towns Buda and Pest, works were commissioned from three Hungarian composers (each in his forties at the time).

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn Morris, Sir Georg Solti, Fritz Reiner, Szigeti, Serge Koussevitzky, Kodaly, Dohnanyi, Shostakovich, Vaclav Talich, Lionel Salter, James Mallinson, James Lock, Concerto for Orchestra, Dance SuiteThese were played at a concert on November 19, 1923, which began with the Festival Overture by Dohnanyi, who conducted on that occasion: his piece has sunk virtually without a trace, but the other two works stand among the brightest jewels in their native repertoire.

Kadaly’s masterpiece, the Psalmas hungaricus, besides evoking a period of tragic strife in his country’s history, also expressed something of his own bitterness at his treatment by politically-motivated adversaries; but Bartok, who had suffered similarly from hostile attacks, and who moreover was in the midst of emotional crises in his domestic life, rose above these to produce a composition whose joyousness and immediacy of impact – not to speak of its brilliant construction – have ensured its lasting popularity.

It was soon taken up very widely – in Cincinnati, Prague, London (at a Henry Wood Promenade Concert) and throughout Germany – and when Vaclav Talich conducted it with his Prague orchestra in Budapest in 1926 the entire work, at the public’s insistence, had to be encored.

TRACK LISTING:

  • 1-5: Concerto for Orchestra [I – 9:00; II – 6:05; III – 6:30; IV – 4:01; V – 9:30]
  • 6: Dance Suite [15:52]

FINAL THOUGHT:

If you read through that (very informative, I thought) you definitely don’t want to read anything further from me. Go on with your lives! A brilliant recording and ANOTHER 88!

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Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

Bela Bartok – Piano Concertos Nos 1 and 2

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn MorrisBela Bartok (1881-1945)

Concerto for Piano and Orchestra No. 1

Concerto for Piano and Orchestra No. 2

Maurizio Pollini, Piano – Chicago Symphony Orchestra (Claudio Abbado, Conductor) (Deutsche Grammophon)

Recorded: Chicago, Orchestra Hall, February 1977

ONE-SENTENCE REVIEW:

After nothing but a diet of Bach for the past couple of weeks, a little Bartok at his chaotic best is just what the doctor ordered – this is an excellent recording.

ORIGINAL LINER NOTES (by Paolo Petazzi – translation, Gwyn Morris):

Bela Bartok’s first two piano concertos, dated 1926 and 1930/31, belong to two different stages of the period when he was formulating the musical language of his advanced maturity – a synthesis in which an original reassessment of certain aspects of the European cultural tradition (Bach, Beethoven, Debussy) combined with stimuli and influences resulting from the study of Hungarian and Balkan folk music: in assimilating rhythmic and melodic elements foreign to Western classical music, Bartok did not use them in an ornamental, “exotic” way but as an integral part of a new language.

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn MorrisConcerto No. 1, composed between August and November 1926, immediately follows other important piano works like the Sonata and the “Out of Doors” Suite, to which it bears a strong affinity; these works mark a revival of Bartok’s creative activity after three years of almost total silence.

In a famous statement he made to the musicologist Edwin von der Null, Bartok himself stressed the presence of new stylistic characteristics in the Sonata and the First Concerto, pointing out the fruits of his interest in Baroque music, such as a more striking use of counterpoint than was apparent in his previous compositions.

Concerto No. 1 can also be seen as Bartok’s personal response to certain trends in the 1920s, from neo-classical objectivism to the vogue for solid construction and Bachian counterpoint. But Bartok’s style remains alien to the ironic taste for “pastiche” and “square-cut music”: in its harsh, severe, rigorous conception, Concerto No. 1 reveals a unity and force that are quite singular.

In the solo part, the more strictly percussive aspects of Bartok’s piano style predominate in a quest for violent sonorities, biting harshness, combinations of sounds conceived more as blocks than chords in the traditional sense.

And already in the First Concerto this type of piano writing spurs Bartok to probe the potentialities in the relationship between piano and percussion: in this respect there are clear anticipations of the  Sonata for Two Pianos and Percussion (1937).

The use of ostinatos, insistent motor rhythms sustained by constant propelling energy, are what chiefly link the Concerto to other experiments of the ’20s; but Bartok’s way is a highly personal one, a deliberate choice of discourse in the first person (and thus poles apart from Stravinsky and neo-classicism).

The balance between soloist and orchestra, only theoretically akin to that of the Baroque concerto, is brought about within a severe conception in which the orchestral colour is mainly sober and tends more to an essential chiaroscuro (excluding, therefore, innovations in sonority) than to a wide variety of colour, in keeping with the compact form of the entire work, its obsessive unity and the violent, barbaric energy which bursts forth from the harsh, hammering writing.

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn MorrisIn the introduction to the first movement, which immediately defines some essential characteristics of the music, there emerges a basic melodic cell to which a great part of the material of the composition is related.

Immediately after the introduction, the soloist states the first theme, the only one which stands out strongly in relief; those that follow are less broad and more like brief thematic nuclei. Hence, even if one recognizes in the first movement sonata-form construction (exposition-development-recapitulation), the logic which determines it is profoundly different from the Classical conception, in its combining and elaborating of the thematic material within a closely-knit, contrapuntal web and its frequent use of the ostinato technique.

The Andante, where the strings are silent, begins with a dialogue between piano and percussion. New and subtle relationships of timbre in this austere meditation open up regions of astonishing originality and profundity.

