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Jean-Efflam Bavouzet is totting up his "Complete..." collections as if there were no tomorrow. In 2009, he completed his multi-award-winning Complete Works for Piano by Debussy. Then, spring 2010 saw the first release in his complete Haydn's Piano Sonatas. Hot on its heels, he's gone and snuck in this complete piano concertos of Bartók, and it feels as much of a gem as his Debussy series did.
Bartók wrote his three piano concertos between 1926 and 1946, out of a need for repertoire when finances dictated he become a composer performer. Whilst he may have taken to the concert platform out of necessity, Bartók was a highly gifted pianist; Otto Klemperer, who conducted his second performance of Piano Concerto No.2 in 1933, said afterwards, "the beauty of his tone, the energy and lightness of his playing were unforgettable. It was almost painfully beautiful". Bavouzet's interpretation isn't far behind that enviable description.
The first movement of that concerto pays homage to Stravinsky with a sped-up version of the big theme that closes Firebird, and Bavouzet's own energy and lightness make the most of the jubilant, rhythmic writing. At times it's actually difficult to comprehend the fluid speed with which he plays the multitude of musical ideas that are interweaving and jostling for space with each other. It's a beautifully nuanced performance, brimming over with variety of touch and dynamic. Against, or rather in partnership with the music's rattling pace, his fingers are sharply percussive one moment, and gently rippling the next in a way which often brings Debussy to mind. The orchestra match him in their deft lightness, brightness and virtuosity.
In the mysterious sounding Adagio, which is imbued with the primeval spirit of, if not directly quoting from Stravinsky's Rite of Spring, he enjoys the slower pace by harvesting every inch of expression to be found within the piano's natural sonorities. Piano Concerto No.1 of 1926 is as exciting a listen for all the same reasons, with the Allegro moderato's ragtime injections engagingly edgy. Fast-forward to Piano Concerto No.3 of 1946, composed as Bartók prepared for death, and his "Adagio religioso" entry feels like a prayer.
Review
These exciting and dynamic performances certainly match up such (top) rivals in terms of their visceral impact and muscial insight.Working in an icisive partnership with Gianandrea Noseda and the BBC Philharmonic.As always,Chandos cushions these fine performances inopulent sound but the piano is placed within the orchestra,enabling us to hear Bartok's intricate contrapuntal lines with the greatest clarity. --BBC Music magazine,Oct 2010
If you're after a disc of Bartok's piano concertos that maximises on the music's drive,elegence and sparring potential,then you could hardly do better than this ear-catching new production by Jean-Efflam Bavozet and the BBC Philharmonic under the spirited direction of Gianandrea Noseda.rarely have i encountered a reading of the first concerto where,in the first movement especially,the sense of instrumental interplay is so consistently vital.Another exceptional performance. --Gramophone awards issue
If you're after a disc of Bartok's piano concertos that maximises on the music's drive,elegence and sparring potential,then you could hardly do better than this ear-catching new production by Jean-Efflam Bavozet and the BBC Philharmonic under the spirited direction of Gianandrea Noseda.rarely have i encountered a reading of the first concerto where,in the first movement especially,the sense of instrumental interplay is so consistently vital.Another exceptional performance. --Gramophone awards issue
If you're after a disc of Bartok's piano concertos that maximises on the music's drive,elegence and sparring potential,then you could hardly do better than this ear-catching new production by Jean-Efflam Bavozet and the BBC Philharmonic under the spirited direction of Gianandrea Noseda.rarely have i encountered a reading of the first concerto where,in the first movement especially,the sense of instrumental interplay is so consistently vital.Another exceptional performance. --Gramophone awards issue
If you're after a disc of Bartok's piano concertos that maximises on the music's drive,elegence and sparring potential,then you could hardly do better than this ear-catching new production by Jean-Efflam Bavozet and the BBC Philharmonic under the spirited direction of Gianandrea Noseda.rarely have i encountered a reading of the first concerto where,in the first movement especially,the sense of instrumental interplay is so consistently vital.Another exceptional performance. --Gramophone awards issue
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Customer Reviews
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This year has so far been Bartok Year for me - a year for rediscovering and falling in love again with his music. And of finding that as a teenager and in my twenties I hadn't fully understood the depth and profundity of Bartok's music. This time it all started with the Piano Concertos ... a wonderful set of works each very different from the others, each very distinctive (definitive even) of the three mature phases of the composer's output and each surprisingly simple. Argerich's wonderful performance on the Third Concerto worked magic in my brain for years until suddenly I wanted to revisit the other concertos and to listen to them afresh. That started six months agin: I'm still listening and they are still fresh!
