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Bartok: The Piano Concertos (Nos. 1, 2 & 3)

Bavouzet , Bartok , Noseda , BBC Philharmonic Audio CD
4.7 out of 5 stars  See all reviews (7 customer reviews)

Price: $19.03 & FREE Shipping on orders over $35. Details
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Amazon Price New from Used from
MP3 Music, 9 Songs, 2010 $8.91  
Audio CD, 2010 $19.03  

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
listen  1. Piano Concerto No. 1, BB 91: I. Allegro moderato 8:53Album Only
listen  2. Piano Concerto No. 1, BB 91: II. Andante 6:24$0.99  Buy MP3 
listen  3. Piano Concerto No. 1, BB 91: III. Allegro molto 6:45$0.99  Buy MP3 
listen  4. Piano Concerto No. 2, BB 101: I. Allegro 9:24Album Only
listen  5. Piano Concerto No. 2, BB 101: II. Adagio - Piu adagio - Presto12:09Album Only
listen  6. Piano Concerto No. 2, BB 101: III. Allegro molto 6:14$0.99  Buy MP3 
listen  7. Piano Concerto No. 3, BB 127: I. Allegretto 7:10$0.99  Buy MP3 
listen  8. Piano Concerto No. 3, BB 127: II. Adagio religioso10:05Album Only
listen  9. Piano Concerto No. 3, BB 127: III. Allegro vivace 6:22$0.99  Buy MP3 

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Frequently Bought Together

Bartok: The Piano Concertos (Nos. 1, 2 & 3) + Complete Works for Piano
Price for both: $66.17

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Product Details

  • Orchestra: BBC Philharmonic
  • Conductor: Noseda
  • Composer: Bartok
  • Audio CD (September 28, 2010)
  • Number of Discs: 1
  • Label: Chandos
  • ASIN: B003WL7E80
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #86,072 in Music (See Top 100 in Music)

Editorial Reviews

Customer Reviews

Most Helpful Customer Reviews
11 of 11 people found the following review helpful
5.0 out of 5 stars Bartók's Piano Concertos for our time November 6, 2010
Format:Audio CD|Verified Purchase
Béla Bartók left no wide margins for his interpreters, and therefore many interpretations of the three concertante-like piano concertos that make pianist, conductor and orchestra on a more or less equal footing have a strikingly similar design. So when Noseda-Bavouzet with BBC Philharmonic bring out a new recording of these Bartók's ravishing concertos, your curiosity will arise: What will their contribution be to the multitude of excellent interpretations existing?
For example, compared to the legendary Fricsay-Anda recording with its sensitively varied and nuanced playing and its incomparable Hungarian Bartók character, a both explosive and meditative revelation out of the past. Or Fischer-Schiff, as incomparable and emotive in its perfect balance between soloist and orchestra (Budapest Festival Orchestra), between the Classicist and Romantic-Modernist strains in the scores, probably the most ideal interpretation of them all. Or Boulez with three different orchestras and pianists, cleverly chosen according the character of the concertos: an authoritative Zimerman, an Andsnes full of fresh dignity, and a most Romantic and introvert Grimaud, with Boulez himself reigning supremely over the shifting stage and keeping all of it together from a more Modernist than Hungarian commonage full of universal space and stringency.
In comparison Noseda-Bavouzet is the fastest recording, with brisk tempi and vehement accomplishment: 73'28 for all the three concertos, whereas Fricsay-Anda take on 76'55, the longest one, and Fischer-Schiff and Boulez-Zimerman/Andsnes/Grimaud both land up in 76'26 and 76'25 respectively, quite an incredible levelness. Fast tempi suit Bavouzet's Classicist style, his lively, energetic drive and his stunningly distinct virtuosity, quite perfectly.
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10 of 10 people found the following review helpful
5.0 out of 5 stars Bavouzet gives another outstanding performance October 14, 2010
Format:Audio CD
Solid reviews are already being written about this disc of Bartók's three piano concertos. BBC Music Magazine made it their Orchestral choice for October 2010, and Gramophone will list it as Editor's Choice for November 2010. Pianist Jean-Efflam Bavouzet is not new to great reviews of his recordings. The set of complete piano works of Debussy (5 separate CDs) all received top marks, both for performance and sound quality. This is Bavouzet's first concerto recording for Chandos, and is worthy of similar praise.

I usually like piano music best when it's performed by the composer's countrymen. Rogé for Satie, Andsnes for Grieg, and so on. I would have initially been inclined to look for a recording featuring Kocsis, or Jandó. In this case, I am perfectly willing to make an exception. Bavouzet brings a welcome impressionism to Bartók's piano concertos. The slower movements, such as the Adagio religioso in the third concerto, take on a dreamlike quality. The percussive parts of the concertos do not drown out the piano; rather, Chandos has blended the parts evenly, allowing the listener to better enjoy the interplay between soloist and orchestra.

The sound quality of the recording is remarkable, and would have certainly been worthy of an SACD release. The booklet notes give informative insight into the creation of these 20th century masterpieces. Even the cover art is exciting, matching the bombastic and beautiful interpretations of these works. Do not hesitate to buy this recording!
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9 of 10 people found the following review helpful
Format:Audio CD
I approached this traversal of the three Bartok piano concertos without knowing of Bavourzet, a French pianist in his late forties who has won prizes and recorded Debussy, among other things, for Chandos. It would be easy to shrug him off: the world is fairly crammed with prize-winning pianists and also a fair number of outstanding recordings of the Bartok concertos, going back at least as far as Geza Anda and Ferenc Fricsay (on DG). In the wake of some great interpretations from the young Barenboim with Boulez, Stephen Kovacevich with Colin Davis, Pollini with the older Boulez, and scattered performances by Argerich, not to mention the flashy set from Ashkenazy and Solti, can Bavouzet find his own niche?

I think he does, because he backs away fairly strongly from accepted Bartok piano style, with its hammering insistence, accented dissonance, and motor rhythms. In their place we get softer attacks, expressive phrasing, and an emphasis on atmosphere. It would be glib to say that Bavouzet has mistaken Bartok for Debussy, but the suggestion isn't off base. One notices that he and Noseda are out to play change-up from the first few bars of Cto. no. 1, which is miles away from Pollini's driving force. Pianist and conductor take all the time they need for pauses, reflection, and moodiness. This allows the Andante of the first concerto, for example, to come off very successfully, full of color and half-light. Chandos provides very detailed sound from inside the orchestra, which enhances the coloristic effects.

Cto. no. 2 is played for virtuosic impact by almost everyone, and Bavouzet must step up to its fiendish technical challenges.
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