Concerto for piano n° 2 of Bartók

The Concerto for piano n° 2 Sz 95, BB 101 (1930-1931) of Béla Bartók is one of the compositions most accessible from the type-setter, but remains one of the most difficult concerti of piano of the repertory. Its concerto for preceding piano, the Concerto for piano n° 1 (1926), is slightly thornier in its idiom. It had then not met a great popularity. Since Bartók wrote the majority of its music of Piano for its personal use as an interpreter everywhere in Europe and with the the United States, it seems normal that he wanted a work of more universal range. Although Bartók composed the second current concerto October 1931, it did not create it before January 23rd, 1933 - a particularly notable event, since this marked its last appearance in the Germany soon Nazi.

History

By approaching the composition, Bartók wanted that its music is contrapuntic. He wanted to simplify his music (like several of its contemporaries), but his use of the Contrepoint in this piece in fact an extremely complicated work. This aspect had appeared particularly disturbing in the first concert - of such kind, in fact, that the Philharmonic orchestra of New York, which was to give the first, Na which not been able to control it in time, and which another work had to be to him substituted in the program. The type-setter himself recognized that the part of Piano was difficult, and declared later that the concert " is a little difficult - one could even indicate very difficult! - as much for the orchestra that for the auditoire". He apparently tried to counterbalance it with the second concerto, which found the recognition critical and world popularity.

Form

The movements are:

  • I. Allegro ;
  • II. Adagio - Presto - Più adagio ;
  • III. Molto allegro ;

The total form in the second concert is symmetrical - the structure of tempo is rapid-slow-rapid-slow-rapid'' - in the manner of Bartók which is now identified like the form in arc . The first movement, marked allegro'', is marked by the solo of piano active and punctuating. The fast Piano, the rhythmic pace and the fragmentary scalar movement suggest the influence of Igor Stravinski, and its ballet Petrouchka (1910-1911) in particular. The instrumentation in the concert pareillement betrays the affinity of Bartók with Stravinski, because the section of the cords remains quiet for the first whole movement - a characteristic which also reflects an increasing emphase on the winds and the percussions of the sections of the Orchestre in the first decades of the twentieth century. The sections of the counterpoint of style néo- Bach can also reflect the influence of Stravinski. The cords make their entry at the beginning of the Adagio of the second movement. Definitely different from the precedent, this central movement starts with slow a Choral indicated by the cords in perfect Quinte S piled up. After this first section of of choral, the Piano enters, accompanied only by the Timbale S - a not very common instrumental hammering, which illustrates to perfection frequent employment by Bartók of the piano like prolongation of the family of percussion. The center section of this movement, announced by a change Presto to a tempo, is extremely fast and light. The movement is completed in loop by a return to the original slow tempo and the reappearance of the reasons of the beginning of the movement. The third movement is a free Variation on the first, which it resembles by rate and the melody form .

Discography

Some notable recordings:

External bonds

  • recording by the pianist Idil Biret of Turkey

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