The New York Times has praised violinist Miranda Cuckson’s “undeniable musicality,” while Gramophone has declared her “an artist to be reckoned with.” Born in Australia and educated in America, she makes her ECM New Series debut – alongside pianist Blair McMillen – with three 20th-century milestones: the Hungarian Béla Bartók’s Violin Sonata No. 2 (1922), the Russian Alfred Schnittke’s Violin Sonata No. 2 “Quasi una Sonata” (1968) and the Pole Witold Lutoslawski’s Partita for Violin and Piano (1984).
The Végh Quartet was not only one of the finest string quartets from mid-twentieth century Europe, but its style was never subjected to radical change over the years from personnel changes because the four original players remained members for 38 of the 40 years of the ensemble's existence. Its style evolved in subtle ways, of course, but its essential character endured until 1978: the quartet was Central European in its sound, with a bit more prominence given to the cello in order to build tonal qualities from the bottom upward. The Végh Quartet was best known for its cycles – two each – of the Beethoven and Bartók quartets. It also performed and recorded many of the Haydn quartets, as well as numerous other staples of the repertory by Mozart, Schumann, Brahms, and Debussy. For a group that disbanded in 1980, its recordings are still quite popular, with major efforts available in varied reissues from Music & Arts, Archipel, Naïve, and Orfeo.
PentaTone’s magnificent multi-channel recording, engineered by the familiar Polyhymnia team of Job Maarse, Erdo Groot and Roger de Schot, avoids this trap and ensures that every section of the orchestral score is presented with outstanding clarity. The sound stage is wide with just the right amount of the ambience of the Victoria Hall, Geneva present to add an extra bloom to the overall sound. Arabella Steinbacher’s previous recordings of 20th century violin concertos have garnered worldwide praise and this latest one should further enhance the reputation of this young and exceptionally gifted musician. Very highly recommended.
Béla Bartók composed the Dance Suite in 1923 in order to celebrate the 50th anniversary of the union of the cities Buda and Pest, to form the Hungarian capital Budapest. This work consists of five dances with Arabic, Wallachian and Hungarian melodies, and a finale that brings together all the previous thematic sketches.
Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works – most notably, the symphonic poem Kossuth (1903) – Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ……..From Allmusic
First there was rhythm - pulsing, driving, primal rhythm. And a new word in musical terminology: Barbaro. As with sticks on skins, so with hammers on strings. The piano as one of the percussion family, the piano among the percussion family. The first and second concertos were written to be performed that way. But the rhythm had shape and direction, myriad accents, myriad subtleties. An informed primitivism. A Baroque primitivism. Then came the folkloric inflections chipped from the music of time: the crude and misshapen suddenly finding a singing voice. Like the simple melody - perhaps a childhood recollection - that emerges from the dogged rhythm of the First Concerto's second movement. András Schiff plays it like a defining moment - the piano reinvented as a singing instrument. His "parlando" (conversational) style is very much in Bartók's own image. But it's the balance here between the honed and unhoned, the brawn and beauty, the elegance and wit of this astonishing music that make these readings special.