Piano Concerto No. 3 (Bartók)

[citation needed] This, combined with an abatement of his medical condition, allowed for a change in the composer's general disposition.

The changes in the composer's emotional and financial state are considered by a few to be the primary causes for the third piano concerto's seemingly light, airy, almost neoclassical tone, especially in comparison to Bartók's earlier works.

[1][2] However, while the composition of a piece as a gift (his wife Ditta Pásztory-Bartók's upcoming 42nd birthday on October 31, 1945 - Bartók intended the solo part for her to perform, providing her with a source of income after his death[3]) as opposed to a commission undoubtedly impacted the composing process, some think it [by whom?]

more likely that the piece was instead the culmination of a trend of reduction and simplification which began almost ten years prior, with the Second Violin Concerto, and which concluded Bartók's exploration of tonality and complexity.

The task of completing their orchestration, drawing on Bartók's notes, was eventually done by the composer's friend, Tibor Serly.

[5] It was premiered in Philadelphia on February 8, 1946, under Hungarian conductor Eugene Ormandy with György Sándor as piano soloist.

Beginning in the 1990s, the composer's son, Peter Bartók, in association with Argentinian musician Nelson Dellamaggiore, worked to re-print and revise past editions of the Third Piano Concerto, to eradicate the many printed errors identified but never corrected by his father.

[6][7] Although few in actual number, changes made to the Piano Concerto affected the notes, pedalling and tempos of several key passages.