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ClassicsOnline Home » BARTOK, B.: Piano Music, Vol. 3 (Jando) - Out of Doors / Ten Easy Pieces / Allegro Barbaro
By Olin Chism
The Dallas Morning News
"Jeno Jando, music of Bela Bartok, Out of Doors (Naxos): Rarely has a composer looked less like his music than Bartok. Photographs portray him as a slight, shy and rather apprehensive man who apparently never smiled. But start the first track of this fine recording and you hear something else. The pounding bass chords of "With Drums and Pipes" suggest that he still possessed the genes of his ancient and wild Magyar ancestors.
But Bartok was a multifaceted composer and the 27 tracks on the release represent a wide variety of moods. The first of Four Dirges is not so much sad as atmospheric -- reminiscent, in spirit, of Debussy.
Despite the composer's invariably solemn countenance, there is wit as well. "Quarrel" is, well, quarrelsome. "A Little Tipsy" lurches around, its jerky motion aptly reflecting the title. The Hungarian pianist Jeno Jando's bold and reflective performances make a strong case for this appealing music."
The Hungarian pianist Jeno Jando's bold and reflective performances make a strong case for this appealing music."
By Elizabeth Roche
The Daily Telegraph (Australia)
Béla Bartók (1881-1945)
Piano Music, Volume 3
The Hungarian composer Béla Bartók was born in 1881 in a
region that now forms part of Romania. His father, director of an agricultural
college, was a keen amateur musician, while it was from his mother that Bartók
received his early piano lessons. The death of his father in 1888 led to a less
settled existence, as his mother resumed work as a teacher, eventually settling
in the present capital of Slovakia, Bratislava (the Hungarian Poszony), where
Bartók passed his early adolescence, counting among his school-fellows the
composer Ernö Dohnányi. Offered the chance of musical training in Vienna, like
Dohnányi he chose instead Budapest, where he won a considerable reputation as a
pianist, being appointed to the teaching staff of the Academy of Music in 1907.
At the same time he developed a deep interest, shared with his compatriot
Zoltán Kodály, in the folk-music of his own and adjacent countries, later
extended as far as Anatolia, where he collaborated in research with the Turkish
composer Adnan Saygun.
As a composer Bartók found acceptance much more difficult,
particularly in his own country, which was, in any case, beset by political
troubles when the brief post-war left-wing government of Béla Kun was replaced
by the reactionary régime of Admiral Horthy. Meanwhile his reputation abroad
grew, in particular among those with an interest in contemporary music, and his
success both as a pianist and as a composer, coupled with dissatisfaction at
the growing association between the Horthy government and National Socialist
Germany, led him in 1940 to emigrate to the United States of America.
In his last years, after briefly held teaching appointments
at Columbia and Harvard, Bartók suffered from increasing ill-health, and from a
poverty that the conditions of exile in war-time could do nothing to alleviate.
He died in straitened circumstances in 1945, leaving sketches for a new Viola
Concerto and a more nearly completed Third Piano Concerto. The years in
America, whatever difficulties they brought, also gave rise to important
compositions, including the Concerto for Orchestra, commissioned by the
Koussevitzky Foundation, and a Sonata for Solo Violin for Yehudi Menuhin.
As a pianist Bartók had had a number of teachers in the
years before his mother settled in Bratislava. There he became a pupil of
László Erkel, son of the well-known Hungarian opera-composer Ferenc Erkel, and
after his teacher’s death in 1896, of Anton Hyrtl, acquiring from both a
knowledge of piano repertoire and of traditional compositional techniques. In
Budapest his piano teacher was István Thomán, a pupil of Liszt, and his
composition teacher the traditionalist Hans Koessler. From the early 1890s, at least,
Bartók had written music for the piano, a series of works that remain
unpublished, a fate that he might have preferred for his Four Pieces, published
in 1904. He continued to write for the piano until he left for America in 1940,
including among these compositions works for concert performance and pieces
designed for students, in the comprehensive collection Mikrokosmos covering a
level of competence from that of the beginner to that of the mature performer.
