Composer

:

Béla Bartók

Genre

:

Concerto

Style

:

Concerto

Compose Date

:

1930 - 1931

Average_duration

:

27:58

Movement_count

:

3

Movement ....

Béla Bartók's Piano Concerto No. 2 in G major, Sz. 95, is a three-movement work for solo piano and orchestra. It was composed between 1930 and 1931 and premiered on January 23, 1933, in Frankfurt, Germany, with the composer as the soloist and Wilhelm Furtwängler conducting the Frankfurt Radio Symphony Orchestra. The first movement, marked Allegro, begins with a lively and rhythmic theme played by the orchestra. The piano enters with a contrasting melody, and the two themes are developed throughout the movement. The piano part is virtuosic and demanding, with rapid runs and intricate rhythms. The movement ends with a cadenza for the soloist, showcasing the pianist's technical abilities. The second movement, marked Adagio religioso, is a slow and contemplative piece. The piano introduces a mournful melody, which is then taken up by the orchestra. The movement is characterized by its use of folk-like melodies and modal harmonies, which are typical of Bartók's style. The piano part is more subdued in this movement, with long, lyrical lines and delicate ornamentation. The final movement, marked Allegro molto, is a fast and energetic piece. The piano and orchestra engage in a lively dialogue, with the piano often playing rapid, staccato notes while the orchestra provides a rhythmic accompaniment. The movement features several changes in tempo and mood, including a slower, more lyrical section in the middle. The movement ends with a triumphant coda, bringing the concerto to a thrilling conclusion. Overall, Bartók's Piano Concerto No. 2 is a complex and challenging work that showcases the composer's unique style and innovative use of folk melodies and harmonies. The piano part is particularly demanding, requiring a virtuosic performer with a strong sense of rhythm and musicality. The concerto remains a popular and frequently performed work in the piano repertoire.

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