Bartok Plays Bartok:

Dejan Lazic – Liaisons Vol.1: Scarlatti, Bartok (2007) [SACD ISO+HiRes FLAC]

Dejan Lazic – Liaisons Vol.1: Scarlatti, Bartok (2007)
PS3 Rip | SACD ISO | DST64 2.0 & DST64 5.0 >1-bit/2.8224 MHz | Digital Booklet | 3.84GB + 5% Recovery
FLAC tracks 2.0 24bit/88.2 kHz | Digital Booklet | 1.13MB + 5% Recovery

At 1st sight, they appear to have nothing in common – but disregarding the stylistic elements & a difference of 2 centuries, you soon recognize that both are in a sense, musical architects, who as piano virtuosos were equally interested in miniature forms & inspired by folk music. On the 1 hand you have Scarlatti, who, after moving to Spain in 1729 composed almost exclusively for harpsichord & integrated elements of Spanish folklore into his compositions in an experimental way; on the other hand Bartk, who boosted the recognition of the rich native Hungarian peasant songs to an independent folk art, & was also influenced by Arabic folk music.

Patricia Kopatchinskaja Plays Bartok, Eotvos, Ligeti (2012)  Music

Posted by peotuvave at Oct. 13, 2013
Patricia Kopatchinskaja Plays Bartok, Eotvos, Ligeti (2012)

Patricia Kopatchinskaja Plays Bartok, Eotvos, Ligeti (2012)
EAC Rip | Flac (Image + cue + log) | 2 CDs | Full Scans | 430 MB
Genre: Classical | Label: Naive | Catalog Number: 5285

This is the fourth recording by Patricia Kopatchinskaja on naïve; the second in the concerto repertoire. The collaboration with conductor/composer Peter Eötvos and the programme is an intense series of connections. Between Bartok, Ligeti, Eotvos and Kopatchinskaja, there are many links: Hungary, the land of the 3 composers featured; Peter Eötvos was the conductor of the first performance of the second version of Ligeti violin concerto, in 1992, with Ensemble Modern; Patricia Kopatchinakaja and Peter Eötvös have been working together for 4 years, performing several concertos, including those recorded here.

Bartok 1920-45 - Bartók At The Piano 6cd  

Posted by brekk at Oct. 12, 2009
Bartok 1920-45 - Bartók At The Piano 6cd

Bartok 1920-45 - Bartók At The Piano 6cd
classical | 6CD | EAC Rip | FLAC+CUE+LOG | cover
Hungaroton | RAR +5% recovery | 1600 MB


Bartók Béla play the piano! rec: 1920-45

Britten, Bartok, Stravinsky - Works for two pianos  

Posted by chzhzhang at July 24, 2009
Britten, Bartok, Stravinsky - Works for two pianos

Bartok, Britten, Stravinsky–Works for two pianos played by S. Richter, Vassili Lobanov etc.
Classical | Full length CD | Philips | Separate tracks in ALAC with XLD | NO Cue, LOG, NO Booklet, Cover embedded | 260 MB
Ivry Gitlis - The Art of Ivry Gitlis: Tchaikovsky, Bruch, Sibelius, Mendelssohn, Bartok (1992) 2CD

Ivry Gitlis - The Art of Ivry Gitlis (1992) 2CD
Tchaikovsky - Bruch - Sibelius - Mendelssohn - Bartók

EAC | FLAC | Tracks (Cue&Log) ~ 556 Mb (incl 5%) | Mp3 (CBR320) ~ 393 Mb (incl 5%) | Scans included
Genre: Classical | Label: VoxBox | # CDX2 5505 | Time: 02:39:09

There are several reasons to own this Vox Box 2CD set. For the first, it includes five great violin concertos in some of the very best performances in their discography. For the second, Ivry Gitlis (born 1922) is a great living violinist and these recordings made in early 1950s show his art in the best way, when Ivry's violin sounded powerful and brilliant.
Ivry Gitlis plays Tchaikovsky, Brahms, Bartok, Elgar, Wieniawski, Saint-Saens, Moszkowski, Albeniz, Paganini (2007)

Ivry Gitlis plays Tchaikovsky, Brahms, Bartok, Elgar, Wieniawski, Saint-Saens, Moszkowski, Albeniz, Paganini (2007)
Classical - Violin | DVD Video | DVD-9 | Complete Scans | 75mins | 4.91 GB | FileServe + FileSonic + Hotfile
MPEG-2 Video | NTSC | 4:3 | 720x480 | 5988 kb/s | 29,97 fps | Label: EMI Classics
English | Dolby Digital | 48000 Hz | PCM, 2ch, 1536 kb/s | RAR 4% Rec