In the central section of the Andante, clearly constructed in A-B-A form, the piano repeats an ostinato figure which acts as a background to a crescendo traced by the woodwind. A brief transition with grotesque trombone glissandi links the second to the third movement, which is more animated and lively throughout.

A string ostinato accompanies the statement of the first theme; the successive ideas which support a structure tending to the episodic are all variations of a single nucleus. It is possible to detect connections between the thematic material of the first and the third movements, even though these are not constructed systematically as in Concerto No. 2.

In an article which appeared in 1939, Bartok wrote: “My First Concerto… I consider it a successful work, although its style is up to a point difficult, perhaps even very difficult for the orchestra and the public. And so I decided, a few years later, in 1930/31, to compose my Second Concerto with fewer difficulties for the orchestra and more pleasant themes. This aim of mine explains the more popular and easier character of the greater part of the themes…”

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn MorrisThis statement should not be taken too literally, but it points to the different style of the two concertos. In the roughly five years that separate them, Bartok had written, among other works, masterpieces like the Third and Fourth Quartets and the Cantata profana, and their proximity is discernible in the inspiration of the Second Concerto.

Here, there are certainly no compromising concessions to “easy music,” but it is true that the thematic material presents a more clearly recognizable profile and the quality of expression is more fluid in comparison with the harsh tension of the First Concerto.

Similarly, the orchestral writing provides a greater variety of colours, more lively and vivid – especially in the third movement, the only one in which the whole orchestra is featured (in the first movement, the strings are silent; in the Adagio, the woodwinds are excluded from the first and third sections).

The relationship between soloist and orchestra is also one of slightly less rigorous integration, allowing space for cadenzas in the first movement. The overall construction of the Second Concerto is similar to that of the Fourth Quartet: the first and third movements, with their internal similarities, are symmetrically placed around the central movement, which itself has a ternary construction – Adagio-Presto-Adagio.

In the Allegro, the first theme is obviously inspired by Stravinsky: the melodic shape of the first notes corresponds to the beginning of the horn theme at the start of the finale of The Firebird. Other analogies can be drawn with Petrushka. Such occasional affinities can also indicate how differently Bartok and Stravinsky – in his Russian period – used popular themes.

Manka Bros., Khan Manka, Emily's Music Dump, Emily Sachs, Manka Music Group, Bach Double Concerto, Johann Sebastian Bach, Isaac Stern, J.S. Bach, Itzhak Perlman, Zubin Mehta, Alexander Schneider, English Chamber Orchestra, Andrew Kazdin, Thomas Frost, Paul Myers, Howard H. Scott, Frank H. Decker, Henrietta Condak, Vivaldi, Prince Leopold of Anhalt-Cothen, Albert Schweitzer, Hannah and her Sisters, Sam Waterston, Dianne Wiest, Carrie Fisher, Woody Allen, Samuel Barber, Leonard Bernstein, Gustav Mahler, Ralph Vaughan Williams, Greensleeves, Thomas Tallis, Tchaikovsky, Henry VIII, Tolstoy, Alma Mahler, William Byrd, John Wilbye, Ursula Vaughan Williams, John McClure, Richard Killough, Leroy Parkins, Frank Decker, Bela Bartok, Piano Concertos, Claudio Abbado, Maurizio Pollini, Edwin von der Null, Stravinsky, The Firebird, Petrushka, Rainer Brock, Klaus Hiemann, Paolo Petazzi, David Steen, Hartmut Pfeiffer, Gwyn MorrisIn Bartok, we note an underlying sense of moral conviction, of familiarity bred of a long and intense study of folk music – in other words, an involvement leading to results far removed from those produced by Stravinsky’s dry stylization.

In any event, Bartok turns to advantage in a most personal way the “Stravinsky” theme in the Second Concerto.

In the sonata-form construction of the first movement (where the recapitulation presents the inversion of the themes in the exposition), there is a lavish variety of invention and modes of expression.

The Adagio is another specimen of “night-music” based on a completely different range of timbres from that of the Andante in Concerto No. 1. In a kind of tense and mysterious dialogue, we hear by turns a slow-paced chorale rendered by the pallid sonorities of the strings and the meditative comments of the piano with arabesques of intense evocative force.

After the first Adagio, a real Scherzo (Presto) leaps into action, light and pungent, with extreme and fantastic mobility; then, the opening episode returns and the Adagio fades away in an atmosphere of uncertainty.

In the third movement, the first theme – with its incisive energy, its hammering, barbaric force – seems to lead back to the mood of the First Concerto.

It is the only really new thematic element in this section, and acts as a refrain whose appearances frame the other episodes, all based on variations of the thematic material in the first movement (it is not difficult, on listening, to recognize the transformations of the “Stravinsky” theme); the movement takes shape as a fantastic, animated and richly coloured sequence of changing inventions articulated in an incisive, synthetic and energetic fashion.

TRACK LISTING:

  • 1-3: Concerto for Piano and Orchestra No. 1 [9:06; 7:52; 6:23]
  • 4-6: Concerto for Piano and Orchestra No. 2 [[9:37; 11:45; 6:04]

FINAL THOUGHT:

There is some truly frightening moments in these pieces and must say, I got a little scared listening to this late night alone in my office. There is something about piano and percussion that just makes a person a little jumpy.

Manka Bros., Khan Manka, Emily Sachs, Emily's Music Dump, Classical Music, Beethoven, Alfred Brendel, Czerny, Piano Sonata Opus 78, Piano Sonata Opus 106, Hammerklavier, For Therese, Alfred Brendel, Therese von Brunsvik, Josefine von Brunsvik, Queen Elizabeth Hall, Misha Donat, Franz Klein

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)