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Album Savings: £15.78 compared to buying all songs
- Original Release Date: 9 Mar 1999
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Concerto for Orchestra: Introduzione I. - Andante non troppo; Allegro vivace | Erich Leinsdorf | 9:44 | £2.29 | ||
| Play | 2. Concerto for Orchestra: Giuoco delle coppie II. - Allegretto scherzando | Erich Leinsdorf | 6:28 | £0.89 | ||
| Play | 3. Concerto for Orchestra: Elegia III. - Andante, non troppo | Erich Leinsdorf | 6:57 | £0.89 | ||
| Play | 4. Concerto for Orchestra: Intermezzo Interrotto IV. - Allegretto | Erich Leinsdorf | 4:16 | £0.89 | ||
| Play | 5. Concerto for Orchestra: Finale V. - Pesante; Presto | Erich Leinsdorf | 9:13 | £2.29 | ||
| Play | 6. Variations on a Hungarian Folksong, "The Peacock": Theme: Moderato | Erich Leinsdorf;Boston Symphony Orchestra | 3:45 | £0.89 | ||
| Play | 7. Variations on a Hungarian Folksong, "The Peacock": Variation I: Con brio | Erich Leinsdorf;Boston Symphony Orchestra | 0:20 | £0.89 | ||
| Play | 8. Variations on a Hungarian Folksong, "The Peacock": Variation II: Pianissimo | Boston Symphony Orchestra | 0:21 | £0.89 | ||
| Play | 9. Variations on a Hungarian Folksong, "The Peacock": Variation III: Forte (appassionato) | Boston Symphony Orchestra | 0:18 | £0.89 | ||
| Play | 10. Variations on a Hungarian Folksong, "The Peacock": Variation IV: Poco calmato | Boston Symphony Orchestra | 0:25 | £0.89 | ||
| Play | 11. Variations on a Hungarian Folksong, "The Peacock": Variation V: Forte appassionato | Boston Symphony Orchestra | 0:45 | £0.89 | ||
| Play | 12. Variations on a Hungarian Folksong, "The Peacock": Variation VI: Calmato | Boston Symphony Orchestra | 0:53 | £0.89 | ||
| Play | 13. Variations on a Hungarian Folksong, "The Peacock": Variation VII: Vivo | Boston Symphony Orchestra | 0:22 | £0.89 | ||
| Play | 14. Variations On A Hungarian Folksong, "The Peacock": Variation VIII: Piu Vivo | Boston Symphony Orchestra | 0:42 | £0.89 | ||
| Play | 15. Variations on a Hungarian Folksong, "The Peacock": Variation IX: Piano | Boston Symphony Orchestra | 1:31 | £0.89 | ||
| Play | 16. Variations on a Hungarian Folksong, "The Peacock": Variation X: Molto vivo | Boston Symphony Orchestra | 0:39 | £0.89 | ||
| Play | 17. Variations on a Hungarian Folksong, "The Peacock": Variation XI: Andante espressivo | Boston Symphony Orchestra | 2:38 | £0.89 | ||
| Play | 18. Variations on a Hungarian Folksong, "The Peacock": Variation XII: Adagio | Boston Symphony Orchestra | 3:26 | £0.89 | ||
| Play | 19. Variations On A Hungarian Folksong, "The Peacock": Variation XIII: Tempo Di Marcia Funebre | Boston Symphony Orchestra | 1:31 | £0.89 | ||
| Play | 20. Variations on a Hungarian Folksong, "The Peacock": Variation XIV: Andante, poco rubato | Boston Symphony Orchestra | 1:46 | £0.89 | ||
| Play | 21. Variations on a Hungarian Folksong, "The Peacock": Variation XV: Allegro giocoso | Boston Symphony Orchestra | 0:38 | £0.89 | ||
| Play | 22. Variations on a Hungarian Folksong, "The Peacock": Variation XVI: Maestoso | Boston Symphony Orchestra | 0:57 | £0.89 | ||
| Play | 23. Variations on a Hungarian Folksong, "The Peacock": Finale: Vivace | Boston Symphony Orchestra | 4:00 | £0.89 |
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5 reviews
13 of 13 people found the following review helpful
Approachable Bartok from "The Aristocrat of Orchestras"
12 Nov 2000
Format:Audio CD
This recording is spellbinding. Commissioned by former conductor Serge Koussevitsky for the Boston Symphony Orchestra, this Bartok performance was the first recording produced by the RCA Layton/Mohr team for the BSO under Leinsdorf's direction. Erich Leinsdorf brought Austrian attention to detail to the orchestra after the laissez-faire approach of his predecessor, the marvelous Charles Munch. Having seen and heard both conductors of the Boston Symphony, I marveled at the way the board of directors navigated the treacherous waters of directorship selection transitioning from Munch to Leinsdorf. Leinsdorf took this already great orchestra down the path of tighter discipline and established a sheen of performance that could both be rapturously appealing and steely cold simultaneously! He reorganized the orchestral layout, splitting the first and second violins, placed the orchestra on stage risers as Koussevitsky had done, and achieved stunning recorded sound with RCA engineers through a number of tedious trial microphone placement sessions alluded to in the program notes. If you have never been to Symphony Hall in Boston to hear this great orchestra in one of the world's best music halls, these recordings convey everything worth the trip but the statues and gold leaf in the hall! The analog recorded sound is astonishing and the performances illuminating and vivid. Neither the Bartok or Kodaly are repertory warhorses, but these recordings do them great justice and deserve hearing. Obviously a labor of love, Nat Johnson and his team have done a great service in already bringing a number of these archival treasures to CD. I do hope they continue to mine the archives as effectively, and produce many more of the great recordings of the early stereo era from both Boston and Chicago which are present in the vaults at RCA/BMG! BRAVO!
