Bartok: Viola Concerto

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Kashkashian's superbly engineered recording of the Bartók Viola Concerto bears witness to a total identification between performer and composer.
Even the tiny pause bridging the opening and the... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4654202
Label: ECM
Series: New Series
Length: 50 minutes

Usually despatched in 3 - 4 working days

Bartók: Viola Concerto, BB 128, Sz. 120

Work length23:30

$2.55

$3.45

Kim Kashkashian (viola)
Netherlands Radio Chamber Orchestra
Peter Eötvös
Recorded: 1999-06
Recording Venue: Vredenburg, Utrecht

1. Moderato - Lento parlando

Track length14:39

$0.85

$1.15

2. Adagio religioso - Allegretto

Track length4:32

$0.85

$1.15

3. Allegro vivace

Track length4:19

$0.85

$1.15

Eötvös: Replica

Work length14:37

$0.85

$1.15

Kim Kashkashian (viola)
Netherlands Radio Chamber Orchestra
Peter Eötvös
Recorded: 1999-06
Recording Venue: Vredenburg, Utrecht

Kurtág: Movement For Viola And Orchestra

Work length11:59

$0.85

$1.15

Kim Kashkashian (viola)
Netherlands Radio Chamber Orchestra
Peter Eötvös
Recorded: 1999-06
Recording Venue: Vredenburg, Utrecht

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Typically impassioned, committed performances distinguish Kim Kashkashian's New Series recording of music for viola by three great Hungarian composers. Kashkashian's intense focus, superb craftsmanship and explosive virtuosity are brought to bear on Bartk's final work, on one of Kurtg's early pieces, and on 'Replica', an important new composition written especially for her by Peter Etvs.

Kim Kashkashian: viola

Netherlands Radio Chamber Orchestra

Peter Etvs: conductor

Reviews

2010

Kashkashian's superbly engineered recording of the Bartók Viola Concerto bears witness to a total identification between performer and composer.
Even the tiny pause bridging the opening and the secondary idea growing out of it, is perfectly judged. Kashkashian makes this music dance, not just in the finale but also in the way that she phrases and articulates the entire piece. Eötvös's conducting offers many parallel insights, not least towards the end of the first movement where a growing sense of agitation throws the succeeding Adagio religioso into a particularly favourable light.
Eötvös employs Tibor Serly's completion, revising odd details and accommodating a few articulations and phrasings that Kashkashian has herself instigated. If you need convincing that Bartók's Viola Concerto is a great work, then Kashkashian and Eötvos should, between them, do the trick.
Of the other pieces, Eötvös's Replica for viola and orchestra is astonishing music in which foggy harmonies hover between startled highs and raucous lows, then mutate into a strange, sickly pulsing. By contrast, György Kurtág's early Movement for Viola and Orchestra – twothirds of a concerto Kurtág completed in 1953-4 – is relatively conventional, with plenty of virtuoso viola writing.

Bartok: Viola Concerto

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