Utwory na płycie:

• Sonata- BB 124 (1944) - Tempo di ciaccona Crotchet = c 50 - Mosso - Tempo I - Mosso - Tempo I
• Sonata- BB 124 (1944) - Fuga Risoluto- non troppo vivo Crotchet = c 116 - Poco allargando - Tempo I
• Sonata- BB 124 (1944) - Melodia Adagio Quaver = c 90 - 92 - Un poco più
• Sonata- BB 124 (1944) - Presto Crotchet = c 96 - Tranquillo - Tempo I - [ ] - Tempo i
• Sonata- BB 28 (1903) - Allegro moderato (molto rubato) - Maestoso - Meno mosso (Moderato) - Più vivo - Meno mosso -
• Sonata- BB 28 (1903) - Andante - Più vivo - Poco maestoso - Quieto - Tempo I
• Sonata- BB 28 (1903) - Vivace - Vivace molto - Presto
• Hungarian Folksongs- BB 109 (1931) - Book II No 34 Andante - Un poco più lento -
• Hungarian Folksongs- BB 109 (1931) - Book II No 36 Allegretto -
• Hungarian Folksongs- BB 109 (1931) - Book I No 17 Lento- ma non troppo -
• Hungarian Folksongs- BB 109 (1931) - Book II No 31 Allegro
• Hungarian Folksongs- BB 109 (1931) - Book I No 16 Lento- poco rubato -
• Hungarian Folksongs- BB 109 (1931) - Book I No 14 Allegretto -
• Hungarian Folksongs- BB 109 (1931) - Book I No 19 Allegretto scherzando -
• Hungarian Folksongs- BB 109 (1931) - Book I No 8 Sostenuto - Allegro - Adagio - Sostenuto - Allegro - Adagio -
• Hungarian Folksongs- BB 109 (1931) - Book I No 21 Allegro robusto - Sostenuto - Tempo I - Un poco sostenuto - Tempo I - Sostenuto -
• Hungarian Folk Tunes (1926-27) - Book II No 28 Parlando -
• Hungarian Folk Tunes (1926-27) - Book I No 18 Andante non molto -
• Hungarian Folk Tunes (1926-27) - Book II No 42 Allegro vivace
• Hungarian Folk Tunes (1926-27) - Book II No 33 Andante sostenuto -
• Hungarian Folk Tunes (1926-27) - Book I No 6 Allegro -
• Hungarian Folk Tunes (1926-27) - Book I No 13 Andante -
• Hungarian Folk Tunes (1926-27) - Book II No 38 Poco vivace
• Romanian Folk Dances (1925-26) - (Joc cu bâta) [Stick Dance] ) Allegro moderato
• Romanian Folk Dances (1925-26) - (Brâul ) Allegro -
• Romanian Folk Dances (1925-26) - (Pe loc) [In One Spot] ) Andante
• Romanian Folk Dances (1925-26) - (Buciumeana [Dance of Bucium] ) Molto moderato
• Romanian Folk Dances (1925-26) - (Poarga româneasca [Romanian Polka] ) Allegro -
• Romanian Folk Dances (1925-26) - (Marunte [Fast Dance] ) Allegro - Più allegro

Sonata for Solo Violin
Sonata for Violin and Piano in E minor, BB 28
Romanian Folk Dances (arr. Székely)
Hungarian Folksongs (arr. Országh and Bartók)
Hungarian Folk Tunes (arr. Szigeti and Bartók
Sonatina (arr. Gertler)

James Ehnes has previously explored Béla Bartók’s concertos for violin and for viola, to great acclaim. This disc is the second in his equally successful survey of Bartók’s chamber music for the violin. His accompanist, once more, is Andrew Armstrong, a pianist praised by critics for his passionate expression and dazzling technique.

The folk-inspired Sonata for Solo Violin was the last work that Bartók wrote for the instrument, not to mention the most challenging. In a departure from his usual practice, this work was written not for a fellow Hungarian, but rather for an artist born in New York where Bartók was now living: Yehudi Menuhin. Suitably impressed by a recital performance by Menuhin of his first Violin Sonata as well as Bach’s Sonata in C, he had no hesitation in accepting the violinist’s commission for a sonata that, like Bach’s, would be unaccompanied.

Almost half a century earlier, Bartók had written his Sonata for Violin and Piano in E minor. It was included in a concert given by graduating students of the Liszt Academy in June 1903, when a critic, most likely not realising just how right he would prove, hailed Bartók as ‘a phenomenal young genius, whose name today is known only to a few, but who is destined to play a great and brilliant role in the history of Hungarian music’.

Additionally on this disc we have three groups of Bartók’s Romanian and Hungarian folk dances, folksongs, and folk tunes, arranged for violin variously by Zoltán Székely, Tivadar Országh, and Joseph Szigeti, often with direct involvement by the composer himself who helped fine-tune the new arrangements. James Ehnes also highlights the Romanian influences in Bartók’s Sonatina for piano, transcribed for violin by André Gertler, a student of Bartók’s.

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Vol 1 CHAN 10705