Great works - and these concertos are surely truly great - of course, will tend to be brought to life again and again by different performers and in different performances. There can never be the one best performance of any of these works or the one best set. But it is easy to imagine a Radio 3 "Building a Library" programme that chose any one of the Bavouzet performances here as "the best" or indeed to choose the set as the best. It is, though, just as easy to imagine Schiff's recordings with Fischer being chosen or Anda's with Fricsay or any of the three pianists who appear on the Boulez set ... all are excellent and have different and new things to say about the Bartoks. Schiff is classical and sparkles and is properly idiomatic. Anda is warm and alive. The Boulez set has three great pianists turn in excellent performances of the three concertos - Zimmerman's cool and miraculously precise First, a sophisticated Andsnes Second and wonderfully imaginative Grimaud Third. Then there is the Richter performance on the Second Concerto and the Argerich performance referred to above. None of these performances is given to badgering or banging out Bartok's music in an uncompromising way - all recognise that Bartok is best played with subtlety and that much of his music is extremely beautiful.
So how does Bavouzet fit in with all this wonderful music making? Firstly, he also sees the beauty - indeed, his set may be the most beautiful of all. But his Bartok is perhaps more Romantic than the others ... it is less pure and more pianistic, perhaps. Bavouzet is never hectoring but it may be that his accounts are the most likely to fully deliver on the intense side of Bartok's music. This is concerto playing and the interaction of the pianist with orchestra is alive. These are performances of real stature - on occasions Bavouzet's interpretive choices surprise but inevitably he goes on to justify and make sense of the path he has taken. The BBC SO under Noseda provide excellent, sympathic and rhythmically compelling support. Highly recommended.
Great works - and these concertos are surely truly great - of course, will tend to be brought to life again and again by different performers and in different performances. There can never be the one best performance of any of these works or the one best set. But it is easy to imagine a Radio 3 "Building a Library" programme that chose any one of the Bavouzet performances here as "the best" or indeed to choose the set as the best. It is, though, just as easy to imagine Schiff's recordings with Fischer being chosen or Anda's with Fricsay or any of the three pianists who appear on the Boulez set ... all are excellent and have different and new things to say about the Bartoks. Schiff is classical and sparkles and is properly idiomatic. Anda is warm and alive. The Boulez set has three great pianists turn in excellent performances of the three concertos - Zimmerman's cool and miraculously precise First, a sophisticated Andsnes Second and wonderfully imaginative Grimaud Third. Then there is the Richter performance on the Second Concerto and the Argerich performance referred to above. None of these performances is given to badgering or banging out Bartok's music in an uncompromising way - all recognise that Bartok is best played with subtlety and that much of his music is extremely beautiful.
So how does Bavouzet fit in with all this wonderful music making? Firstly, he also sees the beauty - indeed, his set may be the most beautiful of all. But his Bartok is perhaps more Romantic than the others ... it is less pure and more pianistic, perhaps. Bavouzet is never hectoring but it may be that his accounts are the most likely to fully deliver on the intense side of Bartok's music. This is concerto playing and the interaction of the pianist with orchestra is alive. These are performances of real stature - on occasions Bavouzet's interpretive choices surprise but inevitably he goes on to justify and make sense of the path he has taken. The BBC SO under Noseda provide excellent, sympathic and rhythmically compelling support. Highly recommended.