3 of 3 people found the following review helpful
One of the last Ambassadors of a golden generation of directors!
16 Mar 2007
Format:Audio CD
The presence of Erich Leindsdorf meant the Boston Symphony the beginning of the end of a golden period that began with Koussevitzky in 1922. This was a very talented director, who never matched in aristocratic flair or vertiginous incandescence of his predecessor Charles Munch but that certainly was light years far beyond the next titular or this Orchestra.
In this sense Leindsdorf still conserved the charm, a wise approach and conviction around the music's meaning.
Among his most reminded musical legacies, this version of Concerto for Orchestra has been considered for most audiences as one of his most pyramidal recordings. He conferred the Boston that spectacular and unique involving sound that featured the sound of the golden period of the American orchestras between 1920 and 1970.
If you barely think about the presence of invaluable batons imported from Europe in that period, you will deduce why Stokowski and Ormandy n Philadelphia, Fritz Reiner in Cincinnati, Pittsburgh and Chicago, Szell in Cleveland, Kousevitzky and Munch in Boston, Toscanini founding the NBC Orchestra, Dimitri Mitropulos, Bruno Walter (with the presence in the podium of a legendary constellation of guest conductors such as Beecham, Barbirolli, Cantelli and Victor de Sabata among the most reminded) with the New York Philharmonic, Paul Paray in Detroit and Antal Dorati with the Minneapolis Orchestra conform an indisputable evidence that carves in relief the emerging of talented directors such as Bernstein in 1949 from Harvard, Thomas Schippers and Michael Tilson Thomas, among others famous names.
Kilometers of ink have been depicted this fortunate fact that allowed to Boston Symphony be considered in those fifties as the most aristocratic of American Orchestra, with an undeniable European flair that certainly would vanish since the command of Leindsdorf' s successor.
A version to collect among the most distinguished, although no other performance will be able to match with the terrific and out of this world version of Fritz Reiner conducting the Pittsburgh in the middle forties.
In this sense Leindsdorf still conserved the charm, a wise approach and conviction around the music's meaning.
Among his most reminded musical legacies, this version of Concerto for Orchestra has been considered for most audiences as one of his most pyramidal recordings. He conferred the Boston that spectacular and unique involving sound that featured the sound of the golden period of the American orchestras between 1920 and 1970.
If you barely think about the presence of invaluable batons imported from Europe in that period, you will deduce why Stokowski and Ormandy n Philadelphia, Fritz Reiner in Cincinnati, Pittsburgh and Chicago, Szell in Cleveland, Kousevitzky and Munch in Boston, Toscanini founding the NBC Orchestra, Dimitri Mitropulos, Bruno Walter (with the presence in the podium of a legendary constellation of guest conductors such as Beecham, Barbirolli, Cantelli and Victor de Sabata among the most reminded) with the New York Philharmonic, Paul Paray in Detroit and Antal Dorati with the Minneapolis Orchestra conform an indisputable evidence that carves in relief the emerging of talented directors such as Bernstein in 1949 from Harvard, Thomas Schippers and Michael Tilson Thomas, among others famous names.
Kilometers of ink have been depicted this fortunate fact that allowed to Boston Symphony be considered in those fifties as the most aristocratic of American Orchestra, with an undeniable European flair that certainly would vanish since the command of Leindsdorf' s successor.
A version to collect among the most distinguished, although no other performance will be able to match with the terrific and out of this world version of Fritz Reiner conducting the Pittsburgh in the middle forties.
3 of 3 people found the following review helpful
Leinsdorff: Bartok/Kodaly
3 Mar 2005
Format:Audio CD|Amazon Verified Purchase
Simply fabulous. I bought the recording for the Kodaly, but I like the Bartok performance too. Great recording..... and 1964 at that - that makes it 40 years old! Leinsdorff is one of the old masters on the RCA Label. IMO RCA should reissue more of the old masters...,. e.g. Morton Gould who does a smashing Bolero.
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