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Prok Prok
United States
Registrace 21. 12. 2016
Bartok Concerto for Orchestra, Sz. 116
Bartók's Concerto for Orchestra is one of his best-known, most popular and most accessible works. Like his fourth and fifth string quartets (1928 and 1934), the piece is in five movements, arranged in what is called an "arch" form, in which the first and fifth movements are related, as are the second and fourth, with the third movement functioning as the keystone of the arch. The Concerto's opening bars present a theme of rising fourths in cellos and basses, answered by tremolando strings and fluttering flutes in Bartók's characteristic "night music" style. Trumpets, pianissimo, chant a pungent, short-phrased chorale on which the theme of the main Allegro vivace is based. A lyrical second theme (4:08) is introduced by the oboe, but the mood remains dark as the material is developed. Only when brass erupt in a modal fugato section (6:37) is there the suggestion that things may lighten. Bartók noted that the progress of the concerto was toward light from initial darkness, and that the thematic material of the fugato will return in modified form as the basis of the joyous moto perpetuo finale.
The second movement is titled "Games of Couples," and presents woodwinds in successive pairs, with close intervallic relationships derived from Dalmatian folk music. The syncopated rhythm that accompanies these games -- performed by side drum without snares -- carries over into the middle section, a soft chorale for brass (12:25). Bartók described the keystone third movement, "Elegia," as a "lugubrious death-song," in which unsettled "night music" effects alternate with intense, prayerful supplications (again related to the chorale-like material that pervades the first half of the work). The subsequent "Interrupted Intermezzo" presents the first real carefree moments of the work, with its satiric treatment of the march theme from Shostakovich's "Leningrad" Symphony (25:30), which Bartók heard in a radio broadcast. Bartók scholar Elliott Antokoletz notes that the movement's warm, cantabile melody for violas (24:31) quotes a popular song by Zsigmond Vincze, "You are Lovely, You are Beautiful, Hungary," bringing an unmistakable note of homesickness to the music. The finale opens with a leaping call to order for all four horns unison, followed by a wild moto perpetuo dance, in which the succeeding episodes hardly stop for breath. Bartók provided two endings, the first rather abrupt, the second more traditionally climactic, and making use of the upward-moving minor third motif that served as an intervallic motto for Bartók in many works. The alternate ending is the one that is usually played.
0:00 - Introduzione. Andante non troppo
9:29 - Giuoco delle coppie. Allegretto scherzando
15:55 - Elegia. Andante non troppo
23:38 - Intermezzo interrotto. Allegretto
27:40 - Finale. Pesante - Presto
Performed by the Chicago Symphony Orchestra
Pierre Boulez, conductor
The second movement is titled "Games of Couples," and presents woodwinds in successive pairs, with close intervallic relationships derived from Dalmatian folk music. The syncopated rhythm that accompanies these games -- performed by side drum without snares -- carries over into the middle section, a soft chorale for brass (12:25). Bartók described the keystone third movement, "Elegia," as a "lugubrious death-song," in which unsettled "night music" effects alternate with intense, prayerful supplications (again related to the chorale-like material that pervades the first half of the work). The subsequent "Interrupted Intermezzo" presents the first real carefree moments of the work, with its satiric treatment of the march theme from Shostakovich's "Leningrad" Symphony (25:30), which Bartók heard in a radio broadcast. Bartók scholar Elliott Antokoletz notes that the movement's warm, cantabile melody for violas (24:31) quotes a popular song by Zsigmond Vincze, "You are Lovely, You are Beautiful, Hungary," bringing an unmistakable note of homesickness to the music. The finale opens with a leaping call to order for all four horns unison, followed by a wild moto perpetuo dance, in which the succeeding episodes hardly stop for breath. Bartók provided two endings, the first rather abrupt, the second more traditionally climactic, and making use of the upward-moving minor third motif that served as an intervallic motto for Bartók in many works. The alternate ending is the one that is usually played.
0:00 - Introduzione. Andante non troppo
9:29 - Giuoco delle coppie. Allegretto scherzando
15:55 - Elegia. Andante non troppo
23:38 - Intermezzo interrotto. Allegretto
27:40 - Finale. Pesante - Presto
Performed by the Chicago Symphony Orchestra
Pierre Boulez, conductor
zhlédnutí: 483 917
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4:27 this restatement is so haunting in the cello divisi with the upper string highs
I was not overwhelmed by any of my favorite pieces upon first hearing. Usually, at some point, out of my intended control, I experience a BOOM moment and unrealized beauty and amazement spiderwebs in all directions, the initial amazement is often isolated to a particular movement. This Pearl realization, in turn, extends patience to the surrounding movements until they connect and are sequentially pulled in. I listened to Chopin’s 2nd first and predictably had “The Boom” in the second movement (after about three to five hearings). In regard to Chopin’s 1st, perhaps I’m trying too hard to the point of unintended sabotage, but to this point, no boom.
