BARTÓK PIANO CONCERTOS – AIMARD & SALONEN

Esa-Pekka Salonen’s latest foray into the world of Béla Bartók’s piano concertos, featuring the virtuosic Pierre-Laurent Aimard as the soloist, unveils a distinctive take on these iconic works. Aimard and Salonen, both well-versed in the intricacies of 20th-century modernist compositions, offer a new perspective that melds technical brilliance with a refined sensitivity to Bartók’s musical palette.

The album opens with Concerto No. 1, revealing an unexpected lyrical quality that breathes fresh life into Bartók’s usually intense and complex music. The first movement flows with an unusual melodic fluidity while maintaining a firm grasp on the underlying motivic structures. Aimard and Salonen seem committed to tempering the raw power of the concerto, exemplified in the outer movements. The central Andante strikes a balance between rhythmic precision and a subdued yet engaging atmosphere, displaying lean textures and clear counterpoint.

In the Second Concerto, Aimard’s collaboration with the San Francisco Symphony Orchestra’s wind section shines brilliantly. The first movement exudes a delightful playfulness and boisterous energy, reminiscent of Stravinsky’s vibrant compositions. In contrast, the Adagio captivates with its hypnotic and almost cinematic stillness. The final movement, with its vigorous rhythmic intensity, remains coherent and controlled throughout, avoiding any descent into chaos.

However, it is in Concerto No. 3 that the true revelation unfolds. Composed for Bartók’s wife, Ditta, this concerto showcases the composer’s innate talent despite his deteriorating health during its creation. Aimard and Salonen bring out the naturalness and ease in Bartók’s writing, reminiscent of great composers like Beethoven and Ellington. The first movement exudes pure elegance, with shades of Bach’s influence and neoclassical touches that link it to the approach taken in Concerto No. 1’s Allegro moderato. The finale, though slightly more deliberate in tempo, remains crisply defined in its contrapuntal lines. The Adagio religioso is a delicate gem, its pristine fragility evoking deep emotional resonance.

In conclusion, this album presents a unique and compelling perspective on Bartók’s piano concertos. Aimard’s exceptional virtuosity, coupled with Salonen’s adept direction of the San Francisco Symphony Orchestra, breathes new life into these canonical works. The recording showcases a marriage of musicality, technical prowess, and intellectual insight that benefits all parties involved. Most importantly, it unveils the hidden mellifluousness in Bartók’s compositions, even in their most rugged moments. Salonen’s distinctive touch and Aimard’s interpretive brilliance make this album a must-listen for both connoisseurs of Bartók and those discovering his music for the first time.