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Bartók: The Piano Concertos CD


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Pierre Boulez was born in 1925 in Montbrison, France. He first studied mathematics, then music at the Paris Conservatory, where his teachers included Olivier Messiaen and René Leibowitz. In 1954, ... Read more in Amazon's Pierre Boulez Store

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Product details

  • Audio CD (7 Feb. 2005)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Decca (UMO)
  • ASIN: B0006OS5YS
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 172,164 in Music (See Top 100 in Music)

1. Piano Concerto No.1, BB 91, Sz. 83
2. Piano Concerto No.2, BB 101, Sz. 95
3. Piano Concerto No.3, BB 127, Sz. 119

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25 of 26 people found the following review helpful By J Scott Morrison HALL OF FAMETOP 500 REVIEWER on 9 May 2005
Format: Audio CD
Whoever had the idea to have a noted Bartók conductor, Pierre Boulez, record all three of the Bartók piano concertos, using a different soloist and orchestra for each one, should get a medal. Not only were the three soloists picked carefully (or, at least I imagine that's the case; who knows, maybe they were picked by playing paper/scissors/stone!) but the style of each of the three was matched, more or less, to the sound produced by three of the world's greatest orchestras.
The lineup is this: Krystian Zimerman and the Chicago Symphony for No. 1; Leif Ove Andsnes and the Berlin Philharmonic for No. 2; and Hélène Grimaud and the London Symphony for No. 3. In the muscular No. 1 both the sound of Zimerman and the Chicago are perfect. Zimerman, not a pianist who is generally thought of as a brio player, is more than capable of the almost brutal style required in that first concerto, and of course the Chicago is a match made in heaven with their incredible brass and incisive strings. Andsnes is also a brilliant player but he has a slightly rounder tone in his performance, and that's precisely what is needed. Although the Second is similar to the First, it has more lyrical moments and much greater thematic distinction. Andsnes molds his part masterfully. But best of all is the playing of the BPO. In this concerto there is much that would remind one of the middle-period, more mature Bartók: less brutality, more mystery. Think of the string writing in, say, 'Music for Strings, Percussion and Celesta' and you will have an idea of what I mean. The Berlin strings shimmer.
Bartók was dying when he wrote the Third and indeed it had to be finished by his student, Tibor Serly, who also finished the wonderful viola concerto.
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1 of 1 people found the following review helpful By Nobody TOP 500 REVIEWER on 1 July 2013
Format: MP3 Download Verified Purchase
The three concertos each are played by different soloists and three orchestras. The theory being that these soloists suit these pieces best. It certainly works a treat but it is the one constant that makes this work. Boulez brings an ear for detail and an analytical view of all three works. This could make them sound rather cold and distant but instead allows the music to speak for itself.

With Concerto No 1 there might be a temptation to overplay the aggression but Zimmerman and Boulez produce, yes a percussive rendition, but less fiery than some. It often sounds like a brutal neo-baroque piece. In this version provides a cool modernity without the brutality.

The Second with Andsnes has plenty of show and flourish but the music never loses its poise. Written shortly after the first it retains some of the same percussive neo-baroque style but with more showmanship. This performance has much in common with Zimmerman's in the First without sacrificing its more extovert temperament Grimaud in the Third does provide a poetic and romantic interpretation with Boulez and the orchestra providing a very sympathetic accompaniment.

A slightly dry and closely miced recording emphasises the detail of the three with little reverb. Boulez emphasises points rather than lines in the orchestration with note values seemingly slightly shortened - staccato. Whilst Boulez's love of Webern has an impact he clearly has a great affinity with Bartok and works such as his own "Sur Incises" show that he has been influenced by him. Bartok would surely have appreciated Boulez' precision and rigour.