20:55
4:57
What a god-awful composer.
This sounds like taboritsky except he got a Tumor from compound V
Uno dei più bei concerti del 900, secondo me anche più del suo 3zo concerto, che è di per sé un capolavoro!!
This is terrible highly derivative and boring music. Hamelin, is of course, superb.
25:50
0:00 - No. 1: Lentamente 3:30 - No. 4: Animato 4:35 - No. 5: Molto giocoso 5:24 - No. 7: Pittoresco (Arpa) 7:27 - No. 8: Comodo 9:53 - No. 10: Ridicolosamente 11:01 - No. 11: Con vivacita 13:54 - No. 14: Feroce 17:30 - No. 17: Poetico 20:38 - No. 20: Lento irrealmente
dense, too dense and expressive, contrapunctal, still battling with the great Stravinsky and showing to Paris that he can shock and much much more mature than te Scythian Suite.
44:39, 47:56, 49:11, 49:45 The 4th movement is very tricky...
Easily my favorite symphony
I lo e much of Prokofjev, but this music is really firesome and arbitrary at timed, pushy, too octatonish, competing with Igor, a work of a young slightly selfish pianist. Compare Bartok and Stravinsky:
Si la perfection est de ce monde...alors la voici.❤
53:50
56:14
I really wished we would have received more of Prokofiev’s genius which was sadly censored by the Russian government at the time.
The wizardry of piano playing that only Chopin can pull off. Always distinctive, always ethereal, always a mode of conveyance to another planetary existence. Thank you Chopin for such a legacy of perfection and sublimity.
10/6 second 4line bar
he really keeps the 3rd movement together from boiling over into incoherent chaos. i feel like in so many other performances of the precipitato that i hear, the tempo gets pushed and pushed, it gets drowned out in pedal, and musical gestures and thoughts just get lost in the commotion. great job by pollini is harnessing that industrial, machine riveting power to good musical use!
J. S. B.
34:40
Such a lyrical and dramatic piece
bro just casually made the soundtrack for the Alien movie back in 1943
Love it
35:04...
exciting!
I see the ghost of Stalin put ads in this. Call an exorcist, or psychic, to dispel the evil spirit.
this is epic af i love it
Probably my favourite piano concert, for the incredible textures, fresh harmonic language and easily-read but efficient structure! And, you know, it just hits
Очень хорошо! Послушала с удовольствием. Для военной сонаты звучание достойное. Мало кто играет это с пониманием заиысла. А здесь получилось. С Султановым сравниваьь и не надо, Султанов это эталон для 7й, но музыка должна звучать, лишь бы замысел не пропадал. Здесь Прокофьнв настоящий.
Agerich does not understand this piece.
Cool
At the beginning you dream. At the scherzo something crushes your lullaby and changes your dream in unpredictable way. At the 3rd movement the dream of the beginning is twisted and you're stuck in it. Forever.
25:57
44:27
Great rendition of a wonderfully modern yet lyrical solo sonata. There seems like there's a weird glitch in the recording at 11:07 though. The b flat in the third measure of the page has a doorbell sounding harmonic. Strange.
Nicely performed.
My ears hurt listening to this trash.
do you hate prokofiev or just especially dissonant music
@@karrotkake Dissonance is great. This piece makes no musical sense.
@@Dichweed oh ok that's understandable, i mean im not a huge fan of this piece but i dont think its horrible
The form just does not make a lot of sense.
czcams.com/video/xXxA175lHLo/video.html
Wrong tempos everywhere.
Tedious.
Too many adverts ruin this amazing performance..
Senza dubbio tra i peggiori compositori del Novecento, privo di talento e di gusto, informe e deforme.
Oh dear, I was rather ignorant of Prokofiev so far, sure, I know and love a lot of his stuff very well (symphony 1, love for 3 oranges suite, peter and the wolf, romeo and juliet and some piano sonatas), but I´ve planned to listen to a lot more of his oeuvre and my word, this piano concerto is so much fun! Also an excellent performance
Kinda reminds me of Debussy in Mvt. I
56:43 is like that feeling of pure anticipation resolving into absolute joy that you get when eating a big mac and fries.
Like 4,3mil
2:18
3:06
3:22
4:47
5:26
5:53