It was in these terms that Ferruccio Busoni greeted the publication in 1908 of the 14 Bagatelles, in which Béla Bartók conveyed the violent aesthetic impact of his discovery of authentic Hungarian peasant music. Over the next 20 years, up to the magisterial Sonata of 1926, he indefatigably refined an innovative pianistic language: pungent, dissonant, percussive, with multiple new playing techniques, that was to influence the entire 20th century. A master of every style, from Haydn to Boulez by way of Chopin and Chabrier, Alain Planès is revealed here as a Bartókian of the front rank.
Like Gilels, Brendel treats the Op. 35 Variations as far more than a poor relation of the Eroica Symphony finale. His approach has less of the urgent, seemingly improvisatory thrust which makes the Gilels DG performance (on LP only) so compelling, but the sharpness with which he characterizes each variation is a delight, each time bringing a moment of revelation, and often relating this essentially middle-period work to much later inspirations. The six Bagatelles of Op. 126 equally find Brendel giving these fragments a weight, concentration and seriousness to reflect what else Beethoven was writing at the time. There is a gruffness of expression with charm eliminated. The third Bagatelle is the more moving for its simple gravity, and only in the final one of the group does Brendel allow himself to relax in persuasive warmth. Fur Elise makes a simple, haunting prelude to the group and the six Ecossaises a jolly postude with Brendel evoking the bluff jollity of Austrian dance music.
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.
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.
Three 20th-century orchestral scores, Bartók’s Two Pictures, Debussy’s Jeux and Stravinsky’s The Rite of Spring, all dating from 1910-13 and all linked (as the detailed CD booklet explains), are brought to life in the hands of two exceptional French pianists. The central interest is the ballet Jeux. One of the world’s outstanding Debussy interpreters, Jean-Efflam Bavouzet has added to his complete Chandos recordings with his own transcription for two pianos. Written late in Debussy’s life for Nijinsky, Jeux involves an emotionally erotic and harmonically daring game of tennis. Bavouzet and his well-matched partner, François-Fréderic Guy, play with nimble grace, capturing the works wit and mystery. This gripping album is dedicated to Pierre Boulez, guru and enabler, for his 90th birthday.
Études are primarily intended as exercises to train musicians in specific techniques, but since the Romantic era they have become associated with other miniature forms, such as the prelude and the intermezzo, and frequently regarded as evocative character pieces or tonal pictures. Garrick Ohlsson's album of piano études by Claude Debussy, Sergey Prokofiev, and Béla Bartók offers a brief survey of the genre in modern practice, and demonstrates the blending of pedagogy and poetry in these works. Ohlsson has become internationally known as an exquisite interpreter of the music of Frédéric Chopin, and much of the subtlety and atmosphere found in his previous recordings is present here. Ohlsson's finesse and humor are perhaps most evident in Debussy's Études, L. 143, which have a lighter character than Prokofiev's Études, Op. 2, which tend toward the sardonic side, and Bartók's Études, Op. 18, which are intensely virtuosic and mysterious. Hyperion's recording captures the nuances of Ohlsson's playing, and the piano is close enough to hear every detail, while the acoustics lend it a pleasant natural aura.
Sonatas includes works by Ludwig van Beethoven, Béla Bartók and Magnus Lindberg performed by pianist Pasi Eerikäinen and violin player Emil Holmström - Beethoven’s titanic Violin Sonata No. 9, Op.47, the Kreutzer Sonata, Hungarian composer Béla Bartók’s Violin Sonata No. 2, one of the most compelling creations of the composer’s avant-garde period. Sonatas, a world premiere on this recording, is a relatively early work by the Finnish Magnus Lindberg. In this work, the composer’s influence all hail from traditional musical traditions – German, French and Italian – though instead of fixating on Baroque or Classical styles, Lindberg takes inspiration from notable 20th-century composers. Pasi Eerikäinen plays first violin with the Finnish Radio Symphony Orchestra. Emil Holmström has a particular interest in the avant garde, be it Ferrucio Busoni, the Second Viennese School or electroacoustic music, which Holmström regularly performs as a member of the defunensemble.