I think this set is pretty hard to beat and sets a remarkably high standard in playing, recording and understanding of the three pieces. There are some exceptional versions to be found elsewhere but this one is hard to fault and is my first choice.
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Format: Audio CD
This Bartok disc is unusual as it's no everyday event that a conductor records with three different orchestras and three different soloists, with the intent to release all the material on one disc. But what Boulez has done is doubly remarkable in that he has used only the best orchestras (Chicago, Berlin, London) and has three star virtuosos to work with (Zimerman, Andsnes, Grimaud). Boulez is a master of modern music; the only concern listeners may have is that he will be too clinical, unable to be directly emotional.

The 1st concerto is the most unmerciful of the concerti, full of grinding dissonances and highly percussive. Krystian Zimerman plays with conviction and finds a way to make the work enjoyable without smoothing out its many outbursts. Boulez leads Chicago and naturally there's no lack of might. This isn't a piece meant to be polite, and both conductor and soloist realize that full well. While Boulez is direct and to the point, I didn't sense anything clinical. Everything is crystal clear and direct. This is a dazzling performance with fully committed playing everywhere.

We find ourselves in Berlin for the 2nd Concerto along with Leif Ove Andsnes, a sensitive pianist with a technique matched by precious few. This concerto isn't as ominous as its predecessor; there are traces of jollity in all the movements. Andsnes is the perfect pianist for the concerto, tackling its enormous challenges with ease while still having time for fun. Boulez connects with him wonderfully; it's tough to tell who is the main show. The Berliners have as much power as Chicago, but they're more adventurous and individualistic. The thrill of hearing this concerto played with such vigor and enthusiasm is tremendous.
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Amazon.com: 17 reviews
32 of 33 people found the following review helpful
A Brilliant Programming Idea, Carried Out Brilliantly 8 May 2005
By J Scott Morrison - Published on Amazon.com
Format: Audio CD Verified Purchase
Whoever had the idea to have a noted Bartók conductor, Pierre Boulez, record all three of the Bartók piano concertos, using a different soloist and orchestra for each one, should get a medal. Not only were the three soloists picked carefully (or, at least I imagine that's the case; who knows, maybe they were picked by playing paper/scissors/stone!) but the style of each of the three was matched, more or less, to the sound produced by three of the world's greatest orchestras.

The lineup is this: Krystian Zimerman and the Chicago Symphony for No. 1; Leif Ove Andsnes and the Berlin Philharmonic for No. 2; and Hélène Grimaud and the London Symphony for No. 3. In the muscular No. 1 both the sound of Zimerman and the Chicago are perfect. Zimerman, not a pianist who is generally thought of as a brio player, is more than capable of the almost brutal style required in that first concerto, and of course the Chicago is a match made in heaven with their incredible brass and incisive strings. Andsnes is also a brilliant player but he has a slightly rounder tone in his performance, and that's precisely what is needed. Although the Second is similar to the First, it has more lyrical moments and much greater thematic distinction. Andsnes molds his part masterfully. But best of all is the playing of the BPO. In this concerto there is much that would remind one of the middle-period, more mature Bartók: less brutality, more mystery. Think of the string writing in, say, 'Music for Strings, Percussion and Celesta' and you will have an idea of what I mean. The Berlin strings shimmer.

Bartók was dying when he wrote the Third and indeed it had to be finished by his student, Tibor Serly, who also finished the wonderful viola concerto. It was Bartók's legacy for his wife, soon to be his widow, Ditta Pasztory, herself a pianist. He died more or less penniless in New York and he wrote it for her to play in order to make some money after his death. I don't know, frankly, whether she did tour with it; I don't recall ever hearing. It is altogether more romantic, more tuneful (and, in the end, more popular) than the other two. Who better than Grimaud to play it? There have been many fine recordings of this concerto -- one of my favorites is that of Geza Anda, who recorded all three concerti; another is that by Martha Argerich -- but Grimaud is in that fine company. Her playing is marked by grace, tensile strength coupled with fluid phrasing, delicacy and a marvelous legato. In all three concerti Boulez has definite ideas which he is able to communicate to each orchestra involved.

