Bela Bartók




"Eder limns the richness [of Bartok's music] with a blend of exuberance and attention to detail that lifts the music from the page...:
Donald Rosenberg [Gramophone, February 2016]
“This is music of great verve, ingenuity, originality and a rooted contemporarity that continues to communicate to us... Terry Eder gives us a sparkling interpretation of these pieces, with an open rubato that expresses the free invention of the Bartokian musical mind more than sentiment, and an irrepressible rhythmic verve on the folk dance liveliness of the peasant-rooted material... [Eder] revels in this music, getting inside it and affirming how it speaks very much to us in the new century. It is a beautiful panorama of the playful pianism of one of the shining stars of the twentieth century and forefathers of the present day. Terry Eder shines too in her interpretations. This is a treat for the ears! Hear it and open up to the fun and adventure of Bela at his most earthy. Recommended.”
Grego Edwards, Gapplegate Review [December 2015]
“It takes a lot of courage to release a Bartok piano album these days; perhaps it takes a specialist like Detroit native Terry Eder, who spent a lot of time in Hungary investigating Bartok’s music after studying at Oberlin and Indiana. I can’t think of any other artist these days in the mainstream who would think of giving us nearly eighty minutes of Bartok on one disc... recorded at the Purchase College Performing Arts Center Recital Hall (SUNY) in ingratiating sound... Eder is a perceptive and enlightening pianist, putting the knowledge found in the erudite notes into sterling practice in the music... Eder plays up the lyricism—yes you heard that right, and Bartok is an extremely lyrical composer. She avoids excess affect and strategizes over phrase and line, and not simply percussive events. This puts Bartok in a more favorable light, allowing his true melodiousness to shine, and his rhythms to dazzle us without the help of a pianistic pulverizer... Gracious playing here, no question, and Eder should be congratulated on an excellent disc.”
Steven Ritter, Audiophile Audition [December 2015]
“Terry Eder despatches this difficult repertoire with great rhythmic vitality and expressive exuberance, and her performances are consistently lucid and commanding, shedding light on Bartók's irrepressible genius of turning simple tunes into great works of art. A generously filled issue in classy presentation and superb sound quality that should whet the appetite of many a pianophile.”
Gerald Fenech, Music & Vision [November 2015]
“Eder’s affinity for Bartók yields considerable dividends. Throughout her recital, which imaginatively mixes known and comparatively obscure works, Eder displays a stylish mastery of Bartók’s idiomatic writing, as well as the technical acumen required to negotiate the virtuoso hurdles posed by many of these scores... The quality of the sound engineering is very fine.”
Radu A. Lelutiu, Fanfare [November/December 2015]
“this CD offers Bartók, the fellow who collected over six thousand folk tunes, in his most comfortable element – writing brief, folk-inspired piano pieces... [Terry Eder] seems quite at home in these works, playing with a crispness and wit, and an innate grasp of the ethnic character of the music. Her tempos tend to be moderate and mostly well judged, and she wisely avoids turning overly percussive as so many pianists do in Bartók... [Listen to Mikrokosmos] 149, 152 & 153 to hear her technical prowess as well as her fine interpretive sense. The sound reproduction on this MSR CD is clear and well balanced, and the album notes by Ms. Eder are quite informative. If you like Bartók, you should find this disc much to your liking.”
Robert Cummings, ClassicalNet [November 2015]
“Eder’s Bartok has a...crispness... [the Bagatelle 3 and Romanian Dances] are vibrantly played.”
Kang, American Record Guide [November/December 2015]
“Terry Eder brings a fine fluency but above all rhythmic flexibility to this music. It is quite clear that she has thoroughly absorbed Bartok’s idiom making these performances very fine indeed. She is well recorded.... There are excellent notes from the pianist.”
Bruce Reader, The Classical Reviewer [October 2015]
“What Terry Eder plays here is an entire disc of miniatures: the CD runs 78 minutes and includes 45 tracks. No individual song or element stands out from the others or is intended to: Bartók’s aim in all the works heard here was to express himself through folk music while at the same time utilizing the generally simple tunes and harmonies of folk material to produce works of greater emotional compass and impact than folk tunes themselves possess… [the] works [can] sound academic, however, and that is not at all how they sound in Eder’s performances, which are light and lithe when they should be and strongly accented and emphasized when that is the appropriate approach. [In the 14 Bagatelles] Eder does a fine job of exploring the modern-sounding elements while also staying true to the essentially folklike material on which Bartók built this work.”
Mark J. Estren, Infodad [September 2015]
Born and raised in Detroit, Terry Eder developed an affinity for the music of Béla Bartók through Hungarian influences in her education and immersion in Hungarian life and culture. After studying with Peter Takács at the Oberlin Conservatory, she began performing the music of Bartók while studying with Bálint Vázsonyi at Indiana University, earning a Master of Music with Distinction. Eder, whose ancestry is Eastern European, subsequently moved to Hungary to investigate Bartók’s music in depth with the assistance of a grant from the International Research and Exchanges Board. She worked with pianist Zoltán Kocsis, learned the Hungarian language, traveled throughout the country and developed a deep understanding of and appreciation for the depth, passion, joy, melancholy and soulfulness of Hungarian music. Eder has been invited to give lecture-recitals on Bartók and other Hungarian composers at numerous institutions, including the Berklee College of Music in Boston, The New School in New York, the John F. Kennedy Center for the Performing Arts in Washington, D.C. and the Yong Siew Toh Conservatory of Music in Singapore. Terry Eder gave her New York debut in 2004 in Weill Recital Hall at Carnegie Hall, and was subsequently invited to perform in Alice Tully Hall at Lincoln Center and in Zankel Hall at Carnegie Hall. Eder’s performances have taken her across the United States, and to Europe and Asia. Among her many honors, Eder earned top distinction in the Ibla and Bartók-Prokofiev-Kabalevsky competitions in Ragusa-Ibla, Sicily. Her performances have been broadcast on radio in the United States and Switzerland. In addition to her activity as a performer, Eder is also a dedicated teacher. She has served as an Associate Instructor at Indiana University, resident pianist at the Colly Soleri Music School at Arcosanti in Arizona, and now teaches privately. Eder holds a Juris Doctorate and has lent her legal expertise to supporting human rights groups and musical organizations. She is currently engaged in instituting a new concert series in New York entitled Key Pianists. Also active as a recording artist, Eder’s previous issues include Portrait, and a program of piano music by Dohnányi.

