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Bartók: Concerto for Orchestra; Dance Suite; The Miraculous Mandarin

Bartók: Concerto for Orchestra; Dance Suite; The Miraculous Mandarin

1 janvier 2001
5.0 étoiles sur 5 1 commentaire client

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Détails sur le produit

  • Date de sortie d'origine : 1 janvier 2001
  • Date de sortie: 17 septembre 2001
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 2001 Decca Music Group Limited
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 1:10:21
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  • ASIN: B002TMJZP8
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
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Format: CD
Au Conservatoire de Budapest, Georg Solti (1912-1997) eut notamment pour professeur... Bela Bartok !
Ses tous premiers microsillons avec le London Philharmonic pour Decca incluaient déjà les œuvres de son compatriote ("Musique pour cordes, percussion et célesta" en avril 1955, "Suite de danses" en novembre 1952...) qu'il réenregistrera quatre décennies plus tard avec le Symphonique de Chicago.
Nous entendons ici les célèbres versions intermédiairement gravées avec le London Symphony au milieu des années 1960, qui demeurent d'inexpugnables classiques de la discographie bartokienne.

Clarté de la mise en place instrumentale, goût du contraste dynamique (écoutez les coups de boutoir dans le volet central de l'Elégie...), direction mordante (les trombones de l'Intermezzo) : cette lecture du "Concerto pour orchestre" résume les ingrédients stylistiques du maestro hongrois.
Un peu moins poétique que la précédente mouture de 1952, l'interprétation de la "Suite de danses" exacerbe le modernisme grinçant et les couleurs crues de cette partition qui puise dans le folklore d'Europe orientale : la farouche véhémence de l'orchestre anglais (les cuivres fulminants du finale !) montre à quel point sa baguette savait galvaniser ses pupitres, tout en veillant impérieusement à la netteté rythmique.
Lire la suite ›
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Amazon.com: 4.8 étoiles sur 5 5 commentaires
12 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Absolutely Spectacular! 26 avril 2001
Par Josef Krebs - Publié sur Amazon.com
Format: CD
Perfect, perfect, perfect. A perfect idiomatic reading from a brash and enthusiastic younger Solti. The London strings are just as scratchy as you'd want them in Concerto for Orchestra, perfectly flattened in the finale. The tempi, the balance, the color, all exactly what a long-time admirer of the music would want. Easily an equal of the Reiner or Boulez readings. Dance Suite here is a rollicking good time, sort of the Eastern European version of Rodeo. And a pretty darn good Mandarin Suite thrown in as bonus.
6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Which of Solti's Bartok collections is best? 27 avril 2007
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
This remastered analog collection from London features two works that Solti recorded decades later in digital sound in Chicago, the Bartok Concerto for Orchestra and the Dance Suite. Both CDs contain a third work, the Music for Strings, Percussion and Celestra from Chicago and the Miraculous Mandarin Suite from London. Since these are all acclaimed recordings and Solti's Bartok was one of his strongest composers, I thought a side-by-side listen would be helpful.

Sound: Decca set out to produce sonic spectaculars in both cases, and in both cases succeeded. The earlier analog sound from London is miked closer and is free of digital edginess. The new remastering of the Chicago recordings has successfully removed the sting form the original CD issue, and though the CSO sits farther back, the sound has great visceral impact. Let's give a slight edge to Chicago.

Execution: You might assume, especially after reading the reviews at Amazon, that the CSO plays so spectacularly that there is no comparison with the London Sym. But Solti was both a powerhouse and a technician. I can't hear that much difference, except that the LSO's wonderful precision of attack isn't quite the super-precision of the CSO, especially in the violins. On the other hand, the LSO soloists play with more personalaity. Call it a draw.

Interprettion: Solti's Bartok was always fast, fierce, precise, and a tad clinical. Not for him the looser phrasing and warmer tone of Ivan Fischer. Having set his interpretation in place, Solti didn't change his timing or phrasing except by indignificant degrees. These two Concertos for Orchestra have an identical approach. However, the Dance Suite form London is hair-raisingly exciting, which isn't true of the Chicago version. And the Miraculous Mandarin Suite from London is even more thrillingly brutal; Solti gives this music the shock treatment, to great effect. By comparison, his MFSP&C from chicago is decidely lackluster.

