Béla Bartók - Three Etudes op. 18, Sz. 72 - Mark Taratushkin
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- Опубликовано: 26 фев 2017
- The Three Etudes Op. 18 are some of the most outstanding examples of the composer’s attempt to work out his own piano style which strictly rejected the standards of romantic and impressionistic doctrines. The world premier took place in 1918. Afterward the etudes were never again included in his concert program, admittedly because of rejection on the side of the public, but also because of the work’s particularly high level of technical difficulty.
In these technically demanding etudes that require maximal extension of the hands, the melody appears in the background, superseded by different passages and an accumulation of rhythmical and structural elements. Here there are no folkloric citations or borrowings, which are characteristic of Bartok’s work on the whole. The musical language is extraordinarily complicated and individualistic. Nevertheless, Bartok wrote in a letter to the music critic von Nell that centers of tonality would be maintained in the etudes. On the other hand, the multilayered structure, polyrhythm and use of diverse modes displayed the composer’s striving to leave the traditional understanding of harmony in favor of new means of musical expression.
This distinct example of the young Bartok’s attempt was rejected by the common public. The artistic complications of the musical prelude, the fragmentation of the motifs, all of this was poorly understood and not well-received. Bartok wrote to a friend: “In the cities that find themselves at the level of a Hungarian province, one mustn’t experiment with such works as my two violin sonatas, my piano etudes - with improvisation. These works only frighten the unprepared public.” Still, the etudes played an important role in the works of the experimental Bartok in that they served as a necessary part of his quest for the renewal of musical language.
Béla Bartók - Three Etudes op. 18, Sz. 72 (1918)
1. Allegro molto
2. Andante sostenuto
3. Rubato - Tempo giusto
performed by Mark Taratushkin in Hamamatsu, Japan November 2015.
www.marktaratushkin.com
copyright Hamamatsu IPC
photo by Hidekazu Kurumiya 
Видеоклипы
you truly understand bartok, i can see that
Amazing - I do not understand how this is humanly possible
This is just splendid!
you're underrated my friend, hope the world catches this talent soon :)
Ive never heard the shaped melody he gave the 1st etude . I spent an entire semester on the first two never had this clarity even in looking at them on the page ...todays virtuosi make music .I had a tape and a recording by the famous American pianist who was known for dong 20th century music my understanding was never there ! So wonderful to hear these live . This pianist has a feel and oh so the right technique . He must know certainly how to figure out impossible seeming intervals and melodic lines out at da piano . No. 1 and 3 are stupefying !
same man, i never heard the melody in that first mvt as clear as this one
Очень интересно и содержательно (не только в смысле техники).Мятущаяся душа ещё молодого Бартока-романтика до перелома 1926 года.
Well played and described. Bartok would be very very pleased!
Thank you :)
1. Allegro molto 0:00
2. Andante sostenuto
2:09
3. Rubato - Tempo giusto 4:59
Amazing job, Mark, I've never been much of a Bartok enthusiast, but have always loved loved these pieces in particular and really enjoyed your interpretations of them.
Scriabin at 5:05: „Don‘t fuck with me Bela. These are my harmonies.“
The phrasing and clarity of structure in the performance of these studies is beyond parallel. I learned so much from hearing these performed so intelligently.
Bravo! Incredible playing
This is so good I cant take it, I listen to it over and over again
Unbelievable. Absolutely floored and speechless.
Wow! Full of energy! That daring, bold and propelling rhythms are so well expressed.
Incredible performance of a powerful and compelling piece. Bravo
Thank you as much for your written discussion as for the performance! (I'd heard Zoltan Kocsis' recording of these but the recording quality was poor) Kevin Chen just won first place in the 2022 Concours de Geneve with his inclusion of these in his dazzling solo recital, and I found a new favorite piano piece, and a new Bartok.
Bravo again and again, Mark. 🤗♥️👏🏻♥️🤗
This is so amazing. Bravo!
Fabulous playing! Thank you!!
Nice
1:58 looks x2 speed
A finely prepared gourmet meal with only the best ingredients= (Bartok )!!!!!!!!!!!!!!
Bon appetit! ;)
muy bueno
enorm !!
Increíble.... 👍✨
Wow!!!!!
Epic
qué grande Pergolini
Japan gets it!
How could the public reject such a dissonant, sophisticated and complex yet beautiful and enjoyable collection of etudes?
Second behind only Kocsis!
Not sure.
I prefer the more delicate touch here.
Bartok had a delicate touch playing the piano.
The hamonies and the melodic parts are better in my opinion playing this way, the music is very clear, captivating. Yes, I do prefer this performance than Zoltan's one.
No, I wouldn't say that at all. This performance (unedited) is more intelligible musically and the dynamic range is superior, the sound more varied. Mind-boggling. I'll take mr. Taratushkin over the more famous Kocsis. Here I hear music, not just chops.
I prefer Sándor. A shame Prokovfiev didn´t have a go at these pieces. He really could have made a difference: check out his "Rachmaninoff Prelude op. 23 No 5".