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Bartok : Concerto pour orchestre - Musique pour cordes, percussion et célesta

5.0 étoiles sur 5 1 commentaire client

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Page Artiste Fritz Reiner


Produits fréquemment achetés ensemble

  • Bartok : Concerto pour orchestre - Musique pour cordes, percussion et célesta
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Détails sur le produit

  • CD (15 novembre 1993)
  • Nombre de disques: 1
  • Label: Rca Red Seal
  • ASIN : B000003FEJ
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 8.649 en Musique (Voir les 100 premiers en Musique)
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Descriptions du produit

Descriptions du produit

REINER FRITZ

Amazon.fr

Fritz Reiner est un amoureux du beau son. Ses enregistrements sur le prestigieux label Living Stereo sont impressionnants et vous tétanisent en quelques secondes. Le Concerto pour orchestre de Bartok est un terrain de jeu idéal pour le grand chef américain. Les cordes vous submergent, les cuivres brillent de mille feux, et le chef entraîne l'orchestre symphonique de Chicago dans un train d'enfer ! Ce disque est, tant du point de vue de l'interprétation que de la prise de son, un must insurpassable ! --Pierre Graveleau


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Par Mélomaniac 1ER COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 25 mai 2006
Format: CD
Dès l'introduction du "Concerto", Reiner développe une sonorité riche et enveloppante (quel somptueux tapis de cordes) mais capable de vous cingler le visage l'instant d'après : la dynamique est embrasée par ces cuivres qui ont fait la légende de Chicago. Dans le "jeu des couples", ce sont les vents qui sidèrent par la virtuosité de leur staccato, notamment les hautbois, d'une incroyable précision. Et dire que le tempo est l'un des plus rapides de la discographie !

Quant au Finale, il justifie plus que jamais le titre de l'oeuvre par sa virtuosité superlative.

On retrouve la même opulence dans la "Musique pour cordes, percussion et célesta". Les joutes stéréophoniques de l'allegro sont spatialisées dans une acoustique plutôt réverbérée qui amplifie la puissance des rixes entre les blocs adverses. On y admirera la précision des glissandi et pizzicati contrôlés impitoyablement par le chef hongrois.

La moiteur de l'adagio est organisée avec un sadisme qui glace le sang. Privé de sa veine folkloriste, le finale connaît quelques petites baisses de tension sans nuire au parachèvement de cette version spectaculaire et démonstrative.

Voilà deux interprétations parmi les plus intimidantes de la discographie bartokienne, qui ne sont pas près d'être égalées pour leur perfectionnisme maniaque.
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Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.7 étoiles sur 5 51 commentaires
63 internautes sur 68 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great Sound, Outstanding Performance 15 février 2001
Par Ed Luhrs - Publié sur Amazon.com
Format: CD
I adore this CD, and I greatly admire Bartok as a composer of music and a music scholar. I first heard a recording of Charles Dutoit conducting the Concerto for Orchestra with the Montreal Symphony Orchestra. That performance was also great, but at the time I really only enjoyed the finale. When I got this recording, I was ready for the other movements. This Fritz Reiner recording with the Chicago Symphony Orchestra is from quite a long time ago, yet it sounds like it was made yesterday. It's presence and atmosphere keep you immersed in the music. Reiner has an unbelievable knack for conducting Bartok. Reiner was also a tremendous supporter of Bartok and one of the first conductors to champion his works. Both the Concerto for Orchestra and the Music for Percussion, Strings, and Celesta contain all that is best in Bartok's work. (Also check out his three piano concertos, which are equally remarkable!) Bartok's compositional style alternates between extraterrestrial melodic beauty and flashes of angular, barbaric rhythms. The climactic moments frequently jump at the listener like a crack of thunder, yet underlying it all is a supreme logic and a sense of balance. The Hungarian Sketches are lively examples of Bartok's dedication to bringing folk traditions to orchestral music. Since Reiner ranks among the 20th century's greatest conductors, and since Bartok brings a supreme scholastic energy to his music, I recommend this recording highly.
56 internautes sur 61 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Unsurpassed Musically and Sonically 6 juin 2001
Par gtra1n - Publié sur Amazon.com
Format: CD
There are plenty of enthusiastic reviews that attest to the quality of this performance, so I can only add, emphatically, that this is the greatest recorded performance of one of two of the greatest pieces by one of the greatest Modern composers. That being said, CD buyers are often wary of the sound quality of early stereo recordings remastered on CD. To them I would say that this is also one of the very best sounding CDs you will ever own of any music, recorded in digital or analog. Absolutely full, rich and clear sound, simply beautiful to the ear. One of the great classical recordings ever made.
37 internautes sur 41 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Concerto recording is as authoritative as you can get! 20 avril 1999
Par Un client - Publié sur Amazon.com
Format: CD
Most people do not know the circumstances that made the Concerto possible. Bartok had just come to this country, an impoverished musician and composer from his native war-torn Hungary in 1944. Years earlier, a close friendship had developed between his student, Fritz Reiner, while Reiner was still at the Budapest Academy. After graduation and a brief European stint, Reiner came to the U.S. to further his career as a conductor. In the intervening years, Reiner and Bartok maintained a close and regular correspondence with each other. It was during Reiner's tenure at the Pittsburgh Symphony Orchestra that Bartok came to the U.S., financially ruined, ill, and devoid of the desire to compose. Reiner, by now well-off financially and successful, took his former teacher under his wing and helped him financially as well as spiritually. During Bartok's convalescence, Reiner and other U.S.-based musicians arranged for Bartok to receive a commission for a composition from the Boston Symphony. This was the creative spark needed to fire Bartok's compositional talents once again, and resulted in the Concerto for Orchestra. The first performance was by Kousssevitzky and the Boston Symphony in 1945; the first recording was by Reiner and Pittsburgh by Columbia Masterworks that same year.
But improvements in recording technology and music directorship of an ensemble much superior to that of Pittsburgh resulted in Reiner again committing the Concerto to tape for RCA in Chicago in 1955. The result is a performance and recording much superior to the earlier Pittsburgh one. This recording gives the Chicago first chair musicians opportunity to "strut their stuff." The later recording of "Music for Strings, Percussion, and Celesta" is nonpareil in its own right.
Despite the Concerto having the so-called "hole-in-the-middle" that afflicted early stereo recordings, this problem had been solved by the time of the Music for Strings recording in 1958. Nevertheless, both recordings sound great for their age, and authority of performance is no way in doubt here. Buy this recording with absolute confidence and need to look no further.
25 internautes sur 29 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 To Die For! 1 novembre 2002
Par Jay - Publié sur Amazon.com
Format: CD
If my house were on fire I'd run into the burning building just to rescue my copy of this recording. Fritz Reiner (Friendly Fritz to his musicians!) was a former student of Bela Bartok's at the Budapest Conservatoire and remained a life long friend and supporter of the composer, particularly when he was living in exile in America during World War 2, in fact it was in no small part due to Reiner's effort that The Concerto for Orchestra was commissioned in the first place, so who better to play it? But even with that in mind, Reiner rises to the occasion brilliantly. When Gramophone magazine reviewed this CD, they compared it to Boulez's 1992 recording made in the same auditorium and commented on the uncanny realism of Reiner's recording, especially in the quiet passages. This is particularly telling at the beginning of the second movement, the decaying echo of the solo percussion is exceptionally realistic. Wonderful though the interpretation of the Concerto is, the "Music for Strings, Percussion and Celesta" coupled with it on this CD set recorded two years later (in 1957), is even better.
Although many people will say that Ferenc Fricsay's recording is perhaps more in keeping the spirit of the music, for me Reiner will always have the edge, he simply lets the music speak without ever letting it get out of control. I can give him no higher complement than that.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Various versions now available but two offer by far the best sound 31 décembre 2013
Par I. Giles - Publié sur Amazon.com
Format: CD
This very famous disc containing music recorded on three tracks in 1955 and 1958 has been renowned for two reasons. For those interested in the music, these interpretations and their performance by the Chicago orchestra set standards that have never been seriously matched, let alone improved upon. For those interested in sound engineering these recordings also set the standard for recordings made at that time.

