Accompanied by the Orchestra of the Academy of Santa Cecilia, Rome; Chinese classical pianist Yuja Wang performs Béla Bartók’s Piano Concerto No. 2 in G major, Sz. 95, BB 101. Conductor: Antonio Pappano.
Béla Bartók’s Piano Concerto No. 2
The concerto was composed in 1930-31, and widely accepted that it is one of the most challenging pieces in the repertoire.
In approaching the composition, Bartók wanted the music to be more contrapuntal. Contrapuntal music involves counterpoint, in which more than one musical line plays at the same time. The lines are independent but related harmonically. He also wanted to simplify his music (like many of his contemporaries), but his use of counterpoint in this piece makes for an extremely complicated piece of music.
This aspect had proven particularly troublesome in the First Concerto, so much so, in fact, that the New York Philharmonic, which was to have given the premiere, could not master it in time, and Bartók’s Rhapsody had to be substituted into the program. The composer himself acknowledged that the piano part was arduous and later said that the concerto “is a bit difficult -one might even say very difficult!- as much for orchestra as for the audience.”
Nonetheless, the concerto is notorious for its difficulty. András Schiff, Hungarian-born virtuoso British classical pianist and conductor said that: “For the piano player, it’s a finger-breaking piece. [It] is probably the single most difficult piece that I have ever played, and I usually end up with a keyboard covered by blood.” Stephen Kovacevich also declared that it was the most technically demanding piece he had ever played and that he nearly paralyzed his hands while preparing the piece.
The concerto was premiered on January 23, 1933 in Frankfurt. The Frankfurt Radio Symphony Orchestra was conducted by the Austrian conductor Hans Rosbaud (July 22, 1895 – December 29, 1962) with the composer himself as the soloist.
Bartók himself also played the work at the Proms in London under the English conductor Sir Henry Wood (3 March 1869 – 19 August 1944) as early as January 7, 1936, an initiative of the BBC music producer Edward Clark.
The first performance in the United States was given in Chicago on March 2, 1939, with the American conductor and pianist Storm Bull (October 13, 1913 – July 22, 2007) as soloist and the Chicago Symphony Orchestra conducted by the German composer and conductor Frederick Stock November 11, 1872, Jülich, Rhine Province – October 20, 1942. The French premiere was given in 1945 by the French pianist and composer Yvonne Loriod, who had learned the piece in only eight days.
Movements
1. Allegro
The first movement of Béla Bartók’s Piano Concerto No. 2, marked “Allegro,” is characterized by its vigorous energy and relentless drive. It opens with a powerful and percussive piano introduction, immediately setting a dynamic and assertive tone. The orchestra joins in, with brass and woodwinds creating a bright, almost strident soundscape that complements the piano’s intricate and rapid passages. This movement is noted for its use of counterpoint and fugal textures, reflecting Bartók’s deep engagement with classical forms while pushing their boundaries with his modernist language.
Harmonically, the movement employs modal scales and dissonant intervals, creating a sense of tension and urgency. The rhythms are complex and often irregular, contributing to the movement’s restless and propulsive character. The piano part is highly virtuosic, demanding exceptional agility and precision from the soloist. Rapid arpeggios, octave runs, and intricate rhythmic patterns dominate the solo passages, while the orchestra provides a vibrant and often aggressive accompaniment.
The interaction between the piano and orchestra is a key feature of this movement. Bartók frequently contrasts the percussive piano textures with more lyrical or sustained orchestral lines, creating a dynamic interplay that drives the music forward. The movement culminates in a powerful coda, where the intensity reaches its peak before coming to a dramatic conclusion.
2. Adagio – Presto – Adagio
The second movement of Bartók’s Piano Concerto No. 2, marked “Adagio – Presto – Adagio,” stands in stark contrast to the first movement, offering a meditative and introspective character. This movement is structured in a ternary form, with two slow Adagio sections framing a lively and dynamic Presto.
The Adagio sections are serene and contemplative, featuring sparse, haunting melodies played by the piano, often accompanied by delicate orchestral textures. The music here is characterized by its lyrical and expressive quality, with the piano often playing quietly and introspectively. Bartók’s use of dissonance and chromaticism creates an eerie and atmospheric mood, evoking a sense of mystery and melancholy.
In the central Presto section, the tempo and intensity increase dramatically. This section is more rhythmically driven, featuring rapid, darting motifs and a playful, almost scherzo-like character. The piano part becomes more virtuosic again, with fast runs and intricate passages that demand great dexterity. The orchestration in this section is vibrant and colorful, with Bartók employing a wide range of instrumental timbres to create a dynamic interplay between the soloist and the orchestra.
The return to the Adagio brings back the calm and reflective mood of the opening. This reprise is subtly varied, maintaining the introspective quality while providing a sense of closure to the movement. The final measures are quiet and contemplative, fading away into silence and leaving a lingering impression of profound emotional depth.
3. Allegro molto – Più allegro
The third movement of Bartók’s Piano Concerto No. 2, marked “Allegro molto,” is a vibrant and energetic finale that brings the concerto to an exhilarating conclusion. This movement continues the virtuosic and rhythmically complex style established in the first movement but with a more overtly celebratory and spirited character.
The movement begins with a vigorous and rhythmic theme introduced by the piano, immediately establishing a sense of forward momentum. The orchestra joins in, amplifying the dynamic energy with lively and syncopated rhythms. The interaction between the piano and orchestra is intense, with both engaging in rapid exchanges and intricate counterpoint.
Bartók employs a variety of folk-inspired elements in this movement, a hallmark of his compositional style. The themes are often based on Hungarian folk melodies, and the rhythms are influenced by traditional dance forms. This infuses the movement with a sense of earthy vitality and cultural richness.
Harmonically, the third movement is marked by bold dissonances and sharp contrasts. Bartók’s use of bitonality and polytonality creates a complex harmonic landscape that adds to the movement’s excitement and unpredictability. The piano part is highly demanding, requiring the soloist to execute rapid passages, wide leaps, and powerful chords with precision and flair.
The structure of the movement is rondo-like, with the main theme recurring throughout, interspersed with contrasting episodes. Each return of the main theme is varied, showcasing Bartók’s ingenuity in developing and transforming musical material. The contrasting episodes offer moments of lyrical introspection and delicate interplay between the piano and orchestra, providing a balance to the movement’s overall exuberance.
The coda is particularly thrilling, with the tempo accelerating and the intensity building to a climactic conclusion. The final measures are marked by a sense of triumph and exuberance, bringing the concerto to a rousing and satisfying end.
Sources
- Piano Concerto No. 2 (Bartók) on Wikipedia
- Piano Concerto No. 2, Sz. 95 (Bartók, Béla) on the International Music Score Library Project website
- Piano Concerto No. 2 (Bartók) on the L.A. Phil website
- “Bartók’s Second Piano Concerto: Brilliance, Structure and Symmetry” on The Listeners’ Club website
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