This one is a winner.

TT=76:30

Scott Morrison
35 of 38 people found the following review helpful
Excellent CD. Splendid performance of the First Concerto. 14 May 2005
By Osvaldo Colarusso - Published on Amazon.com
Format: Audio CD
It's interesting to observe the evolution of the playing of Bartok's Piano Concertos since its first recordings. When we hear the old performances of Geza Anda and Ferenc Fricsay we can feel the difficulty they had to manage the changes of tempi and,at this time, the coordination between soloist and orchestra was very problematic . As the first two Piano Concertos of Bartok are among the most interesting concertos of all time, the story of its performances is of great importance. One recording that changed consistently the way of playing Bartok's Concertos was the one of the first and the second concertos with Claudio Abbado and Maurizio Pollini (DG- 1979) .Twenty Six years after, with this new integral of the Three Concertos, we can feel one new improvement, specially in the performance of the First. Zimmerman and Boulez are superb in every measure of this fascinating music. I never heard before all these terrible changes of tempi and these complicated rhythms so well done. Al the accents of the soloist are echoed by the instruments of the orchestra. The "acellerandi" in the first and the third movements are a miracle of clarity .I have no difficulty to say that this is the best recording of the Bartok's First Piano Concerto I ever heard , even when compared with that of Abbado and Pollini and that with Boulez and Barenboin.
The second Concerto is very well recorded too. Leif Ove Andsnes is one excellent Pianist.But we can't avoid to compare . He isn't a pianist so perfect as Zimerman is. But his reading of this difficult work is very interesting too. After a First Movement played in a cautious way we have a surprise: the central part of the second movement is played with a fire and energy, and with a irresistible precision .Not even Abbado and Pollini, in this specific moment , went so far , in terms of clarity .And the Third movement is played entirely in this way. One surprise: the accelerandos of the timpani at ms. 74 and 140 begin with a tremendous ritardando. I have never heard like this before, but the idea is excellent .If the Brass of the Chicago Symphony are the orchestral stars of the First Concerto, the timpanist of the Berliner Philhramoniker is the orchestral star of this Second Concerto.
After hearing these wonderful works , the Third Piano Concerto sounds a little deceiving . The simplicity of the writing can be explained by the special moment of the life of the composer. I believe that the Third Concerto is a good work, but when one hears this work after the two precedents,it is really desolator. Helene Grimaud plays this lyrical work with an elegant sonority. But she doesn't help too much to erase this impression. May be the recording with Zoltan Kocsis (Philipps) is the only one really convincing of this work. But even this weaker part of this CD has its preciosities: the Night Music of the second movement has one splendid balance of dynamic (specially between the piano and the xylophone) and the French pianist plays the Religious Choral with a fine sonority. Three Orchestras, three Pianists. Two kind of Concertos ( The No 1 and No 2 x the No 3). But the unity of this excellent CD is the clarity and rhythmic energy of Mr. Boulez. The miracle you will find in the performance of the First Concerto. But all the CD deserve to be heard with attention. You will discover a lot of magnificent details.
19 of 20 people found the following review helpful
Outstanding versions for every concert. 15 Nov. 2005
By Paco Yáñez - Published on Amazon.com
Format: Audio CD
Some years ago I read Pierre Boulez was thinking about recording Bartok's Piano Concertos, in that moment I thought it could be a good collection but not really so great like finally it is. I have to say that in a first moment I had news of a recording with Krystian Zimerman for the three concerts; when I knew Andsnes and Grimaud were involved I thought it could be not so great like if Zimerman alone plays all. I was wrong again in my thoughts; Andsnes and Grimaud give them best and that's really very much.

