Béla Bartók - Piano Sonata Sz.80 (1926) - Dušan Holý
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- เผยแพร่เมื่อ 30 มิ.ย. 2024
- Béla Bartók - Piano Sonata Sz.80 (1926)
00:00 - 1.- Allegro moderato
04:58 - 2.- Sostenuto e pesante
11:52 - 3.- Allegro molto
Dušan Holý - piano
Piano: Steinway D
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Spotify:
open.spotify.com/artist/4FHJQ...
Apple music:
/ marionnettes
/ concerto-for-4-harpsic...
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Hereby I present another piece from my "archive" - record from one concert in 2006 in Brno, Czech rep. in the AULA of Janáček Academy of Performing Arts. (I did not study there, but Brno is my home-city, so I give a concert time to time there..)
Anyway - this is the only piano sonata of one of the biggest music (and not only music) genius ever - Béla Bartók. Written in 1926.
I hope you enjoy this..
- you can "buy me beer" (or maybe new piano?) here: paypal.me/DusanHoly - Thank you for any support!!!
#bartok, #piano, #sonata - เพลง
I really appreciate the slightly slower tempo in the first movement. One can truly appreciate the percussive details that Bartok probably intended us to hear. Thank you for your work!
A fantastic version, the slower tempi allow you to really take in all the unbelievable aspects of the piece. Plus your crashing bass tones are absolutely perfect. I always believed that the bass in the Sonata should kind of scare the audience. Plus in the sections marked piano you actually play quietly, something other payers of this piece do, maybe they're too excited. The quiet parts make the loud ones even more exciting.
I first read your 2nd message, this came just now. Well, again, I'm happy you like it. What you say is true and right now, I do apply kind of same in my Toccata. Just wrote the "almost romantic" middle part with a "Parisien sentiment".
But as more people would get soft in the middle, as more effective will be the .... big ending. 😁😋
Also, I also especially like the crashes on the offbeats when playing the main theme of the third movement. They sound like a building exploding, great. Also I noticed that at times you play them a tiny bit early, a trick I definitely approve of, as it makes them even more effective. And your turning the very last into a cluster, w more notes than written, is fantastic. I definitely do not have the chops to play this piece (yet), but if and when I do the last chord will be a double forearm cluster
Hehe... :) .... good luck! Who knows if I'd be able to play this still today. This comes from my "conservatory study times". Ahhh, sweet childhood with lots of time to practice and so....
Now, I face the bloody hard reality. Living abroad without my own piano, bills every month (heh... it just reminds me I have to pay my rent today, the last day of the month...).
Anyway, I go back to Sibelius program. Currently composing my "mighty opus 1" Toccata for piano. Wish me luck with finishing touches. I'm approximately somewhere around half of the piece.
Cheers! D.
Yeah, if you play piano, playing a voice or a theme a little early or late. Can be an incredible part of the whole piece. Technically it's called "breaking the hands."
WOW FANTASTIC BASS SOUND
Thanks!
I agree with the positive comments that preceded mine. This is one of the most effective--or at any rate attention-grabbing--performances of this I've heard. I like the slower, more measured pace. Until a few years ago, though a giant Bartok fan, I didn't particularly like this piece. Maybe if I'd heard yours earlier, I would have "got" it earlier. Thanks!
Thanks for your kind words. Happy that you've found the way to my video. As I said already in other replies - this is already quite old record from the time when I graduated Prague cons.. Means, here I was still under the "control" of my piano teacher. And I do believe that it was the best "control" I could imagine.
Wonderful performance of this sonata. Resurrecting it again after 20 years and am now inspired. Thank you.
Thank you!!
I love your bass sound!!! AMAZING😦😦😦
I love bass sound too... I used to DJ when younger - techno/DnB from vinyl plates. So, I do like when walls vibrate. :)
@
""when walls vibrate" .... haha ......; Bartok too had the early vision of "vibrating walls" .... in 1926 , but it was the walls of western civilization .... some years after it was "vibrating walls" again .... Dresden's bombing (120.000 deads) in three nights, Nürnberg, Hamburg, and Hiroshima, Nagasaki vibrating's walls, and the vibrating walls of the gas chambers in Auschwitz, Treblinka, Sobibor .... haha .... so much vibrating walls ......
You really bring out the inner voices - great work!
Thank you.. Nice to know people listen to this... and not only to Einaudi. ;)
주로 대학원이나 개별 리사이틀때 치는 곡. 어렵지만 현대곡 연습많이하면 리듬감 개쩔게 좋아짐 소리울림단순하게 울려서 역으로 다시 고전으로 거슬러 올라가서 공부 복습하면 아하 하고 이해습득력 올라가짐.
Wow stupendous performance, nothing else to add that hasn’t already been said by the other comments and I enjoyed your Scriabin 6th as well. I’m curious how far you can reach, because with my small handspan some of the passages in the 3rd movement felt damn impossible.
Hi... Thanks for the comment. Appreciated! About my hands - I can grab 9 with no issue. 9, I can "slam" from above and will be precise every time. 10 I can grab also but more like "tenuto way", when I prepare it a bit. 10 on black keys like Eflat-Gflat, no problem (even with some inner voice included), but white keys E-G, I have to be "careful" bcs it's kind of edge-maximum...
So, I cannot really play 10s jumping like a ragtime or so, but can play 10 in slower parts - as I said, like more tenuto (there are dozens ways how to "brake" the chord so usually, I do brake / arpeggio / grace-note it somehow...)
Lastly, I think my left is maybe a few milimeters more "open". Grabbing 10 with left feels more confortable then with right. I guess that comes from playing more chords with left hand since childhood - left is always more "open". Violinists have their "mark" on their necks, cellists have their "alien" on the left thumb... and pianists have left hand little bit more open then right hand... - "occupational dissease". :)
I am happy with my handspan. Would be nice to grab 10 11 or so, but then it must be more difficult to play "quick passages", chromatics etc. ... I think my hands are somewhere in the middle - not so small as some "japanese" and not so huge like some russians (Rachmaninov).
