SKU: BT.PWM4901

Concerto for String Orchestra - the magnum opus of Grayna Bacewicz (1909-1969), the outstanding composer and violinist - was composed in 1948 and at once became one of the most frequently performed works of this Polish artist. This masterpieceof neoclassicism fascinates as much by its invention and virtuosic briliance as its harmonious combination of formal elements of a traditional nature with new tonal ideas. The form of the three-movement Concerto oscillates between that of the baroqueconcerto grosso and the early classical sonata cycle. The neoclassical tendency is evident, above all, in the articulation of the musical structure in keeping with the rigours of periodicity and the manner of developing thematic threads derived fromthem, while the concertato character of particular movements and the generally linear texture indicate baroque connections. The first movement (Allegro) - in the form of an early classical sonata allegro - begins with a subject with energeticfigurations, emblematic for the whole piece and based on a constant, pendulum-like semiquaver movement anchored securely on D. It is precisely because of the nature of this subject that Bacewiczs work has been compared to the Brandenburg Concertosby Jan Sebastian Bach The second movement (Andante), while retaining its concertato charakter, is, at the same time, an example of the composers ability to create emotionally serene lyrical moods, and her sense of cantilena derived from the spiritof romantic song (a motto-subject presented at the beginning by cello solo). In this movement it is both the process of evolution and the instrumental colouring which constitute the constructional agents forming here a self-containedvalue. In thethird movement (Vivo) the composer returns to her favourite type of music, understood as an expression of pure motion in the form of figural motives with infinite transformational possibilities. The spontaneity of the music, the constant mutabilityof the tonal situations, and the sophisticated, acerbic harmonies - as Witold Lutosawski described them - form a colourful mosaic built in the structural skeleton of a sonata rondo. Concerto for String Orchestra is not only proof of thestylizing tendency of the composer but also of an unerring intuition concerning the technical and expressive possibilities inherent in a string instruments ensemble. [Magorzata Gsiorowska, translated by Ewa Cholewka].

SKU: BT.EMBZ1764

English-German-Hungarian.

'In August [Bartók] heard the fifty-year-old Áron Balogh playing the peasant flute in Gyergyóteker patak in Cs k district. He arranged three songs under the title From Gyergyó, for tilinkó [peasant flute] and piano, and the piano transcription of this occasional composition presented to Stefi Geyer as 'Three Hungarian Folksongs from the Cs k District'. In all three versions Bartók retained the rich ornamentation of the flute version, and added a modal accompaniment to the melodies in a church mode. After the first two rubato melodies, notated in alternating time signatures, he concluded with a melody in strict 'giusto' rhythm. It is in this latter that the pentatonic skeletonbeneath the diatonic surface can best be felt. Bartók notated the pentatonic vocal version of this melody on this same field trip, and arranged it in the series 'Eight Hungarian Folksongs'.' (HCD 32524 Bartók New Series Vol. 24, István G. Németh).