It usually takes about ten seconds to identify Ivry Gitlis' playing. No offense intended, but he is perhaps one of the most "anti-Classical" violinists, or the one whom you would least like to hear playing the Bach solo partitas. His free-wheeling approach to vibrato and intonation are not what wins praise in conservatories and awards at competitions these days. Often, it is said that Gitlis sounds like a gypsy violinist. There's nothing wrong with that, though, at least in certain repertoire. Gitlis takes us back to a time when classical music and musicianship were a little more wild and unpredictable than they are today.
Engegårdkvartetten - Beethoven, Nordheim & Bartok: String Quartets (2010) [Official Digital Download 24/96]

Engegårdkvartetten - Beethoven, Nordheim & Bartok: String Quartets (2010)
FLAC (tracks) 24-bit/96 kHz | Time - 66:24 minutes | 1.11 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

The monumental creativity which Beethoven, Haydn and Bartók gave to the genre of the string quartet is our greatest inspiration. In the Harp we find Beethoven at his most entertaining and least problematic, although slightly provocative in the almost forced gentleness of the final movement. We chose to record the String Quartet 1956 including its incredibly atmospheric final Largo in honour of one of Norway's greatest composer, Arne Nordheim. The intensity and individuality of Bartók's 3rd Quartet make it a natural conclusion for us, juxtaposing the most intimate and lonely music with hard-hitting rhythmic sections which only Bartók could bring off.
BSO, Marin Alsop - Bartok: Concerto For Orchestra - Music For Strings, Percussion & Celesta (2012) [Official Digital Download]

Baltimore Symphony Orchestra, Marin Alsop - Bartok: Concerto For Orchestra - Music For Strings, Percussion & Celesta (2012)
FLAC (tracks) 24-bit/192 kHz | Time - 66:57 minutes | 2.26 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Bela Bartok's Concerto for Orchestra, one of his greatest works, was written in the United States after the composer was forced to flee Hungary during World War II. It is not only a brilliant display vehicle for each instrumental section but a work of considerable structural ingenuity that unites classical forms and sonorities with the pungency of folk rhythms and harmonies. Music for Strings, Percussion and Celesta explores darker moods through a score of marvelously poised symmetry. This release follows Marin Alsop's 'riveting' (Gramophone) Baltimore Symphony recordings of Dvorak's symphonies.
Jerusalem Quartet - Bela Bartok: String Quartets Nos. 2, 4 & 6 (2016)

Jerusalem Quartet - Béla Bartók: String Quartets Nos. 2, 4 & 6 (2016)
EAC | FLAC | Image (Cue&Log) ~ 351 Mb | Mp3 (CBR320) ~ 184 Mb | Artwork included
Genre: Classical | Label: Harmonia Mundi | # HMC902235 | Time: 01:18:50

The string quartets of Béla Bartók punctuate the evolution of his style and the turning points of his existence. From the Second Quartet (1915-17) reflecting the period of World War One and his troubled personal life, through the Fourth whose exploration of rhythm, tonality and timbre produces magnificent and unprecedented sonorities in its ‘night music’, to the unbearable anguish of the Sixth (1939), as his dream of fraternity was shattered against the rise of nationalism and fascism, the Jerusa lem Quartet’s programme brings us the essence of Bartók's genius. Expect reviews in Classical music press for these hm artists with an extensive, acclaimed back catalogue for the label.
Tamsin Waley-Cohen - Soli: Bartok, Benjamin, Penderecki, Carter, Kurtag (2015)

Tamsin Waley-Cohen - Soli: Bartók, Benjamin, Penderecki, Carter, Kurtág (2015)
EAC | FLAC | Image (Cue&Log) ~ 378 Mb (incl 5%) | Mp3 (CBR320) ~ 185 Mb (incl 5%) | Scans included
Genre: Classical | Label: Signum Classics | # SIGCD416 | Time: 01:16:31

On Soli, Tamsin Waley-Cohen's 2015 release on Signum Classics, the violinist explores modernist repertoire composed between 1944 and 2005. Because these solo violin pieces by Béla Bartók, George Benjamin, Krzysztof Penderecki, Elliott Carter, and György Kurtág are challenging for both the player and the listener, one should approach this CD with some awareness that they reflect different phases of the avant-garde movement that dominated music in the last half of the 20th century. In quieter selections where the moods are primarily brooding or lyrical, Waley-Cohen produces a vibrant tone and smooth phrasing that make her playing easy to appreciate, even when the music isn't recognizably tonal. However, in louder, dissonant passages, notably in sections of the Bartók Sonata, Benjamin's Canon for Sally, Carter's Remembering Aaron, and Kurtág's Anziksz Kellerannanak, the close microphone placement makes her bowing sound overly resinous and scratchy, which can be hard to enjoy. Even so, few violinists dare approach this bracing material, and Waley-Cohen is to be commended for devoting a whole album to such cutting-edge pieces solely on her terms, without making compromises.