Bartok Piano [Concerto] Concertos—No. 1, Sz83 a ; No. 2, Sz95 b ; No. 3, Sz119 a. Stephen Bishop-Kovacevich (pf); a London Symphony Orchestra; b BBC Symphony Orchestra / Sir Colin Davis.

Philips (Mid  price) (CD) 426 660-2PSL (77 minutes: ADD). Items marked a from 9500 043 (7/76), b SAL3779 (3/70).

Bartok Piano [Concerto] Concertos—No. 1, Sz83 a ; No. 2, Sz95 b ; No. 3, Sz119 a. Sonata for two pianos and percussion, Sz110 c. Vladimir Ashkenazy, c Vovka Ashkenazy (pfs); c David Corkhill, c Andrew Smith (perc); ab London Symphony Orchestra / Sir Georg Solti.

Decca (Mid  price) (CD) 425 573-2DM2 (two discs, nas: 103 minutes: ADD/DDD). Items marked a from 410 108-1DH (6/84); b and c SXL6937 (3/81).

Bartok Piano [Concerto] Concertos—No. 1, Sz83; No. 2, Sz95; No. 3, Sz119. Gyorgy Sandor (pf); Hungarian State Orchestra / Adam Fischer.

Sony Classical (Full price) (CD) CD45835 (74 minutes: DDD).

[Concerto] Concertos [No.] Nos. 1–3—comparative versions:

Anda, Berlin RIAS Orch, Fricsay (5/89) 427 410-2GDO2

Kocsis, Budapest Fest Orch, I. Fischer (1/88) 416 831-2PH3

[Concerto] Concertos [No.] Nos. 1 and 2—selected comparison:

Pollini, Chicago SO, Abbado (9/86) 415 371-2GH

A single CD is the natural format for Bartok's three piano concertos. The excellent Kocsis recordings on Philips are spread over three discs—an unnecessary and infuriating extravagance, for which the inclusion of the early Rhapsody and Scherzo offers some consolation. Geza Anda's DG set on two CDs has some illuminating moments, and the coupling is Fricsay's electrifying account of the Concerto for Orchestra; but the orchestral accompaniments are by and large tame and tentative, and the thin recorded sound (early 1960s) is a drawback. In recent times the best policy has been to supplement Pollini/Abbado in the first two concertos (rather short measure on full-price DG) with Kocsis/Fischer in No. 3 (available on a single disc coupled with the sprawling Scherzo, Op. 2—(CD) 416 835-2PH, 9/89). As a money-no-object purchase this remains my recommendation, despite the merits of the three issues under review.

For sheer value for money the Philips mid-price CD with Bishop-Kovacevich and Davis takes some beating. These are readings which capture the rhythmic spring, the inner intensity, and the controlled fanaticism so crucial to the Bartok idiom. Ashkenazy comes on two CDs, with a commendably clean account of the Two-piano Sonata as a coupling (less exciting than some, but more accurate than most). He too is a splendid soloist, in terms of sheer articulation often quite marvellous, but his accentuation is generally less imaginative than Bishop-Kovacevich's and his feeling for atmosphere less acute, and he sometimes overdoes his incisive projection of tone.

The advantages of the Ashkenazy set over the Bishop-Kovacevich are the more full-bodied recording quality and the less-forward placing of the piano, which together allow for clearer interplay with the orchestra (with the woodwind in particular). Sad to say, both recordings of the Third Concerto have niggling faults—Decca have carelessly sliced off three-quarters of the first note of the slow movement; on the Philips issue Bishop-Kovacevich makes three careless misreadings (in the first movement a trill on F flat for F natural at 2'03" and grace notes instead of mordents at 3'50" to 4'00", and an acciaccatura on G for A at 7'25" in the slow movement). Still, in its suppleness, mystery and fantasy, Bishop-Kovacevich's account remains a distinguished one.

I'm trying to put off the moment when I have to express disappointment with the new Sony Classical issue. Gyorgy Sandor actually studied with Bartok, and I much enjoyed his recently recorded solo piano transcription of the Concerto for Orchestra (CBS (CD) CD44526, 9/89). But a pianist has to be in peak condition if he is to do justice to these concertos. Considering that he is now in his late-seventies Sandor copes remarkably well, and I must stress that the results are never embarrassing; but there is too much rhythmically vague, colourless and under-articulated playing to allow his musical intentions to come through, and his tone generally lacks depth and richness. Not surprisingly Adam Fischer and the Hungarian State Orchestra have their work cut out in places just to keep with him, and there is little of the competitive or playful edge which would give vitality to their interchanges. Turn to Pollini, Abbado and the Chicago Symphony and the difference in quality of execution is dramatic—but then this partnership surpasses all comers in the first two concertos.

Incidentally, the Philips note for Kocsis contradicts Sandor's assertion that there is no recording of Bartok himself in the concertos. It mentions an off-air recording of the Second Concerto and the Op. 1 Rhapsody, which Kocsis apparently took into account in the preparation for his recordings.
DJF