Béla bartók - second piano concerto and sonata for piano


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I make the point because both Fischer and Kocsis provide their soloists with vivid accompaniments, Fischer scoring highest for lightly inflected colour, Kocsis for rhythmic edge and keenness of attack. Zehetmair is the more volatile player and Berlin Classics delivers a warmer recording, softer and more ambient than the dramatic sound stage Hungaroton provides for Kelemen and Kocsis; and Steinbacher and Janowski enjoy the benefit of Pentatone’s luminous, three-dimensional recording for a reading that sits, interpretatively, between the mercurial Zehetmair and the red-blooded Kelemen.

His fame as both composer and pianist spread fast. Between 1926 and 1931 he wrote the first two of his three piano concertos as vehicles for his own playing. Typically, though, he resisted adopting the life of a touring composer-virtuoso. He continued with his folk-music studies and with developing his own musical language, exploring the nature of variation, the viability of symmetrical forms and a whole array of novel sounds in pieces such as the Third, Fourth and Fifth Quartets (1927, 1928, 1934), the Music for Strings, Percussion and Celesta (1936) and the Sonata for two pianos and percussion (1937). His later music veers towards a more diatonic sound-world, though formal process and proportion always remained important issues.


Béla Bartók - Second Piano Concerto and Sonata For PianoBéla Bartók - Second Piano Concerto and Sonata For PianoBéla Bartók - Second Piano Concerto and Sonata For PianoBéla Bartók - Second Piano Concerto and Sonata For Piano

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