Most Helpful Customer Reviews on Amazon.com (beta)
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7 reviews
6 of 6 people found the following review helpful
Bavouzet gives another outstanding performance
14 Oct 2010
Format:Audio CD
Solid reviews are already being written about this disc of Bartók's three piano concertos. BBC Music Magazine made it their Orchestral choice for October 2010, and Gramophone will list it as Editor's Choice for November 2010. Pianist Jean-Efflam Bavouzet is not new to great reviews of his recordings. The set of complete piano works of Debussy (5 separate CDs) all received top marks, both for performance and sound quality. This is Bavouzet's first concerto recording for Chandos, and is worthy of similar praise.
I usually like piano music best when it's performed by the composer's countrymen. Rogé for Satie, Andsnes for Grieg, and so on. I would have initially been inclined to look for a recording featuring Kocsis, or Jandó. In this case, I am perfectly willing to make an exception. Bavouzet brings a welcome impressionism to Bartók's piano concertos. The slower movements, such as the Adagio religioso in the third concerto, take on a dreamlike quality. The percussive parts of the concertos do not drown out the piano; rather, Chandos has blended the parts evenly, allowing the listener to better enjoy the interplay between soloist and orchestra.
The sound quality of the recording is remarkable, and would have certainly been worthy of an SACD release. The booklet notes give informative insight into the creation of these 20th century masterpieces. Even the cover art is exciting, matching the bombastic and beautiful interpretations of these works. Do not hesitate to buy this recording!
I usually like piano music best when it's performed by the composer's countrymen. Rogé for Satie, Andsnes for Grieg, and so on. I would have initially been inclined to look for a recording featuring Kocsis, or Jandó. In this case, I am perfectly willing to make an exception. Bavouzet brings a welcome impressionism to Bartók's piano concertos. The slower movements, such as the Adagio religioso in the third concerto, take on a dreamlike quality. The percussive parts of the concertos do not drown out the piano; rather, Chandos has blended the parts evenly, allowing the listener to better enjoy the interplay between soloist and orchestra.
The sound quality of the recording is remarkable, and would have certainly been worthy of an SACD release. The booklet notes give informative insight into the creation of these 20th century masterpieces. Even the cover art is exciting, matching the bombastic and beautiful interpretations of these works. Do not hesitate to buy this recording!
8 of 9 people found the following review helpful
An arresting take on the Bartok concertos --- softer, more impressionistic, merging piano and orchestra
28 Sep 2010
Format:Audio CD
I approached this traversal of the three Bartok piano concertos without knowing of Bavourzet, a French pianist in his late forties who has won prizes and recorded Debussy, among other things, for Chandos. It would be easy to shrug him off: the world is fairly crammed with prize-winning pianists and also a fair number of outstanding recordings of the Bartok concertos, going back at least as far as Geza Anda and Ferenc Fricsay (on DG). In the wake of some great interpretations from the young Barenboim with Boulez, Stephen Kovacevich with Colin Davis, Pollini with the older Boulez, and scattered performances by Argerich, not to mention the flashy set from Ashkenazy and Solti, can Bavouzet find his own niche?
I think he does, because he backs away fairly strongly from accepted Bartok piano style, with its hammering insistence, accented dissonance, and motor rhythms. In their place we get softer attacks, expressive phrasing, and an emphasis on atmosphere. It would be glib to say that Bavouzet has mistaken Bartok for Debussy, but the suggestion isn't off base. One notices that he and Noseda are out to play change-up from the first few bars of Cto. no. 1, which is miles away from Pollini's driving force. Pianist and conductor take all the time they need for pauses, reflection, and moodiness. This allows the Andante of the first concerto, for example, to come off very successfully, full of color and half-light. Chandos provides very detailed sound from inside the orchestra, which enhances the coloristic effects.
Cto. no. 2 is played for virtuosic impact by almost everyone, and Bavouzet must step up to its fiendish technical challenges. He lacks the stunning command of Pollini (and also Lang Lang, who toured with the Bartok Second a few seasons ago), but in its place he and Noseda turn this work into more of an ensemble piece. Since Bartok was an orchestrator of genius, the tactic is very effective, and once more Chandos delivers colorful, rich sound for both piano and orchestra. the conducting is impressive musically, another major plus. It's refreshing to hear this concerto with no banging allowed.