BÉLA BARTÓK (1881-1945)
14 BAGATELLES, OP. 6, SZ.38 (1908; Rev. 1945)
Bagatelle No.1: Molto sostenuto
Bagatelle No. 2: Allegro giocoso
Bagatelle No. 3: Andante
Bagatelle No. 4: Grave
Bagatelle No. 5: Vivo
Bagatelle No. 6: Lento
Bagatelle No. 7: Allegretto molto capriccioso
Bagatelle No. 8: Andante sostenuto
Bagatelle No. 9: Allegretto grazioso
Bagatelle No.10: Allegro
Bagatelle No.11: Allegretto molto rubato
Bagatelle No.12: Rubato
Bagatelle No.13: “Elle est morte”: Lento funebre
Bagatelle No.14: Valse “Ma mie qui danse”: Presto
2 ROMANIAN DANCES, OP. 8/a, SZ.43 (1910)
Romanian Dance No. 1: Allegro vivace
Romanian Dance No. 2: Poco allegro
Four Old Sorrowful Songs
I. Rubato
II. Andante
III. Poco rubato
IV. Andante
V. Scherzo (Allegro)
VI. Ballade (Tema con variazioni)
Old Dance Tunes
VII. Allegro
VIII. Allegretto
IX. Allegretto
X. L’istesso tempo
XI. Assai moderato
XII. Allegretto
XIII. Poco più vivo – Allegretto
XIV. Allegro
XV. Allegro - Più vivo - Poco più meno vivo
(1920; Corrected by P. Bartók 2002)
I. Molto moderato
II. Molto capriccioso
III. Lento, rubato
IV. Allegretto scherzando
V. Allegro molto
VI. Allegro moderato, molto capriccioso
VII. Sostenuto, rubato
VIII. Allegro
I. Mikrokosmos No.148
II. Mikrokosmos No.149
III. Mikrokosmos No.150
IV. Mikrokosmos No.151
V. Mikrokosmos No.152
VI. Mikrokosmos No.153

MSR Classics