Browse: Bartók - Viola Concerto, BB 128, Sz. 120
This page lists all recordings of Viola Concerto, BB 128, Sz. 120 by Béla Bartók (1881-1945).
James Ehnes (violin / viola)
BBC Philharmonic, Gianandrea Noseda
Chandos could not have chosen a more ideal team for this project...Here they demonstrate an instinctive understanding for the different musical characteristics of each work...While encapsulating... — More…
Works by Dvořák, Bartók, Shor, Walton
David Aaron Carpenter (viola), London Philharmonic Orchestra, Kazushi Ono, Vladimir Jurowski and David Parry
Carpenter is very much a Primrose man, which is just as well considering the heroic projection required for the Dvořák. Even with the cello original ringing in one’s ears, such is the charismatic... — More…
Kyung-Wha Chung, Sviatoslav Richter, Martha Argerich, Dmitry Sitkovetsky, Tabea Zimmermann
Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Orchestre de Paris, Orchestre Symphonique de Montréal, Philharmonia Orchestra, Symphonieorchester des Bayerischen Rundfunks, Philadelphia...
The interpretation is passionate, but she finds time for a dreamy lyricism that never cloys - most of all, in Bartók's nocturnal variations in the poetic middle movement. — More…
Yuri Bashmet (viola), Gidon Kremer (violin), Pierre-Laurent Aimard & Tamara Stefanovich
Berliner Philharmoniker, Londony Symphony Orchestra, Pierre Boulez
Gidon Kremer is by turns sublimely lyrical and bracingly driven in the First Violin Concerto… the interplay with the woodwind of the Berlin Philharmonic in the second movement is delightfully... — More…
Lawrence Power (viola)
Bergen Philharmonic Orchestra, Andrew Litton
Power treats each piece on its own terms and the comparison turns out to be a telling one...[His] immaculate sense of line, and his charismatic sound, is a balm in Bartok's understated concerto.... — More…
Kim Kashkashian (viola)
Netherlands Radio Chamber Orchestra, Peter Eötvös
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... — More…