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Bartók: Piano Concertos Nos.1 & 2; Two Portraits Op.5


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POLLINI / ABBADO / CHICAGO S.

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Amazon.com: HASH(0x9ab52fa8) out of 5 stars 2 reviews
1 of 2 people found the following review helpful
HASH(0x9ad82f84) out of 5 stars Pollini and the CSO with superb Bartok First and Second Concertos 3 Sept. 2013
By Autonomeus - Published on Amazon.com
Format: Audio CD Verified Purchase
Maurizio Pollini recorded these concertos in 1977 with Claudio Abbado leading the Chicago Symphony Orchestra. Pollini's is a top-of-the-line performance, and the CSO sounds great. Pollini and the orchestra have a deep bottom, unlike two later recordings I compare below. Pollini is very precise, no surprise, but his tone is full and round, unlike the sharper Bronfman with Los Angeles.

This Pollini disc is not directly competitive with the later Bronfman or Schiff recordings because it omits the Third Concerto. This 2007 reissue in DG's Grand Prix series includes instead the excellent "Two Portraits, op 5," with Shlomo Mintz on violin and Abbado leading the London Symphony Orchestra.

THREE RECORDINGS
Two recommended complete Bartok piano concerto cycles are those by Bronfman and Schiff. As Stravinsky so wisely said long ago, alternative interpretations of a score bring out all its potential. The Deutsche Grammophon engineering reveals a deeper ambience than these Sony or Warner recordings.

The most exciting cycle of Bartok's three piano concertos comes from Yefim (Fima) Bronfman and the Los Angeles Philharmonic, led by Esa-Pekka Salonen, and recorded in 1993/1994. This was the first recording of these works that I heard, back in 2001, and I have been taken with it ever since. Only now (9/3/13), having heard other recordings, can I appreciate just how great these performances are -- the most exciting I have yet to discover.

The sound is not all it could be -- it seems a bit thin and pinched. But this is no reason not to enjoy the thrills, which result partly because of a faster tempo, and partly due to Fima's exuberant playing. He makes me laugh with pure joy throughout these performances!

The 1996 recording of Andras Schiff and the Budapest Festival Orchestra, led by Ivan Fischer for Warner is a rounder, less spiky, interpretation. The all-Hungarian team plays Bartok with a more elegant, stately, flair. Schiff's tone is superb, and the sound of the orchestra is fuller, more reverberant, and more detailed than this Sony disc. Schiff makes the difficult Bartok sound easy, but he has said of the popular Second Concerto: "[f]or the piano player, it's a finger-breaking piece. [It] is probably the single most difficult piece that I have ever played, and I usually end up with a keyboard covered by blood."

BARTOK AND HIS PIANO CONCERTOS
Bela Bartok was a great modernist, and very influential, but less so than his peers Stravinsky or Schoenberg because, as Milton Babbitt once complained, his innovations tended to be particular to each composition rather than a system like Schoenberg's 12-tone music. Bartok famously drew on Hungarian folk music, and his use of modal scales gives his music a uniquely odd quality in contrast to standard tonality, but he emphatically maintained that his music was tonal. The key was his mixing of modes, resulting in polytonality. What Bartok brought from the classical tradition was the strong influence of Liszt, Debussy, and Beethoven (thanks to the excellent November 1945 article from "The Musical Times").

Bartok performed the premieres of both the First and Second concertos. The premiere of the First was at the fifth International Festival of the International Society for Contemporary Music in Frankfurt on July 1, 1927, with Wilhelm Furtwängler conducting. The premiere of the Second was on January 23, 1933, also in Frankfurt, with Hans Rosbaud leading the Frankfurt Radio Symphony Orchestra. The Third was written shortly before Bartok's death, and was premiered in Philadelphia by Hungarian pianist Gyorgy Sandor and Hungarian conductor Eugene Ormandy on February 8, 1946.

The First Concerto was considered quite spiky, modern, and difficult, and Bartok consciously set out to make the Second Concerto more performer and audience-friendly. On the second point he succeeded, especially with stronger melodic phrases. The Third Concerto is altogether more lyrical, more Romantic, less spiky and modern, basically the equivalent of Beethoven's Sixth Symphony of Bartok's piano concertos.
1 of 4 people found the following review helpful
HASH(0x9ab948c4) out of 5 stars Good, but not the best. 24 July 2009
By A. F. S. Mui - Published on Amazon.com
Format: Audio CD
This recording was made in 1977 in Chicago.
The digitised sound of the original release isn't the best around and you would not be offered a fully satisfactory set of sonics of these works. In comparison, the Original Series' version of 1960 and 1961 by Anda and Fricsay fare much better both in terms of sound and performance.
Furthermore, this recording, on CD, is of rather short measure by comparison to the stellar version of Anda/Fricsay, which included also the No. 3 concerto.
The view that Pollini is better in modern repertoire is disproofed here. Indeed, he and Abbado do not own the same league of insight in these works as did the two Hungarians, who were none other than students of Bartok himself. The rhythmic sense as well as the highly percussive effects of the pianoforte are mainly missing in the outer movenments, especially the No. 2 Concerto, and the wild and passionate Magyar folk melodies underplayed.
As regards virtuosic abilities, the two pianists are on par. The orchestra in this recordings are competent but not specacular as the BPO.
Performance technique 4.5 stars; musical style 3.
3.5 STARS.
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