First of all I have to mention the fact of there are three orchestras and three pianists, all wonderful musicians, like the three outstanding orchestras. It could be a problem for unifying the cycle, but we have a great conductor too, Pierre Boulez, a really specialist master in XXth Century and modern music, who have a very long relation with Bartok's music, as we can listen in his recordings for CBS and now with the outstanding new cycle for DG (that will be followed by his new recordings of Violin Concert Nº1 and Viola Concert, both of them with Berlin and very close to be released). The three concertos are really different between them in essence, the First and Second much more modern and aggressive and the Third much more "classical", lyrical and popular, much more easy to be listened. It's the way of a composer with a life not easy at all, who have lost his own lie in his country and who have to compose in order to survive. This could be a reason for understand the style of the Third concerto; a concerto that could be very far of Boulez's tastes but conducted full of style and charm by the French conductor. In fact, this piano series comes from a very hard and aggressive beginning in number One and decrease in that presence until the Third. Boulez is able to control that changing of style and the complete recording seems to be done with the pianist together discussing dynamics, style, tempi, technical possibilities...

Choosing the orchestras for this recordings it's not easy and Boulez did it really great. The First Concerto is played by an orchestra really full of presence and a very strong personality, the Chicago Symphony Orchestra; which percussion and metal section is able to play exactly the style Bartok asks for this piece, very percussive and strong. Zimerman, of course, is a guarantee, as he is really one of the better pianist of our time, ¿the better one?, and he know Bartok's language. I heard him some years ago in A Coruña (Spain), playing this same First Concerto with the Orquesta Sinfonica de Galicia, under Victor Pablo Perez baton, and was amazed by his deep understanding of the work. Like in that concert, all is wonderfully done in this CD, specially the second movement, an Andante that remembers to me the Sonata for Two Pianos and Percussion. The crystal-clear playing and conducting makes this movement quite impossible to repeat, a wonder. I know another very, very good recording played by Pollini and Abbado with the same orchestra. The Abbado's conducting is more aggressive and fiery, but not so technical and controlled like Boulez's one. Both are outstanding recordings. Like other reviewer wrote, Abbado opened a way and Boulez marks a developing in that way, a wonderful pair, anyway.

The Second Concerto is a beautiful surprise to me, as I've never heard Andsnes playing Bartok and I'm really amazed by the way he plays, WODERFULLY done every note, every phrase, every dynamic, tempo, pedal's use, echoes, rhythm... Again we have an incredible second movement which remembers to me Charles Ives very, very much in the way it's played, perfect done by the Berliner, with amazing strings and drums. I love the playing of all the orchestras, but I could say the Berliner Philharmoniker could be the best, simply listen it to believe. In this concert, a bit more lyrical than the First, but both in a similar style, Boulez shows a heart some people have doubts about if existed.

And this hearts sings opened in the Third Concerto, with the smooth London Symphony Orchestra and a very lyrical and perfect Helen Grimaud, who plays really beautiful in this last chapter, a very poetic piece with moments of really nostalgia of the lost days and of the lost land. Boulez understand the piece in the very right way, as it's technically well done and he don't lose at all the essence of that feelings, necessary for the piece be complete. Of course there's not the percussive piano you can listen in the first and second concertos, but Grimaud give her best in any moment and sometimes with an aggressive style if it's required. Another wonderful surprise listening her in this repertoire.

The recordings are very, very good, clean and well processed. The balance is marvellous and all the sections are perfect caught by the DG engineers.

Nowadays I have no doubts about this is my favourite CD for this Concertos, wonderful versions for some of the key works of Bartok, according with Boulez's words. Pollini / CSO / Abbado (DG) could be another possibility, very close in style and outstanding too.
20 of 23 people found the following review helpful
Interesting, Good, and Clean 27 May 2006
By Muslit - Published on Amazon.com
Format: Audio CD
The Interesting: Boulez brings out some of the more conventional harmonies of the First Concerto! and some of the modernisms of the Third! (is that a substituted bass drum stroke at the end of the third movement?) - - And a different soloist and orchestra for each concerto -

The Good: The concertos come off reasonably well (with reservations).

The Clean: The recordings bring out a lot of detail found in the scores (especially the Bachian counterpoint of the Second Concerto).

