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Bartók: Violin Concertos Nos. 1 & 2

Benjamin Schmid (violin)

Tibor Bogányi

Schmid plays with an intensity and sweetness that illuminates both the darkest textures and lyrical beauty of Bartók’s two concertos. Rich orchestral accompaniment, too.

Bartók: Violin Concertos Nos. 1 & 2

Benjamin Schmid (violin)

Tibor Bogányi

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This release includes a digital booklet

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Schmid plays with an intensity and sweetness that illuminates both the darkest textures and lyrical beauty of Bartók’s two concertos. Rich orchestral accompaniment, too.

About

Austrian star violinist Benjamin Schmid has a great reputation for his extraordinary broad repertoire, which besides lesser known works for violin also includes the jazz genre. In cooperation with the Pannonic Philharmonic Orchestra under the baton of Tibor Boganyi, Schmid now releases a recording of both violin concertos by Bela Bartok. Written in 1908, the first concerto Op. posth. Sz 36 remained lost due to his unfortunate admiration of and the handing over of the manuscript to a violinist until late after Bartoks death, and only was published in 1956. The violin concerto No. 2 Sz 112 was composed in 1937/38 and should become the last completed solo concerto before Bartok's emigration to the United States. Here, the listener can from listening alone hardly tell that in addition to the typical 'Hungarian' melodies, twelve-tone motives and even quarter tones can be found in the solo part.

Contents and tracklist

I. Andante sostenuto
Track length8:51
II. Allegro giocoso
Track length12:14
I. Allegro non troppo
Track length15:40
II. Andante tranquillo
Track length9:22
III. Allegro molto
Track length11:11

Awards and reviews

August 2018

Schmid plays with an intensity and sweetness that illuminates both the darkest textures and lyrical beauty of Bartók’s two concertos. Rich orchestral accompaniment, too.

Awards Issue 2018

His accounts of both Bartók concertos are warmly sympathetic, alert to detail and appreciative of the music’s musical ground roots…Schmid’s seasoned approach suggests long familiarity with both scores but it’s the more sophisticated Second Concerto, music also suggestive of rustic undertones, that benefits most from his balance of heart and head, much aided, of course, by a fine technique.
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