Béla Bartók - Viola Concerto (Audio + Full Score)
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- เผยแพร่เมื่อ 3 มิ.ย. 2024
- Béla Bartók - Viola Concerto, Sz. 120, BB 128 (1945), orchestrated by Tibor Serly
Sinfonieorchester Aachen
Conductor - Christopher Ward
Viola - Timothy Ridout
I. Moderato - 0:00
II. Adagio Religioso - 14:49
III. Allegro Vivace - 20:00
The Viola Concerto, Sz. 120, BB 128 (also known as Concerto for Viola and Orchestra) was one of the last pieces written by Béla Bartók. He began composing his viola concerto while living in Saranac Lake, New York, in July 1945. The piece was commissioned by William Primrose, a respected violist who knew that Bartók could provide a challenging piece for him to perform. He said that Bartók should not "feel in any way proscribed by the apparent technical limitations of the instrument"; Bartók, though, was suffering from the terminal stages of leukemia when he began writing the viola concerto and left only sketches at the time of his death.
en.wikipedia.org/wiki/Viola_C...)
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I am now listening to Bartoks Viola Concerto,it is new territory for me,and loving every moment,Bye for now love Alan
Tibor Serly composed his own Viola Concerto in 1929. Not only is it an excellent work that shows Serly to have been an outstanding composer in his own right: it also shows how different his own Concerto is from Bartok's. Clearly he didn't impose his own creative style onto Bartok's unfinished final masterpiece. There are two performances available of it on TH-cam and are worth hearing.
The harmonics in the third movement are flawless! Bravo Timothy!!!
Serly wrote an excellent article for "College Music Symposium " , in 1975 entitled "A Belated Account of the Reconstruction of a 20th century Masterpiece ” which should be read by anyone interested in his outstanding completion of Bartok's unfinished final masterpiece. At the end of the article, he lists dozens of mistakes in the published score which, to this day, have never been corrected in the Boosey and Hawkes score. All the more recent completions borrow heavily from Serly's superior version.
I'm kind of surprised that Bartók would choose to end the piece wth such a straightforward perfect cadence
Bartok wrote this only partially on his "deathbed". It was finished later (there are currently two widely used versions), that might be the reason.
@@martinotypka4818 Nope, I even checked the facsimile sketches back when I said that, and they have an unambiguous perfect cadence
@@adlfmyes it is a perfect cadence, but he didn’t write that.
@@sheeb2855 yes, he did. Check the facsimile.
@@adlfm what in the world is a facsimile
Doesn’t matter, according to Wikipedia, Serly COMPLETED the piece when Bartok died. He finished it.
Me listening to this realizing how cooked I am for auditions.
This Canuckistanian violist-violinist hybrid sympathizes completely. Not sure which is worse for current pre-audition recordings--- for viola, this Bartok 1st movement, or the violin Don Juan...^^
nice
Estoy acá por George Steiner... que dijo que Bartók "expresaba una lucidez desolada".
Hey to whose played this piece, it is too much difficult to read?
Not sure what exactly your question is, but yes, it’s very difficult
To confirm, both the score and the performance are the Serly orchestration?
The performance is definitely the Serly orchestration, I have no information on the score, as it was merely a pdf file with no information attached. There seems to be some discrepancies but they are largely the same.
It seems to me that the performance of the Viola part by Timothy Ridout is the Serly version with a few changes that he takes directly from the manuscript. In my opinion he chose to implement the changes on the Viola part that don’t compromise de Serly orchestral accompaniment. For example:
-1:14 playing a C flat on the sixteenth-note silence
-2:01 the B sharp is an octave down
-Some minor octave changing at 2:23
-Octava basas at 6:16
Some bigger changes that could compromise the orchestral accompaniment such as 3:36 (that bar has an extra beat in the manuscript left uncompleted by Bartók) or the section at 6:04 (not double stops and mp dynamic instead of f), just to name a few, were left out.
The score itself is purely de Serly edition.
I hope I could help a bit :)
This concerto is an absolute mess with all of its editions, versions, and quiet edits. I've seen the original manuscript (at the Primrose International Viola Archive), and it's basically unreadable. It looks nothing like a score and more like a notebook with sketches everywhere.
23:25
0:03
19:32
A 5 String Viola w/ an E String can do it more easily on the higher notes.
Sacrilege
That's not the point though
A violain
the proportions of the instruments are perfect to let the wood vibates at his max, and these proportions are reletive to the pitch of the instruments, so if you put a E string on a viola or a C string on a violin, you will totally destroy the work of the luthier with the proportions and your intruments will sound bad. plus Bartok wrote this concerto knowing that the highers notes will get a particular sounding (they will sound with less resonance) and he surely want this sounding.
@@SkankingNoche Ah but w/ a 5 String Violin the ribs are slightly deeper to get a more balanced sound & extra resonance.
0:43
0:32
There are innumarable flaws in this recordings, not going to mention them all. Just a couple. Bar 37 : high E is tied over with the one on the 2. beat, as in score, (out of tune even), bar 39, first half of the measure should be an octave lower, as in score. Not a very profound and accurate read, lots of sloppiness, too bad.
Ok, baby