In the end, it's the couplings that sell me on the London collection. For sheer excitment, Solti's earlier Dance Suite and Miraculous Mandarin qualify as two of his best recordings. As for the main attraction, both versions of the Concerto for Orchestra come out essentially equal.
6 internautes sur 6 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 CONCERTO, SYMPHONY, SUITE 8 juillet 2005
Par DAVID BRYSON - Publié sur Amazon.com
Format: CD
Bartok had a dry and ironic sense of humour, and I suspect he was teasing us a bit when he talked about the Concerto for Orchestra as being `symphony-like' with allegedly `concertante' treatment of the instruments in the band. He could have said the same about the treatment of the instruments in the Dance Suite, and I could say much the same about the orchestration in the symphonies of, say, Prokofiev. It's not the way Sibelius for one writes for orchestra, but to me it seems just the natural outcome of the increasing virtuosity of orchestral players in the 20th century. Nor does the work seem symphonic to me in the least. Several of the movements would be of symphonic length in Sibelius if not in Shostakovich or Mahler, but the Concerto for Orchestra really seems a rather ambitious orchestral suite to me. The movements have a looser relationship among themselves than I associate with symphonies, and despite the seriousness of the tone at many points the material is not `worked' in what I would think of as a symphonic way either. If Bartok had called it a suite, I doubt that any of us would be worrying much about its classification as a symphony or as a concerto.

Solti's account has enjoyed the status of a classic for many years now, a status I'm more than happy to endorse. The tempi are admirable, and the LSO is on its best form. The recorded quality does not have quite the vividness of some modern versions, notably that by Ivan Fischer, and I felt this particularly in the Elegy movement, but such comparisons are only between very good and even better and they would not particularly sway my own choice. In any case I still feel to this day that Solti handles one of my own favourite moments, the `raspberry' blown by the trombones (very deservedly in my opinion) at the theme from the Shostakovich 7th in the Intermezzo Interrotto, probably better than anyone else.

This is a thoroughly recommendable version still, I'm quite convinced. If cost is a factor in anyone's decision it has that in its favour for one thing. Choice of coupling could well be important too. Solti offers the Dance Suite, 20 years earlier in date of composition than the Concerto, and it is likely to be a popular choice, especially as the level of brightness in the recording is toned up a little. Fischer has the 3 Village Scenes plus what would tip the balance for me, the early symphonic poem Kossuth. I'm not you, so I can't be more categorical. If money and time are no object I would recommend obtaining both versions. If it has to be one version and one only, either spin a coin or decide on the basis of price or coupling.
6 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Solti's take on the Miraculous Mandarin Suite is a display of true orchestral violence! 8 août 2007
Par dv_forever - Publié sur Amazon.com
Format: CD Achat vérifié
Many listeners nowadays harp about Solti's abrasive, brutal style that he produced during his best years and listening to this CD I ask, what's the problem? I CAN ONLY WISH Solti's Beethoven was this exciting, instead of being mostly traditional, slow and boring. For Bartok, Solti brought his best. Solti's Concerto for Orchestra with the LSO was one of the finest around in those years and remains so today. This version was not bettered by Solti's subsequent digital remake in Chicago. Stacking up against the competition, it is Fritz Reiner's classic account that must ultimately take precedence for it's greater depth and more lush sound. Solti's strings lack some tone here, they are a tad too sharp in the recording. Some might like this.

The Dance Suite is about as exciting as this piece has ever been played. But the Miraculous Mandarin Suite is where you have to take your hat off to Solti, that Hungarian maniac! The suite is played with truly expressive violence unlike the many flat approaches we've had from our current generation of refined conductors. Ivan Fischer's complete Mandarin recording gets a lot of praise but it never pleased me. I wanted to hear this music the way I hear it in my mind, brutal to the core. Remember, this is Bartok's answer to The Rite of Spring. Thankfully, Solti plays it just this way. It was one of the first Mandarin recordings I heard and every single other version has failed in comparison. If you seek Solti at his best, hear his Bartok. This is a composer with whom he is in total sympathy.
2 internautes sur 3 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Superbly idiomatic 19 février 2007
Par YIP Alex - Publié sur Amazon.com
Format: CD
Many experts of Bartok's music had recorded this work, e.g. Reiner but Solti is at least their equal. One feels completely inside the music and the recording is still very good. Strongly recommended. There is no other version which I prefer to this one.
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