This sonic achievement became more apparent when the Gold Seal edition was replaced with the Living Stereo edition as here. Having owned both, plus the LP before, I can verify that, in A/B comparisons, the sound is altogether improved with an enhanced sensation of 'being there.' That only leaves the SACD version to consider and that is now long out of production. However, at inflated cost, there are still a few still available - mostly available from Japan.

Despite the inflated cost, I finally ordered, and received, one of these rare SACD copies from a Japanese supplier. The improvement in sound over the previous Living Stereo version, which was itself very good, was immediately clear with far greater definition, depth and warmth. In fact the difference was almost startling and justified the rave notices it has received from the SACD fraternity. That now enables a direct comparison and ranking to be made which is clearly SACD followed by this 'Living Stereo' version and finally the Gold Seal version.

In the meantime it would be reasonable to ask why would one wish to buy such an historic recording when there are fine, and more modern, alternatives now available? Of the leading contenders I would strongly suggest that the Fischer/Budapest alternative offers a particularly effective version that has a clear Hungarian 'rustic' favour. The 24 bit remastered Solti/LSO alternative is also much improved sonically and delivers high powered, non-Hungarian, interpretations with a sense of light humour. His later Chicago version has less, or no sense of humour and is all about high pressure delivered faultlessly with brilliant playing in a fine recording, if that appeals.

However, this set of recordings by Reiner has the best of all worlds. The Chicago orchestra plays with brilliance to match any of the other ensembles, Reiner being a hard task-master on technical matters. However, and crucially, Reiner allows the music room to breathe with scrupulous attention to all the moderating instructions as regards precise phrasing and dynamics. This also allows the Hungarian folk element an opportunity to shine through. These remarks apply equally to all three pieces on this disc.

This Concerto performance is frequently referred to in superlatives so I won't add further to that other than to nod in agreement. However, if there has been a more enjoyable, and even amusing, account of the Hungarian Sketches I have yet to hear it. Jarvi's version in a dull experience comparatively. The Music for Strings, percussion and Celesta is as fine a performance as likely to be offered and the early over-prominence of the bass has now been controlled with a proper balance in the Living Stereo edition.

In conclusion therefore, if the SACD option is not available to purchasers, I would suggest that those interested ought to snap up a copy of this Living Stereo version before that, too, becomes impossible to find.

............................................

Some dialogue from the comments section that may offer further help:

Great review, but...Solti as "non-Hungarian"? Surely you jest.... (U.S. review)

I was describing the type of performance, not Solti's nationality! The LSO performance is less Hungarian inflected for instance than Fischer in Budapest or even Ancerl in his performance with the Czech PO. and has relatively more of an international feel about it. Those features become more pronounced with his later Chicago performance which is even more high powered and still less Hungarian in flavour. By this I would suggest that the essential underlying dance character of the piece is less pronounced than either Fischer or Ancerl who emphasise that element rather than the more dramatic drive that Solti delivers. Maybe this may help to explain my meaning more clearly. I hope so. Best wishes, Ian Giles.
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