Béla Bartók (1881-1945)
Piano Concerto No. 1 (1926)
Piano Concerto No. 2 (1931)
Piano Concerto No. 3 (1945)
Tomáš Vrána (piano)
Janáček Philharmonic Ostrava/Gábor Káli
rec. 2023, Vesmir Cinema, Ostrava, Czech Republic
Supraphon SU4360-2 [79]

Taking on Bartók’s three piano concertos is no mean feat, and all those who succeed are worthy of admiration. Tomáš Vrána, at 31 years old, deserves immense respect for such mature and effective renditions of the solo part. There are, of course, a few recordings that cannot be overlooked: Zoltán Kocsis and Iván Fischer (unparalleled in the repertoire), Géza Anda and Ferenc Fricsay (review), (the classic recording), and Bishop-Kovacevich and Colin Davis (sometimes overlooked, but equally worthy of admiration). On its own merits, however, this is a very fine recording; it is superbly executed, well interpreted, and well recorded. 

The first concerto is an incredibly difficult work for the pianist, virtuosic in the extreme, but Vrána has no problems with the technical elements, and understands the idiom well, keeping sharp rhythmic control and a propulsive energy. In some places, the savagery of Bartók’s writing could be made more obvious, but this is a very fair effort, with the Janáček Philharmonic Ostrava, led by Gábor Káli, proving a more than capable ensemble and partner to the pianist. This reading doesn’t quite have the abandon of some of the very best readings but is, on the whole, successful. 

The second concerto’s more playful disposition seems to be marginally better suited to Vrána’s approach. It requires propulsion and rhythmic exactitude, but the raw savagery of the first concerto is not so important. Káli and the Janáček Philharmonic could have capitalised more on the bold, primary colours of the work’s first movement, but again, this performance only loses out in comparison to the greatest readings—here I am thinking of Kocsis and Fischer who take an all-or-nothing approach and clock in at over a minute quicker by the end of the first movement alone.

More lyrical and introspective, the third concerto requires a very different touch to the previous two. The central movement is beautifully done here, sensitively played by both pianist and orchestra, detailed and showing acute awareness of the subtle shifts in mood throughout, bringing out the alluring, almost Mozartian flavour of the music in places. The final movement could have benefitted from a slightly quicker tempo, but remains an exciting, joyful conclusion to the concerto and the disc.

Of course, with all three concertos on the same disc, it is a well-filled release, clocking in at just under 79 minutes. It is recorded well, although it’s hard for me to say whether the extra ‘edge’ I wanted in the first two concertos was entirely down to the playing, or also effected by a slightly warmer recording than might be ideal for such works. Despite a few reservations, however, this is an impressive release, showcasing a young pianist with great promise, and a lesser-known orchestra which is nevertheless very capable under Gábor Káli’s leadership. 

Morgan Burroughs

Buying this recording via a link below generates revenue for MWI, which helps the site remain free