The five pieces that make up Out of Doors were written in
the summer months of 1926. The first, With Drums and Pipes, makes percussive
use of discordant intervals, at first in the lowest register of the piano.
Above this fragments of melody appear, limited in range. Barcarolla is
asymmetric in rhythm, making use of the interval of a fourth and moving forward
through the constant quaver figuration that runs through the whole piece.
Musettes provides the bagpipe drone suggested in the title, with only fragments
of melody. The Night’s Music is a characteristic evocation of the sounds of the
night in tone-clusters, explored elsewhere in his music and here making use of
the particular resonances of the piano. The piece was dedicated to his second
wife, the pianist Ditta Bartók. The Chase is impelled forward by its energetic
repeated rhythmic figures, with insistent groups of five notes in the left hand
providing the constant accompaniment to melodic elements.
Bartók wrote his Four Dirges in 1909-1910, later revising
them. Parts of the set were first performed in Budapest in 1917 by Dohnányi.
They offer an immediate contrast to The Chase, the first gently sustaining
resonances centred on the chord of B major. The second opens in unison, with
added harmony notes held and then arpeggiated, as the music moves to a climax
and then fades once more. The third has solemn fifths doubled in the lower
register, an octave melody above. The same mood of serene acceptance also
permeates the fourth piece.
The Two Romanian Dances of the same date, the second revised
in 1943, were inspired by the folk-music of Romania, but are relatively
extended concert pieces. The first opens with an ostinato accompaniment figure
in the left hand, against which a vigorous folk-dance is heard, the whole piece
mounting to a great dynamic climax. The second starts with a right-hand
ostinato figure, the music gradually gathering momentum, a derivative of
folk-music and its spirit and energy, translated into very different terms.
Bartók wrote his Ten Easy Pieces in 1908. The Dedication
that precedes the ten starts with the notes that he associated with his friend,
the violinist Stefi Geyer, for whom he wrote the first of his two violin
concertos, which she never played. The motif appeared in the concerto and then
in the Two Portraits of 1911 that re-used the material of the concerto,
returning also to the last of the Fourteen Bagatelles, with the same motif. The
Peasant’s Song presents the melody in unison, while Painful Wrestling, its
title variously translated, has an insistent ostinato accompaniment. The
Slovakian Peasant’s Dance, like the two Hungarian Folksongs, the sixth and
eighth of the pieces, is an arrangement of a folk-song. The nostalgic
Sostenuto, suggesting Debussy in more than its final left-hand rising
whole-tone scale, is followed by the most familiar of the pieces, An Evening at
the Village, included in the orchestral Hungarian Sketches of 1931, a
juxtaposition of two pentatonic melodies. The energetic Bear Dance was also
included in the same orchestral work. Between the two Hungarian Folksongs comes
Dawn, akin to Sostenuto in mood. Finger Exercise, not quite a conventional
five-finger exercise, as it turns out, has a five-note ostinato throughout.
Bear Dance provides a typically vigorous ending to the set.
The Allegro barbaro of 1911 challenges the contemporary
public in its title and content, as it is impelled onward, before relaxing for
a moment into a gentler mood. Like much else, it has its roots in Magyar
folk-music, now absorbed into the composer’s own musical language.
The Three Hungarian Folktunes date from 1907 and were also
arranged for recorder and piano. The Three Burlesques of 1908-1911 offer an
immediate contrast. The first of them, Quarrel, was dedicated to Bartók’s first
wife, his former student, Márta. As its title suggests, it includes harsh
dissonances, with very brief moments of apparent reconciliation. The second, A
Little Tipsy, orchestrated in the later Hungarian Sketches, is described as ‘in
an unsteady rhythm’, appropriate to its title. The third, with no title, has
less strident clashes in its headlong and capricious course.
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