The Goldberg Variations' alternation of connection and freedom, fantasy and strict form, was able to lead in a hitherto unknown way to a higher unity, raising them to the rank of a real compendium of the art of variation, strongly influencing Beethoven, Brahms and Reger. Tzimon Barto's international breakthrough came in the mid-1980s, when he appeared at the Vienna Musikverein and the Salzburg Festival at the invitation of Herbert von Karajan. Tzimon Barto has since performed with nearly every major international orchestra. “…a pianist who particularly cares about poetry." (Piano News)

Béla Bartók is one of the unquestionably “great” composers and one of the few modern composers who established themselves in the repertoire. His three piano concertos are central to his biography and musical output, but only the Third, with some generosity, could be considered “popular.” Although well represented on disc, the first two are rare concert program guests. Tzimon Barto sees a problem in an all-too-mechanical approach to these two percussive works: “Even Bartók needs a supple touch. If you bang away at it, without rhythmical buoyancy, of course it will become tedious.” These recordings are his attempt at doing justice to his Bartók-ideal.

REVIEW:

Christoph Eschenbach and Tzimon Barto have a long history of collaboration. Bartók, too, has long been a frequent composer on Eschenbach’s programs.

In these recordings, the two musicians offer very special, unconventional interpretations. They are not interested in motoric coolness, in hard-edged virtuosity, but in a very interesting way they search for moods and a narrative that cannot be found in the many other good interpretations of the Bartók concertos. Not with Zimermann/Boulez, not with Bavouzet/Noseda, not with Kocsis/Fischer, and, going back even further, not with Anda/Fricsay.

Eschenbach and Barto take their time with the music and, with remarkable transparency and many warm colors, create sometimes very mysterious and exciting passages, such as in the slow movement of the first concerto, or a wonderfully atmospheric Allegretto, which, at nine and a half minutes, lasts up to two minutes longer than with other interpreters. Even more astonishing is the greatly extended Adagio religioso, which at nearly 14 minutes is up to four and a half minutes longer than other recordings used for comparison.

All in all, however, this new recording is definitely interesting and worth listening to, because it brings out new aspects and gives Bartók a variety of expression that cannot be found anywhere else.

— Pizzicato