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Martha Argerich ~ Bartok - Contrasts · Prokofiev - Quintet Op.39 · Liszt - Concerto Pathétique Original recording reissued

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Audio CD, Original recording reissued, June 29, 1999
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Track Listings

Disc: 1

  1. I. Allegro Serioso, Non Troppo - Chantal Juillet
  2. II. Adagio - Andante - Tempo I - Chantal Juillet
  3. III. Maestoso E Largamente, Ma Non Troppo Lento - Presto - Chantal Juillet
  4. I. Verbunkos (Recruiting Dance) - Martha Argerich
  5. II. Piheno (Relaxation) - Martha Argerich
  6. III. Sebes (Fast Dance) - Martha Argerich
  7. Allegro Energico - Grandioso - Quasi Fantasia - Andante Sostenuto - Allegro Agitato Assai - Andante, Quasi Marcia Funebre - Piu Mosso - Allegro Trionfante - Martha Argerich

Product Details

  • Performer: Nelson Freire, Michael Collins, Chantal Juillet
  • Composer: Bela Bartók, Franz Liszt, Sergei Prokofiev
  • Audio CD (June 29, 1999)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Original recording reissued
  • Label: EMI Classics
  • ASIN: B00000JJQY
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #348,805 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

11 of 12 people found the following review helpful By Dr. Christopher Coleman on October 24, 2000
Format: Audio CD
Well, here's a very interesting bit of marketing--this CD, released in Hong Kong, does not contain the Prokofiev performance. Same cover, same performers, slightly different programme. Instead, the Kodaly Duo for violin and cello is included, in a stunningly wonderful performance. Programming concerns make the Hong Kong choice much more interesting--the parallels between the three Hungarian composers who don't, at first glance, seem to quite belong together, provoke thought from the audience. Bartok, Liszt, and Prokofiev--I wonder what the programming concept really is here, other than the not terribly profound Eastern European connection. Bartok, Kodaly, and Prokofiev would have made sense as three contemporaneous composers.
The Bartok work included is his three-movement suite for violin, clarinet and piano called Contrasts, which he wrote for himself, a violinist friend Josef Szigeti, and the American jazz clarinettist Benny Goodman. This piece hints at developments later in Bartok's career; for example, the chorale writing in the second movement and the swirling texture of scales in close imitation in the third. Both these ideas are developed much further in Bartok's Concerto for Orchestra. One wonders what Benny Goodman made of this. He also commissioned Stravinsky to write the Ebony Concerto for Clarinet and Jazz Band--and frankly neither of these pieces are really the composer's best work. The Bartok, as enjoyable as it is, has small ambitions. I rather think that Goodman was hoping for something more like Rhapsody in Blue. That said, though, this is a terrific performance, rhythmic and energetic and exciting. It is much more musical, in fact, than the recording that Bartok himself made with Goodman and Szigeti.
The Liszt Concerto pathetique is something else altogether.
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