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solved my problem, and I hope she does not mind my parodying it. Ditta Pásztory-Bartók’s role in the creation of the First Piano Concerto was much smaller than in the case of the Third. She was only an onlooker when Bartók actually wrote the piece, but

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In her book about Bartók’s American years Agatha Fasset recalls the composer attesting to his second wife Ditta Pásztory that her piano playing “comes to the nearest of all” to his own style admonishing her “to preserve this style, keep it alive, keep it going.” Pásztory’s discography (containing recordings from the 1960s) testifies that she took Bartók’s assignment seriously. The first part of this paper gives a short description of Pásztory’s formative years as a pianist and her long apprenticeship under Bartók’s guidance. The second part, analysing a few of her recordings will attempt to find out how she succeeded in preserving Bartók’s manner of performance.

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