The first movement is relentless but never tires the ear; the second displays two very different levels of tension, one slow and mysterious, the other hectic but controlled; and although others might have thrown off the finale's octaves with even greater abandon, Anda's performance is the most successful in suggesting savage aggression barely held in check...' Read the review, 'Kocsis’s mastery of tone, rhythm and articulation, allied to his painstaking attention to important source material (namely Bartók’s scores and records), make for a level of pianistic distinction that is fairly unique in this repertory. 33 – Doric String Quartet, Review: Niklas Sivelöv – Piano Concertos – Composer, Malmö Symphony Orchestra, Review: Franz Schmidt – Complete Symphonies – Frankfurt Radio Symphony Orchestra, Paavo Järvi, Read of the latest news in classical music, Looking for the best version of a classical music piece? | RCA’s sound reportage of the Concerto for Orchestra has uncanny realism, and if the climaxes are occasionally reined in, the fervour of … 1, a piece from the young Bartók’s pen, and the Concerto for Orchestra, one of the final orchestral works he completed. This album begins Thomas Dausgaard and the BBC Scottish Symphony Orchestra’s cycle of Bartók’s orchestral works, which will program contrasting works on each release. These are 10 of the finest recordings of Bartók recordings listed in Gramophone. The Concerto for Orchestra has proven to be Bartok's most popular work, due in large part to the directness of its language. Life is like composing forward, anytime starts a new bagatelle. Here we get the Suite No. As the movement progresses, the upper strings are similarly ultra-fine and refined throughout. 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The suite finishes with a sophisticated and at times surprising palette cleanser; it’s a crowd-pleaser, but not without some strange extra bars mixed in (The extended decrescendo at 0’33”, the little strings soli at 3’30”, and, oh yes, the main “dance” theme is effectively in seven). It is one of his best-known, most popular, and most accessible works. The third movement, which might as well be labeled “Waltz with Interruptions,” will scratch all your waltz itches, if you’re someone who has that sort of thing. All rights reserved. Such is this 1959 recording of Bartók’s Second Piano Concerto, a tough, playful, pianistically aristocratic performance where dialogue is consistently keen and spontaneity is captured on the wing (even throughout numerous sessions). If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. I can’t think of a version of the Second Concerto, past or present, where structure and content are more thoughtfully balanced, or where significant points in the score are more lovingly underlined. 1, if not also the Concerto. Bartók – Concerto for Orchestra, Suite No. It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news. Rarely have I encountered a reading of the First Concerto where, in the first movement especially, the sense of instrumental interplay is so consistently vital...' Read the review, Béla Bartók’s music takes listeners on a journey through folklore and fantasy. Everything tells – the flavour is right, the pacing too and the sound has a toughened, raw-edged quality that is an essential constituent of Bartók’s tonal language…Delicacy trails bullish aggression, forcefulness alternates with an almost graphic suggestiveness – and it’s all there in the full score. The effect can be downright hectic; but it’s a mightily exciting account, which certainly doesn’t rush its fences or sell the score short. She obviously relishes the score’s balance of colour and counterpoint, and her performance is distinguished by a combination of musical intuition and technical finesse (a good place to sample is 5'49'' into the first movement).I would strongly urge you to purchase this superb disc, even if you already own recordings of both works...' Read the review, Nimsgern, Troyanos; BBC Symphony Orchestra / Pierre Boulez, 'Boulez's pacing is ideally judged—in fact, throughout this memorable performance, he balances the constituent parts of Bartok's rich tonal palette with a meticulous ear, patiently scaling the score's many texturally complex climaxes.