My personal feelings: Zimerman never seems to be totally in sinc with Boulez in the First Concerto, especially in the outer movements - Not that they're 'not' together; just a 'oneness' that seems to be missing - I feel the pianist making an effort to bond with the conductor and orchestra (did they get together just to make a recording? or did they perform this work and then record it? - I don't know) - But I think this is the best rendition of the three -

The Second Concerto is very exciting - that scale and trill at the very opening, the accelerando at the end of the first movement - the scale was fine, but the trill is competing dynamically with brass (recording levels?) - the accelerando at the end of the first movment didn't feel like one, either - - The beginning and end of the second movement is way too fast for my taste - The string sound (absent from the first movement) and rhythmic stasis should fascinate after the energetic first movement - it didn't - The middle section was appropriately fast, but not frenzied enough - - The third movement, a variation of the first, felt fore-shortened - maybe it was the juxtapositions of tempi (tricky in Bartok) that made it seem wanting - Leif Ove Andsnes' playing is exemplary throughout (the 2nd movement 'esp./pesante' a highlight)-

The Third Concerto is a bit of a disappointment. The first movement is beautiful - the end especially (it literally evaporates) - - But the second is too slow - And some of the improvisational qualties in the piano part after the middle section seemed very mannered to me - There's a natural flow missing - - The last movement lacks urgency - I don't know if this is the fault of Grimaud or Boulez.

An interesting disc. Technically superior. Musically variable.
4 of 4 people found the following review helpful
Boulez and his three star soloists surpass themselves -- a superlative CD 25 Nov. 2010
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
I am coming late to this widely acclaimed Cd, because I owned enough versions of all three Bartok concertos to satisfy me (especially the complete collection by Stephen Kovacevich and the all but forgotten pairing of the First and Third Concertos with the young Barenboim and Boulez on EMI). Better late than never, because Boulez and his three star soloists soar high over their rivals. I concur with the reviewer who spots the reading of the First cto. by Zimerman as the star of the show. He plays with a combination of dazzling technique, alertness, and intellectual acumen that could be matched only by Boulez, that miracle of an octogenarian. Together they clarify the work technically and then go on to give a real interpretation, surmounting every hurdle with such ease that I was astonished from beginning to end. The CSO plays magnificently and is captured in very close, highly detailed, state-of-the-art sound by DG.

Moving to Berlin for the Second Concerto, we get the same vivid, close-up miking, and like Zimerman, Andsnes doesn't use the percussive piano writing as an excuse for pounding. He plays with force but real refinement, and DG has blended the soloist perfectly with the orchestra, where the woodwind writing in particular shows a great advance in Bartok's orchestration, which achieves a mastery comparble to Stravinsky's. I'm not sure I could easily tell the Berliners apart from the CSO without knowing which was which in advance; both orchestras play at a level of thrilling virtuosity. For me, this is andsnes's greatest recording, and I would place his reading easily ahead of Pollini's with Abbado from 1979.

Because the Third Concerto is the most popular of the three, there is abundant competition. As in that other masterpiece from Bartok's dying years, the idiom is more approachable, and there is abundant scene painting, color, and atmosphere. We've moved to London, and although Helene Grimaud's piano is miked as closely as in the previous works, the London Sym. sounds a bit farther back to me -- it's a minor difference, though. One could easily mistake Grimaud for Andsnes here with her rounded phrasing and full tone. Other pianists etch their part more incisively, but this work is adaptable to a more lyric, even romantic approach. In every way Grimaud and Boulez excel, and since the conductor is the common thread to all three concertos, the credit goes to him for bringing so much light and intelligence into works that have become familiar to any lover of twentieth-century modernism.

In the past I've had criticisms of boulez's Bartok, finding some of it hard-edged and clinical, with not enough vitality and heart. Those issues vanish here. I hardly dare to hope that I will ever hear the like of these performances again.
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