Cto. no. 3 is the masterpiece of the trio, and I came to Bavouzet with fantastic concert readings in my mind from Piotr Anderszewski. This work interlaces many moods, often with sharp juxtapositions. Bavouzet can be a bit too straightforward where the best soloists are poetic, but his sense of pacing keeps the performance moving forward, while he also leaves space to phrase. The night music in the Adagio religioso (a surprising direction from Bartok) allows the most freedom -- we are almost in Falla's gardens of Spain -- and Bavouzet's clean, sober solemnity is quite appealing. He knows how to voice the short, separate chords that the composer gives to the piano in lieu of a lyrical melody. The BBC Phil. can't compete with the greatest orchestras, but their playing is attentive and colorful throughout. The crosstalk between the chirping birdsong in the woodwinds and piano is sharp and witty. Only in the finale do I miss the charisma of Pollini and Anderszewski.
In all, I was much more impressed than I expected to be, and if you like the idea of a somewhat novel approach to these works, delivered in excellent sound, this CD is well worth it.
I think he does, because he backs away fairly strongly from accepted Bartok piano style, with its hammering insistence, accented dissonance, and motor rhythms. In their place we get softer attacks, expressive phrasing, and an emphasis on atmosphere. It would be glib to say that Bavouzet has mistaken Bartok for Debussy, but the suggestion isn't off base. One notices that he and Noseda are out to play change-up from the first few bars of Cto. no. 1, which is miles away from Pollini's driving force. Pianist and conductor take all the time they need for pauses, reflection, and moodiness. This allows the Andante of the first concerto, for example, to come off very successfully, full of color and half-light. Chandos provides very detailed sound from inside the orchestra, which enhances the coloristic effects.
Cto. no. 2 is played for virtuosic impact by almost everyone, and Bavouzet must step up to its fiendish technical challenges. He lacks the stunning command of Pollini (and also Lang Lang, who toured with the Bartok Second a few seasons ago), but in its place he and Noseda turn this work into more of an ensemble piece. Since Bartok was an orchestrator of genius, the tactic is very effective, and once more Chandos delivers colorful, rich sound for both piano and orchestra. the conducting is impressive musically, another major plus. It's refreshing to hear this concerto with no banging allowed.
Cto. no. 3 is the masterpiece of the trio, and I came to Bavouzet with fantastic concert readings in my mind from Piotr Anderszewski. This work interlaces many moods, often with sharp juxtapositions. Bavouzet can be a bit too straightforward where the best soloists are poetic, but his sense of pacing keeps the performance moving forward, while he also leaves space to phrase. The night music in the Adagio religioso (a surprising direction from Bartok) allows the most freedom -- we are almost in Falla's gardens of Spain -- and Bavouzet's clean, sober solemnity is quite appealing. He knows how to voice the short, separate chords that the composer gives to the piano in lieu of a lyrical melody. The BBC Phil. can't compete with the greatest orchestras, but their playing is attentive and colorful throughout. The crosstalk between the chirping birdsong in the woodwinds and piano is sharp and witty. Only in the finale do I miss the charisma of Pollini and Anderszewski.
In all, I was much more impressed than I expected to be, and if you like the idea of a somewhat novel approach to these works, delivered in excellent sound, this CD is well worth it.
5 of 5 people found the following review helpful
Bartók's Piano Concertos for our time
6 Nov 2010
Format:Audio CD|Amazon Verified Purchase
Béla Bartók left no wide margins for his interpreters, and therefore many interpretations of the three concertante-like piano concertos that make pianist, conductor and orchestra on a more or less equal footing have a strikingly similar design. So when Noseda-Bavouzet with BBC Philharmonic bring out a new recording of these Bartók's ravishing concertos, your curiosity will arise: What will their contribution be to the multitude of excellent interpretations existing?
