Bartók - Piano Concerto No. 1, Sz. 83 / Remastered (Century's recording: Géza Anda, Ferenc Fricsay)

[@classicalmusicreference]

Béla Bartók (1881-1945) The 3 Piano Concertos & Rhapsody by Géza Anda / Ferenc Fricsay. 🎧 Qobuz (Hi-Res) bit.ly/4b5bVFt Tidal (Hi-Res) bit.ly/3tifIu2 🎧 Apple Music (Lossless) apple.co/3Kgad7t Deezer (Hi-Fi) bit.ly/3KbhtzW 🎧 Amazon Music (Hi-Res) amzn.to/3toRSNm Napster (Hi-Fi) bit.ly/4b7aPcg 🎧 Spotify (mp3) spoti.fi/3U2AbC9 KZbin Music (mp4) bit.ly/3YlNMnk 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… Click to activate the English subtitles for the presentation (00:00-02:00) 00:00 Piano Concerto No. 1, Sz. 83, BB. 91 - I. Allegro moderato, Allegro (Remastered 2021) 09:09 Piano Concerto No. 1, Sz. 83, BB. 91 - II. Andante (Remastered 2021) 17:45 Piano Concerto No. 1, Sz. 83, BB. 91 - III. Allegro molto (Remastered 2021) Piano: Géza Anda Berlin Radio Symphony Orchestra Conductor: Ferenc Fricsay Recorded in 1960, at Berlin New mastering in 2021 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr This first intrusion by Bartók into the world of the piano concerto belongs to the great year 1926, which also saw the birth of the Sonata and the suite En plein air. A major work in the piano literature, this score happily exploits the percussive character of the instrument and explores the clear, dry sonorities of the modern touch. Although unique in its conception and language, the work is in the triple sign of Beethoven, Bach and transcended folklore. Vigorous dynamics and ever-changing motives recall the developmental techniques of the late Fidelio sonatas, while the shadow of the Leipzig Cantor looms behind the prodigious contrapuntal work that gives the work a linear structure. These seemingly disparate elements merge into a rich and personal melodic style that draws on the lively sources of the incantatory power of popular music. Click to activate the English subtitles for the presentation (00:00-02:00) Bartók - For Children Complete, Gyerekeknek Sz.42 / New Mastering (Century's recording : Géza Anda): kzbin.info/www/bejne/sIXHXoqti9CgpKM

[@shin-i-chikozima]

They play the soul of Bartok The wonderfulness of Bartok is irreplaceable , and incomparable

[@Felipe.Taboada.]

The best ever in my opinion.

[@ambro71766]

This is a very classic version.😊

[@notaire2]

Wunderschöne und spannende Interpretation dieses einzigartigen doch perfekt komponierten Konzerts mit klar artikuliertem doch elegantem Klang des technisch perfekten Soloklaviers sowie gut vereinigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt echt schön und auch mysteriös. Der intelligente und unvergleichliche Dirigent leitet das hoch funktionelle Orchester im veränderlichen Tempo und mit völlig effektiver Dynamik. Wundervoll und atemberaubend zugleich!

[@trudischleifer7245]

Brilliant performance of a great piece 👏

[@VassilikiKravari]

Brilliant performance of a masterpiece!

[@화이팅-b1g]

선율까지도 타악적으로 변모시키는, 그레서 오케스트라와 피아노 각각의 악기가 타악적으로 작곡되어진 이곡은 바르톡만의 톡특한 음악이 되었다 누구도 시도해보지 못한 유니크한 1,2곡은 통꽤하고 상큼하고 아름답다~

[@leonardogarcia1832]

Gracias por estas joyas….💎….🙏

[@oboist3]

I have this magical set, was my introdu7ction to Bartok

[@AndreJorgeOliveira1]

Great concerti and grand renditions

[@classicalmusicreference]

This first intrusion by Bartók into the world of the piano concerto belongs to the great year 1926, which also saw the birth of the Sonata and the suite En plein air. A major work in the piano literature, this score happily exploits the percussive character of the instrument and explores the clear, dry sonorities of the modern touch. Although unique in its conception and language, the work is in the triple sign of Beethoven, Bach and transcended folklore. Vigorous dynamics and ever-changing motives recall the developmental techniques of the late Fidelio sonatas, while the shadow of the Leipzig Cantor looms behind the prodigious contrapuntal work that gives the work a linear structure. These seemingly disparate elements merge into a rich and personal melodic style that draws on the lively sources of the incantatory power of popular music. Click to activate the English subtitles for the presentation (00:00-02:00) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

[@drjjpdc]

What are the Fidelio sonatas? Never heard of them.

[@paulinahernandez934]

Saludos desde Mexico,

[@paulinahernandez934]

Wooow hermoso,tan hermosa interpretación,mi alma oidos y corazon se engslanan con tan bellisima musiquita.

[@dejanstevanic5408]

Wow, that was super - TY

[@jesustovar2549]

It is interesting to see how the wind and percussion instruments persist, METAL, really this is a good interpretation, no one better than Fricsay who knew Bartok's work very well and Géza Anda as a pianist.

[@scrunchymacscruff1244]

I had the DG release with Fricsay/Anda of #3 and got the complete set of three on cd. Do you know if they are the same recording? I thought when listening to the cd there was something different form the vinyl. The record was a sensation!

[@jonnsmusich]

Very good. Thanks

[@EddieJazzFan]

This was really good. Géza Anda also does a great Mozart piano concerto cycle.

[@jjgghhjk]

THE version.

[@СамуилВанштейн]

К сожалению , только с возрастом смог оценить

[@michaels7889]

Perhaps someone might be able to tell me which of these concertos enjoyed the first broadcast - emphasize broadcast - performance on the Beeb from New York in the 1940's. I believe it should should perhaps be the third but recall the second movement of the second. What I recall most of all though is the battle I had with my pianist father to be allowed to listen but I would like to be reminded of which please.

[@nelicoupier3596]

🎷🎺🎻🥁🎹😍💗🎵🎶

[@sngsculture291]

👍❤👍

[@paulpomme2502]

No, I don't really like this rework. I prefer the old DG version. Here there's far too much stereo: in headphones, the violins only on the left? Ridiculous. The piano is too close and the sound is too metallic, with distortion. There are also other details that bother me. The DG sound engineers in 1960 were much better and had a better ear than many of today's geeks in front of their computers and mixing consoles...

[@WhackaWhacka]

This is the first time I've listened to any version of this performance and it does sound really strange, more like a rock/pop studio recording. I'm listening to the DG now and will continue with that one.