Composer: Béla Bartók
Works: Piano Music Vol. 2: Dance Suite, Sz. 77; Slovakian Dance Improvisations, Op. 20, Sz. 74; Petite Suite, Sz. 105; Romanian Folk Dances, Sz. 56; Sonatina, Sz. 55; Romanian Christmas Carols, Sz. 57
Performers: Jenö Jandó (piano)
Recording: Phoenix Studio, Prague, October 1999
Label: NAXOS
Béla Bartók stands as a towering figure in 20th-century music, his works reflecting an intricate interplay between folk influences and modernist sensibilities. The second volume of Naxos’s survey of Bartók’s piano music offers a compelling glimpse into the composer’s piano oeuvre, showcasing pieces that blend folk elements with innovative harmonic language and rhythmic complexity. This recording presents a selection of Bartók’s piano music that highlights his deep engagement with Hungarian and Romanian folk traditions, reflecting his ethnomusicological pursuits alongside his bold compositional innovations.
Jenö Jandó’s interpretation of the Dance Suite, Sz. 77, serves as a striking introduction to the album. Originally composed for orchestra in 1923, its transition to piano demands remarkable pianistic skill and interpretative insight. Jandó captures the suite’s vibrant character, effectively conveying the spirited interplay of rhythms and textures. His nuanced touch allows the inherent lyricism of the piece to emerge, particularly in the wistful ritornello theme that threads through the movements. While one might miss the orchestral colors of woodwinds and strings, Jandó compensates with a delicate articulation that showcases the piano’s dynamic range without resorting to excessive aggression—a common pitfall in Bartók performances.
The subsequent Slovakian Dance Improvisations, Op. 20, further exemplify Jandó’s adeptness at navigating Bartók’s intricate rhythmic landscapes. Dating from 1920, these improvisations reflect Bartók’s synthesis of folk melodies into a modernist framework. Jandó imbues the seventh improvisation, which pays homage to Debussy, with a depth of feeling that underscores the lyrical qualities of the folk material, while maintaining the abrasive dissonances that characterize Bartók’s style. His interpretative choices reveal a sensitivity to the music’s emotive undercurrents, making the piece resonate beyond mere technical execution.
The Petite Suite, Sz. 105, a creative transcription of Bartók’s Duos for Two Violins, receives a particularly engaging performance. Here, Jandó demonstrates his virtuosity in translating string techniques to the piano, most notably in the fourth movement, “Quasi Pizzicato.” His execution of the intricate figurations breathes life into the piece, showcasing his ability to evoke the essence of the original while maintaining the integrity of the piano idiom. The recording quality supports this endeavor admirably; the engineers have captured Jandó’s instrument with clarity and warmth, allowing the listener to appreciate the subtleties of his touch and the resonant qualities of the piano.
Comparisons with Zoltán Kocsis’s celebrated recordings inevitably arise, as both pianists share a cultural heritage deeply rooted in Bartók’s world. While Kocsis’s interpretations may exhibit a greater breadth of color and contrast, Jandó’s performance stands out for its restraint and thoughtful clarity. This nuanced approach allows the rhythmic intricacies and folk elements to be highlighted without overwhelming the listener, maintaining an engaging balance throughout the recital.
The entirety of this volume demonstrates Jandó’s deep understanding of Bartók’s intentions, as well as his technical prowess. Each work is delivered with a keen sense of rhythm and a palpable connection to the folk traditions that inspired Bartók’s music. The disc serves not only as a valuable addition to the Naxos catalog but also as a testament to Jandó’s artistry and dedication to Bartók’s legacy. This recording is essential listening for anyone interested in the evolution of modern piano music and the enduring power of folk influences within it.
