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Bartók: The Orchestral Masterpieces (2 CDs)
 
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Bartók: The Orchestral Masterpieces (2 CDs)

8 July 2002 | Format: MP3

Ł7.99 (VAT included if applicable)
Buy the CD album for Ł8.40 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
9:05
30
2
6:10
30
3
6:33
30
4
4:03
30
5
9:31
30
6
3:30
30
7
2:12
30
8
2:43
30
9
2:34
30
10
0:58
30
11
3:54
30
12
2:51
30
13
1:46
30
14
1:58
30
15
2:20
30
16
2:02
30
17
1:21
30
18
0:35
30
19
1:06
30
20
1:34
30
21
0:30
30
22
0:17
30
23
0:42
Disc 2
30
1
6:34
30
2
7:22
30
3
6:51
30
4
6:35
30
5
8:22
30
6
7:32
30
7
7:09
30
8
18:21
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Product details

  • Original Release Date: 8 July 2002
  • Release Date: 8 July 2002
  • Number of Discs: 2
  • Label: Decca Music Group Ltd.
  • Copyright: (C) 2002 Decca Music Group Limited
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 2:17:01
  • Genres:
  • ASIN: B001LXAIK2
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 1,822 in Albums (See Top 100 in Albums)

Customer Reviews

4.9 out of 5 stars
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Most Helpful Customer Reviews

6 of 6 people found the following review helpful By I. Giles HALL OF FAMETOP 50 REVIEWER on 17 Dec. 2012
Format: Audio CD
This two disc set, recorded in the 1980's, gathers together arguably the key Bartok non-piano works for orchestra in a very convenient package. Every one of these performances has reason to be considered to be one of the very finest if not the finest recordings made over the last 20 years or so.

Georg Solti, as an Hungarian, was naturally in sympathy with the Bartok idiom and thus we have unusually sympathetic interpretations of these works. The Chicago orchestra since Reiner's day has always been considered one of the finest orchestra in the States with arguably the most European sound. Their recording of the Concerto for Orchestra with Reiner is still considered to be an outstanding example of performance and recording combined. In this case the orchestra under Solti are able to match Reiner's achievement with the further advantage of more modern sonics. The main difference, interpretively, between the performance and Solti's earlier one with the LSO concerns the Tempo chosen for the 'couples' movement which Solti feels is more in line with Bartok's wishes in this CSO recording.

The two sets of dances are both ideal and the Dance Suite is played with brilliance and understanding. My personal preference for this piece is, once more, the predecessor with the LSO which seems to have an element of humour missing in this rather more driven account. At this point it may be worth mentioning that Decca have issued the earlier Bartok/LSO disc with Solti in their 24 bit remastered 'legends' series which suggests that they too, feel that the earlier recording has something special to say.
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83 of 88 people found the following review helpful By A Customer on 8 Dec. 2004
Format: Audio CD
With one of the largest back catalogues in the business, why did Decca choose these 1981 recordings of Bartok for reissue? It's simply because they haven't been bettered, and I don't believe they ever will: During its time under the exacting Georg Solti the Chicago Symphony Orchestra attained a position as a world-class band, bearing easily all comparisons with Berlin and Vienna. When conducting Hungarian music Solti, who had been a pupil of Bartok's, always demonstrated a special authority. This shines through in the precision, eloquence and sheer expressiveness of these performances.
The Decca sound engineers of the time were the best in the business and they were well placed to take advantage when the new digital recording technology came along. It's hard to believe, listening today, that this would have been one of the earliest commercial pressings using the technique. Their trick was to capture the full power of the orchestra, whilst allowing individual instruments to be heard in their natural positions and at a believable dynamic - "close miking", with its unnatural sound levels in the quiet passages, was never detectable. The relationship between the instruments, both spatially and in volume, always sounded so authentic, but no detail was ever missed. Sadly, modern recordings just aren't as good!
I was happy to pay full price for these CDs when they first came out. Now you get both of them together as a mid-price offering. What are you waiting for?
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20 of 21 people found the following review helpful By Liam Mccleary on 30 Nov. 2008
Format: Audio CD
Georg Solti was a wonderful interpreter of Bartok as a conductor (though a dreadful one as a pianist!) All of these recordings are from late in his career, I think the earliest is from 1980. You will hear some so called experts say his LSO recordings from the 1960s are better, don't listen. Hearing these recordings, it is as if Solti's entire life experience of conducting these masterpieces has been distilled into that moment. Essential.
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21 of 23 people found the following review helpful By John Ferngrove TOP 500 REVIEWER on 8 Nov. 2008
Format: Audio CD Verified Purchase
I came to these pieces from the string quartets expecting music of similar difficulty, but it would seem that Bartok reserved the quartet as his most experimental medium. All of these pieces are filled with beauty, colour and excitement.

Nothing on the first disc is difficult music. Though there are some atonal harmonies and some non-standard time signatures, these are rooted in tonality and the rhythms of folk dance. All the pieces on the first disc include clashes of dark and light, but all conclude with an overwhelmingly positive character. The Concerto for Orchestra is the most large scale work and includes several memorable moments, one of my favourites of which is the glorious brass section in the second movement. The remaining pieces on disk one are filled with East European folk idioms that are predominantly gay and flamboyant.

The second disc includes the pieces that might be thought a little more difficult to the Classical ear. The Concerto for Strings, Percussion and Celeste has a very mysterious flavour with some dazzling twelve-tone harmony, but with such rhythmic excitement as to carry it out of the realms of difficulty. Though relatively brief, the following Divertimenti for Strings continue the twelve-tone polyphony with great power and gusto. The final piece, The Suite from the Miraculous Mandarin, is truly strange, as is its theme, basically a sequence of chase scenes, filled with macabre and sinister humour.

These discs are fantastic value at the price. Although I can imagine more spacious recordings of these pieces, I cannot imagine them more tonally balanced - each instrument glows. Neither can I imagine them more beautifully played or perfectly paced. Clearly this is Solti's home ground.
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