Gramophone is part of To say that, with Kocsis, ‘less is more’ is to suggest executive reticence, which is certainly not the case…this is unquestionably one of the great piano records of the post-war period...' Read the review, Arabella Steinbacher vn Orchestre de la Suisse Romande / Marek Janowski, 'Arabella Steinbacher and Marek Janowski offer us Bartók in 3D, the three dimensions not only spatial but emotional as well. The Concerto for Orchestra has proven to be Bartok's most popular work, due in large part to the directness of its language. Suite No. With staggering playing by the Chicago Symphony and recording that simply doesn’t sound its age, this is a magnificent achievement. Highly recommended for all. Fischer never vulgarizes, brutalizes or overstates the case and, what is most important, he underlines those quickly flickering, folkish elements in Bartók’s musical language (they are everywhere in evidence) that other, less intuitive conductors barely acknowledge…’, Isabelle Faust vn Florent Boffard, Ewa Kupiec pfs, ‘Here Faust approaches the music from a Bachian axis: her tone is pure, her double-stopping immaculate (and never abrasive) and her sense of timing acute. Such is this 1959 recording of Bartók’s Second Piano Concerto, a tough, playful, pianistically aristocratic performance where dialogue is consistently keen and spontaneity is captured on the wing (even throughout numerous sessions). In the second movement, the ensemble playing shines; the strings and winds sing in gorgeous octaves, and pizzicatos which rarely sound so foreboding. With staggering playing by the Chicago Symphony and recording that simply doesn't sound its age, this is a magnificent achievement. Life is like composing forward, anytime starts a new bagatelle. 33 – Doric String Quartet, Review: Niklas Sivelöv – Piano Concertos – Composer, Malmö Symphony Orchestra, Review: Franz Schmidt – Complete Symphonies – Frankfurt Radio Symphony Orchestra, Paavo Järvi, Read of the latest news in classical music, Looking for the best version of a classical music piece? The horns and trumpets that bandy about the theme in fourths are blessedly rich in tone without losing any of the characteristic bite. 1BBC Scottish Symphony OrchestraThomas Dausgaard – ConductorOnyx, CD ONYX4210, Read more classical music reviews or visit The Classic Review Amazon store. Then listen to the final seconds of the movement — a perfectly executed little wink. MA Music, Leisure and Travel Combine this with controlled vehemence, headlong velocity and razor-sharp unanimity (any fast movement from quartets two to five can serve as illustration) and you have a formidable alliance of virtues…’, Patricia Kopatchinskaja vnFrankfurt Radio Symphony Orchestra / Peter Eötvös, ‘Bartók’s Second Violin Concerto has long since been accorded classic status and in – my guess – making a determined effort to ‘think it new’, Kopatchinskaja and Eötvös sometimes risk exaggerating what is already pretty intense. The low brass and timpani are recorded exquisitely, with just the right balance between their boisterous bouncing and the melody in the rest of the orchestra. When Bartók slackens the tension and allows lyric reflectiveness to emerge, as in the first movement’s development, this performance is poetic and subtly shaded to a fault; and even though the second and third movements are usually played with a somewhat lighter touch, I found the sheer intensity of Kopatchinskaja and Eötvös’s advocacy compelling…’, Budapest Festival Orchestra / Iván Fischer, ‘As Mandarins go, they don’t come more miraculous than this – a vivid, no-holds-barred performance that henceforth tops my list of current recommendations. In the Elegy, it’s the tutti moments that really stuns (4’56” for example). 4) and Debussy-like music (8’33”, the chorale that closes La Mer), to the ghastly fugue and the impeccable pacing and phrasing throughout. Concerto for Orchestra.
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