BartA³k: Concerto for Orchestra; Music for Strings, Percussion and Celesta; Hungarian Sketches

Since its release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured. Even after all these years, the recording remains just as convincing and authoritative. Reiner's superb control of his orchestra and of Bartók's rhythms and textures is still unsurpassed, even by dozens of subsequent conductors in the digital age. Likewise, the Music for Strings, Percussion, and Celesta shows just what an incredible ensemble the Chicago Symphony was under Reiner's direction. This umpteenth reissue, in RCA's Living Stereo series, promises to be the one to have, its sonics noticeably improved over the earlier CD release in 1989. --David Vernier Amazon.com essential recording

Blown Away!

The old LP of this recording was my introduction to the Bartok Music for Strings Percussion and Celeste when I was a kid in the 1950s. What a treat to find it again after all these years! The clarity, precision and musicality are unsurpassed by any I have heard since. It even blows away the live performances I recently enjoyed with Sir Simon Rattle conducting the Berlin as well as Esa-Peka Solonen with the LA Phil. This is a definitive performance. No question about it. September 12, 2008

My introduction to Bartok

I'm not sure where to put my review. I actually purchased the SACD version of this album, but as I don't have an SACD player, what I'm listening to is the CD version (i.e., the product on this page).

It seems as though most (all?) of the reviews of this disc are from individuals who were already familiar with and fond of Bartok's music at the time of purchase. My perspective is a bit different, and I hope will be helpful to those who are unfamiliar with Bartok and are deciding whether or not they wish to try some new music.

Although I have listened to classical music for some time, when I bought this disk I was largely unfamiliar with Bartok's work. In fact, I mostly listened to pre-20th century classical music, and had mixed feelings about the limited amount of 20th century music I did know well (e.g., I like Ravel, but don't much care for Shostakovich). So this disc was both an introduction to Bartok and an attempt to get to know modern classical music better.

In all candidness, I was prepared to be disappointed with the disc, but definitely am not. While Bartok certainly broke with the preceding Romantic tradition, this disc is a collection of refined, enjoyable music. I really enjoy the Concert for Orchestra, and listen to it frequently. If you absolutely, positively must have the melody of a Tchaikovsky, you might not like it, but it is a refined peice of music with some very beautiful segments. I have to admit that the Music for Strings, Percussion, and Celesta doesn't do much for me (though the other reviewers seem to like it), but the Hungarian Sketches are great--colorful and featuring some neat rhythms and harmony. All in all, this is a very worthwhile collection of music.

The sound quality--again, I'm listening to the CD layer of the SACD Hybrid--is good. (As an aside, I'll add that I've purchased of handful of these "Living Stereo" recordings, and they usually have excellent sound quality and performances. I expect to buy more of them.)

When you add in the low price ($8 as the time of my writing), this is a great buy. If you are thinking about trying out 20th century classical composers, or just trying out Bartok, this is a fine, fine start and more than worth the money. I don't think one need be a fan of dissonance or an ardent admirer of Bartok and his contemporaries to enjoy this disc.

March 8, 2008

An historic performance!

Thank goodness that this one is still available. Here, we have a brilliant rendering of some of Bartok's more popular works and Fritz Reiner at his very best. This is one of the great classical music performances of all time. A must for collectors. September 23, 2007

Essential Recordings

Fritz Reiner was the driving force behind Bela Bartok's Concerto for Orchestra. Reiner and Bartok had been friends for over 40 years having met as piano students at the Budapest Academy. The composer had been in the United States since 1940 and the separation from his beloved Hungary combined with his ill health made the transition unhappy and he had no will to compose. Agatha Fassett's book Bela Bartok: The American Years recounts the composer's life during this time and, since Ms. Fassett knew Bartok's wife, her portrait of the composer is first hand. Maestro Reiner convinced Serge Koussevitsky in 1943 to commission the work and conducted the premiere in December of that year. The Concerto for Orchestra became Bartok's most popular work.

This recording with the Chicago Symphony Orchestra was made in 1955 and I do not think that a finer one has been recorded. The details of Bartok's score come through and the balance is perfect, allowing us a true live performance and the quality of the recording really comes through during quieter moments. Reiner's intimate knowledge of the score and his control are apparent in this recording. This is also true for the recording of Music for Strings, Percussion and Celesta and Hungarian Sketches from 1958. Both works are beautifully played with great precision that lacks nothing for the feel of the music. The Hungarian Sketches are marvelously stylish, bringing out the nature of the music.

These recordings are essential and have certainly lost nothing since they were made in the 1950's. Rather than have any distortions the transfer to CD has been carried out with great success so the original sound is even better.


March 27, 2007

Only Boulez/Chicago gets 5 Stars

Sorry Reiner fans.
3 things I do not like about this recording that keeps it at a 4 star level.
First i do not like "iron rod" style conducting. The importance of Musicality is pushed aside to justify percision and discipline. I do not like Reiner's style, perfering more the Bruno walter gentleman;s style.
Secondly is the record quality is poor, especially compared to Boulez/DG
Third is the screechy instruments tonality in some of Reiner's band winds.
For Bartok I look to Boulez/Chicaho, Skrowaczewski/Minnesota and Dorati/Detroit. Ivan Fischer has also done some nice recordings on Philips, but NOT his CfO, which is a dud. I also have issues with Boulez's CfO with the New York.

EDIT:
I'm looking over this review I wrote yrs ago...as someone on the Amazon CM message board said "the Reiner was definitive"..I had forgotten that I wrote this review and was surprised to see it here.
Glad I also mentioned that i felt Ivan Fischer's was a 'dud', as I was curious the other day while listening to his excellent Bartok, why i did not have his CfO on my shelf. Now I know, i had it and sold it off.
Reiner was , as I recall, finely etched, but when compared to the Skrowaczewski/Minnesota and Boulez/Chicago , the recording did not stand up in some areas as mentioned above.

paul
december 18 , 2007 September 16, 2006

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