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Bartok;Piano Concertos
 
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Bartok;Piano Concertos [Import]

Bartok , Kovacevich , Szeryng CD


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ディスク:1
1. Piano Concerto No. 1 in A major, Sz. 83, BB 91: 1. Allegro moderato
2. Piano Concerto No. 1 in A major, Sz. 83, BB 91: 2. Andante
3. Piano Concerto No. 1 in A major, Sz. 83, BB 91: 3. Allegro molto
4. Piano Concerto No. 2 in G major, Sz. 95, BB 101: 1. Allegro
5. Piano Concerto No. 2 in G major, Sz. 95, BB 101: 2. Adagio - Pi adagio - Presto
6. Piano Concerto No. 2 in G major, Sz. 95, BB 101: 3. Allegro molto
7. Piano Concerto No. 3 in E major, Sz. 119, BB 127 (completed by Tibor Serly): 1. Allegretto
8. Piano Concerto No. 3 in E major, Sz. 119, BB 127 (completed by Tibor Serly): 2. Adagio religioso
9. Piano Concerto No. 3 in E major, Sz. 119, BB 127 (completed by Tibor Serly): 3. Allegro vivace
ディスク:2
1. Violin Concerto (No. 2) in B minor, Sz. 112, BB 117: 1. Allegro non troppo
2. Violin Concerto (No. 2) in B minor, Sz. 112, BB 117: 2. Andante tranquillo
3. Violin Concerto (No. 2) in B minor, Sz. 112, BB 117: 3. Allegro molto
4. Concerto for Orchestra, Sz. 116, BB 127: 1. Introduzione. Andante non troppo - Allegro vivace
5. Concerto for Orchestra, Sz. 116, BB 127: 2. Giuoco delle coppie. Allegretto scherzando
6. Concerto for Orchestra, Sz. 116, BB 127: 3. Elegia. Andante, non troppo
7. Concerto for Orchestra, Sz. 116, BB 127: 4. Intermezzo interrotto. Allegretto
8. Concerto for Orchestra, Sz. 116, BB 127: 5. Finale. Pesante - Presto

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Bartók (himself an excellent pianist) really knew how to write for piano and orchestra. Try the opening of the last movement of the First Concerto and see if you can resist being caught up in his tidal-wave of energy. But it's not all percussive belligerence by any means. Bartók was also a master of orchestral colour, as witness the slow movement of his Second Concerto where he famously evokes "night music" in his use of percussive chirruping and sighing against a string background. The valedictory Third is a contrast again, written when Bartók was already mortally ill, it's less of a bravura display and more serene in mood. Kovacevich has both the muscles and the sensitivity to be a top-notch soloist (contrast the fiendish first movement of the First Concerto with the gentleness of the second movement of the Third and wonder at his range of moods) while the orchestras, under Sir Colin Davis, prove enthusiastic partners. The recording isn't entirely natural--you hear a lot more of the piano than you would live--but that's not enough of a problem to prevent a strong recommendation. --Harriet Smith

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