@ Well that explains that, I’m definitely on the smaller side barely being able to reach a 9th and certain major 9ths are not possible if it’s black to white key in the left hand or white to black key in the right hand, at least without the thumbs playing the minor 9th as well. It is quite annoying when I am forced to break chords when the texture is sort of ruined by it, but I have figured out ways to go about it where it is not as bothersome. Some passages in Scriabin’s sonatas or the Ravel left hand concerto and Le Gibet as examples, all possible with some creative solutions. However with this Bartok sonata, I’m specifically referring to the passage that starts at around 12 minutes with the alternating 9th cluster in the left then right hand. Maybe there is a way I can redistribute the middle cluster so it’s possible, also because I initially learned it on a piano that could not handle most of the music I wished to play.
@@ilikeplayingffftonecluster851 Yes, I understand. Probably "tiny bit too little". But you know - there are / were pianists with small hands playing "big repertoire". They say Alicia de Larrocha had small hands, for example. Ravel was also a small man.
If you wanna "practice hands stretching", Schumann's Toccata is a good piece.. :) But don't get too wild / serious. You don't wanna destroy your hands as Schumann did.
Brilliant performance!!! .first movement is amazing. i first heard this piece in a faculty recital by dr. peter pertis at westchester conservatory white plains ny (circa1987?).
I have been waiting 32 years to hear its equal. bravo! This piano is beautifully tuned, but despite the explosive bass, sounds like it needs a new set of hammers.
Thanks for your comment. Much appreciated. This is 13 years old record. The piano is Steinway D. Few days before this concert, I played the same concert as my graduation at Prague conservatory. This record is from Brno, where I re-played the same concert for my family, friends and so. This concert took a place at Janáček academy Brno. I belive this was still their first Steinway which they had since 90's. Since than, there is already the third Steinway (last year, they got a new, the 3rd). I've heard the new one is very beautiful but the thing is - in Czech, they don't provide a service which Steinways would deserve...
Interesting interpretation.
The first movement is very muscular and aggressive, and the recording of the piano is top notch, with great clarity across all three ranges (bass, mids and highs), allowing you to pick out all of the music lines.
The second movement felt a bit heavy (understandable after just completing the first movement), and the pedal work blurred some of the notes.
Third movement returns the pianist to their preferred play style on this sonata (uptempo and in the ff to fff volume range).
i am a bartok freak, and i LOVE the way you handle his music.
I saw on your channel you have some accomp. features.
would you please perform the piano parts for bartok's 1st and/or 2nd violin/piano sonatas?
I am very sorry... I have checked these two sonatas, and I can simply say: no, I can't. First: I have never played these two sonatas in my life. It is bloody difficult playing and I don't have time-capacity to practice this music just because of this reason. And also - this would be almost impossible to record without a violinist... There are gaps, crazy rhythms, lots of "show-off" places.., cadenzas etc. I hope you understand this. For this series, I need pieces where I can constantly follow the music even without solo player (sing it in my head, whatever..). Take an example: Schubert Arpeggione sonata... - piano plays all the time. This is "LPT firendly". The beast by Bartok is unfortunately not.. :) But of course - it's a great music... Love it. (the 2nd sonata little more than 1st)
@ Thank you, Dusan, for looking over these Bartok scores. I appreciate your reasons. Is this true for the Ravel Violin/Piano Sonata, too? or the Debussy?
That bass tho
labored, but i like the energy
I was young... It was this "you learn the piece as a student for the first time" performance. Even though being very strict with myself, still I like this look to the past.
I would like that some other (very famous ones) should "labour" their playing as Mr. Holy does ........
Bosendorfer for Life!
If I remember correctly, this was a Steinway D.. :)
Dušan Holý it probably is but this is Perfect for Bosendorfer 290 , the extra low Keys, it does sounds a little brighter, more than my personal taste, One of the characteristics of Steinway’s are the change from subtle to bright in a fast fashion if desired. You can hear a lot of that in this piece. I’ve played this on a Bose’ Vienna and it’s a Monster of a piece.
@@MeAlexSenna I got your point. And I think I would like it too... Unfortunately, there is no Monster Bose close to me anywhere and wasn't in the time I played the piece...
The sound quality is a bit disturbing, but your interpretation stands out among many versions on TH-cam, your playing has a lot life in it and focused force what is not the same as just mashing the keys and getting a loud volume out of the instrument. Your magnificent élan excuses a lot for the wrong notes. I prefer to listen to you over many more academic, i.e. more lifeless, renditions by some of "the greats".
Thanks. I appreciate it. Definitely not academical playing here. I have tried 4x (3x at HAMU - Academy of performing arts Prague and once in Ostrava) but wasn't accepted. My family was not happy about it (especially my grandfather who is Prof. PhDr. Dušan Holý DrSc. - kind of the "most titled possible" university professor of ethnomusicology). The truth is that I did not care to be accepted there.... Never followed any "well payed" preparatory lessons with teachers there...., never licked asses enough. But finally, I believe it was kind of my destiny and I am quite a happy after many years. They prefer students with no opinion, no "natural" talent. They can easily form them into the product they like and of course, they always make sure that their students do not overcome / overgrow them. So, I only had one chance - to leave the country and move somewhere else. Which happened already 11 years ago.
Good energy, but I feel like the percussiveness and animal drive can be done with less physical effort from the player.
As I just replied to some other comment... (I copy that here) - I was young... It was this "you learn the piece as a student for the first time" performance. Even though being very strict with myself, still I like this look to the past.