Miklós Rózsa; Béla Bartók; Tibor Serly - Viola Concertos (Lawrence Power)

Information

Composer: Miklós Rózsa; Béla Bartók; Tibor Serly

1. Rózsa - Viola Concerto, Op. 37: 1. Moderato assai
2. Rózsa - Viola Concerto, Op. 37: 2. Allegro giocoso
3. Rózsa - Viola Concerto, Op. 37: 3. Adagio -
4. Rózsa - Viola Concerto, Op. 37: 4. Allegro con spirito
5. Bartók - Viola Concerto, Sz 120 (completed by Tibor Serly): 1. Moderato -
6. Bartók - Viola Concerto, Sz 120 (completed by Tibor Serly): 2. Adagio religioso -
7. Bartók - Viola Concerto, Sz 120 (completed by Tibor Serly): 3. Allegro vivace
8. Serly - Rhapsody for viola & orchestra

Lawrence Power, viola
Bergen Philharmonic Orchestra
Andrew Litton, conductor

Date: 2010
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67687

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Review

Commanding performances of Bartók’s well known concerto and a Rózsa rarity

Fans of Jascha Heifetz may well be familiar with Miklós Rózsa’s 1954 Violin Concerto, a tuneful, Bartók-Kodály synthesis that wears its influences very close to its sleeve. The Viola Concerto programmed here is a much later piece, more distinctive too in my view, its orchestration darker and subtler (try the very opening), its mood rugged and impulsive, and with thematic material that makes a deeper impression. Although Rózsa’s Hungarian groundsprings are nearly always audible, the Viola Concerto more reminded me of Walton in its alternation of frisky high spirits (the playful, offbeat scherzo) and melancholy. Bartók is still a strong presence though, especially in the finale, where the finale of Bartók’s Second Violin Concerto most readily springs to mind (try from around 4'41" into track 4). As for Lawrence Power’s performance, everything comes across with maximum impact – his agility at speed, his warm “walnut” tone (the superb recording makes plain he’s playing a fine instrument, ie a c1610 Antonio Brensi viola), and the innate musicality of his phrasing. Andrew Litton is in total command of every aspect of the score, inspiring his Bergen players to a performance that’s dramatic, incisive and atmospheric.

The Bartók Viola Concerto is presented in Tibor Serly’s familiar completion and again, there’s an urgency about the playing that is offset by a profoundly poetic response to the work’s many lyrical episodes, especially the central Adagio religioso. Litton has a keen ear for detail and Andrew Keener’s engineering team supports him with sound that is both transparent and full-bodied. There’s an “encore”, too, in Serly’s enjoyable Rhapsody based on “Hungarian Folk Tunes harmonised by Bartók”, tunes that dedicated Bartókians will surely recognise, much as Gershwin fans would recognise the show tunes in one of his theatre overtures. Again, both performance and recording are exemplary. An exceptional release in every way, with Calum MacDonald’s highly informative notes serving as a welcome bonus.

-- Rob Cowan, Gramophone

More reviews:
BBC Music Magazine  PERFORMANCE: ***** / SOUND: *****
http://www.musicweb-international.com/classrev/2011/Jan11/rozsa_viola_CDA67687.htm
http://www.telegraph.co.uk/culture/music/classicalcdreviews/8000821/Rozsa-Viola-Concerto.-Bartok-Viola-Concerto.-Serly-Rhapsody-CD-review.html
http://www.amazon.com/Viola-Concertos-Bartok-Rosza-Serly/dp/B003XWFLW4

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Miklós Rózsa (18 April 1907 in Budapest – 27 July 1995 in Los Angeles) was a Hungarian-American composer. Best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute concert music throughout what he called his "double life". His notable Hollywood career earned him considerable fame, including Academy Awards for Spellbound (1945), A Double Life (1947), and Ben-Hur (1959), while his concert works were championed by major artists such as Jascha Heifetz, Gregor Piatigorsky, and János Starker. Rózsa also received recognition for his choral works.
https://en.wikipedia.org/wiki/Mikl%C3%B3s_R%C3%B3zsa

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Béla Bartók (March 25, 1881 – September 26, 1945) was a Hungarian composer, pianist and an ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Liszt are regarded as Hungary's greatest composers. Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology. Bartók's music reflects two trends that dramatically changed the sound of music in the 20th century: the breakdown of the diatonic system of harmony and the revival of nationalism.
http://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k

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Lawrence Power (born 1977) is a British violist. Power studied with Mark Knight at the Guildhall School of Music and Drama in London, and with Karen Tuttle at the Juilliard School. He won 1st prize at the Primrose Competition in 1999. Since his London solo debut with The Philharmonia, he has performed in the UK and abroad, appearing as soloist with many leading orchestras. Power also has a prominent career as a chamber musician, as violist in the Nash Ensemble and the Leopold String Trio. He plays an instrument by Antonio Brensi of Bologna from c.1610. Most of his recordings are published by Hyperion Records.
https://en.wikipedia.org/wiki/Lawrence_Power

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