For example, compared to the legendary Fricsay-Anda recording with its sensitively varied and nuanced playing and its incomparable Hungarian Bartók character, a both explosive and meditative revelation out of the past. Or Fischer-Schiff, as incomparable and emotive in its perfect balance between soloist and orchestra (Budapest Festival Orchestra), between the Classicist and Romantic-Modernist strains in the scores, probably the most ideal interpretation of them all. Or Boulez with three different orchestras and pianists, cleverly chosen according the character of the concertos: an authoritative Zimerman, an Andsnes full of fresh dignity, and a most Romantic and introvert Grimaud, with Boulez himself reigning supremely over the shifting stage and keeping all of it together from a more Modernist than Hungarian commonage full of universal space and stringency.
In comparison Noseda-Bavouzet is the fastest recording, with brisk tempi and vehement accomplishment: 73'28 for all the three concertos, whereas Fricsay-Anda take on 76'55, the longest one, and Fischer-Schiff and Boulez-Zimerman/Andsnes/Grimaud both land up in 76'26 and 76'25 respectively, quite an incredible levelness. Fast tempi suit Bavouzet's Classicist style, his lively, energetic drive and his stunningly distinct virtuosity, quite perfectly. Both the first and the second concerto are brilliantly rendered, whereas the third one with its famous Adagio religioso is a weak point of the recording, lacking the form of contemplative "still center" necessary to reflect the suggestion of mysticism of the piece (Grimaud is all gold here, but also Anda and Schiff are glorious).
To the credits of the Noseda-Bavouzet disc the innovative placing of the orchestra must be considered. The percussions are positioned behind piano and in front of woodwinds, whereas the strings are fewer than normally and sited left and right in a very wide circle. All of it according to Bartók's own wishes. And just imagine! This results in a rich and mellow orchestral sound and very precisely audible noises from the percussion instruments, so important in orchestral music by Bartók. A splendid contribution!
All these recordings mentioned above are indispensable, but choosing the new Noseda-Bavouzet with its vitality, energy and close observation, a true recording of our time, is doubtless a really good bargain, never to be regretted.
For example, compared to the legendary Fricsay-Anda recording with its sensitively varied and nuanced playing and its incomparable Hungarian Bartók character, a both explosive and meditative revelation out of the past. Or Fischer-Schiff, as incomparable and emotive in its perfect balance between soloist and orchestra (Budapest Festival Orchestra), between the Classicist and Romantic-Modernist strains in the scores, probably the most ideal interpretation of them all. Or Boulez with three different orchestras and pianists, cleverly chosen according the character of the concertos: an authoritative Zimerman, an Andsnes full of fresh dignity, and a most Romantic and introvert Grimaud, with Boulez himself reigning supremely over the shifting stage and keeping all of it together from a more Modernist than Hungarian commonage full of universal space and stringency.
In comparison Noseda-Bavouzet is the fastest recording, with brisk tempi and vehement accomplishment: 73'28 for all the three concertos, whereas Fricsay-Anda take on 76'55, the longest one, and Fischer-Schiff and Boulez-Zimerman/Andsnes/Grimaud both land up in 76'26 and 76'25 respectively, quite an incredible levelness. Fast tempi suit Bavouzet's Classicist style, his lively, energetic drive and his stunningly distinct virtuosity, quite perfectly. Both the first and the second concerto are brilliantly rendered, whereas the third one with its famous Adagio religioso is a weak point of the recording, lacking the form of contemplative "still center" necessary to reflect the suggestion of mysticism of the piece (Grimaud is all gold here, but also Anda and Schiff are glorious).
To the credits of the Noseda-Bavouzet disc the innovative placing of the orchestra must be considered. The percussions are positioned behind piano and in front of woodwinds, whereas the strings are fewer than normally and sited left and right in a very wide circle. All of it according to Bartók's own wishes. And just imagine! This results in a rich and mellow orchestral sound and very precisely audible noises from the percussion instruments, so important in orchestral music by Bartók. A splendid contribution!
All these recordings mentioned above are indispensable, but choosing the new Noseda-Bavouzet with its vitality, energy and close observation, a true recording of our time, is doubtless a really good bargain, never to be regretted.
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