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

Editorial Reviews
Amazon.com essential recording
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

Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta; Hungarian Sketches, Music, Bela Bartok, Fritz Reiner, Chicago Symphony Orchestra, 20th/21st Century Orchestral Music, Classical, Classical Composers, Classical Music, Concerto, Concerto for Orchestra, Orchestral

Average customer rating:

5 stars if it weren't for Solti

Essential Recordings

Only Boulez/Chicago gets 5 Stars

Reiner Is Great In The Music Of Bela Bartok, RCA Deserves Praise For The Sound

Too much hissing

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

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FEJ
Release Date: 1993-08-10

Tracks:

Concerto For Orchestra: Introduzione: Andante non troppo; Allegra vivace
Concerto For Orchestra: Giuoco delle coppie: Allegretto scherzando
Concerto For Orchestra: Elegia: Andante non troppo
Concerto For Orchestra: Intermezzo interrotto: Allegretto
Concerto For Orchestra: Finale: Pesante; Presto
Music For Strings, Percussion And Celesta: Andante tranquillo
Music For Strings, Percussion And Celesta: Allegro
Music For Strings, Percussion And Celesta: Adagio
Music For Strings, Percussion And Celesta: Allegro molto
Hungarian Sketches: An Evening In The Village
Hungarian Sketches: Bear Dance
Hungarian Sketches: Melody
Hungarian Sketches: Slighty Tipsy
Hungarian Sketches: Swineherd's Dance

Amazon.com essential recording

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

Customer Reviews:

5 stars if it weren't for Solti.......2007-06-06

First of all let me say that if you are unfamiliar with Concerto for Orchestra you will not be dissapointed with this recording. The interpretation is lively and dynamic with the understanding and pathos that is needed for a well rounded interpretation. The only reason I give it 4 stars is because I am familiar with the recording of the Chicago Symphony under Solti. The Solti recording of the next generation Chicago Symphony has the same dynamism and drama but has much greater nuance. Solti simply makes music come to life in certain phrases that is seemingly overlooked by Reiner. However this recording is usually available at cheaper prices (especially used).

Essential Recordings.......2007-03-27

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.

Only Boulez/Chicago gets 5 Stars.......2006-09-17

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. Musicality is thrown out to justify percision and disipline. I do not like Reiner'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.

Reiner Is Great In The Music Of Bela Bartok, RCA Deserves Praise For The Sound.......2006-09-09

Just a mention that this is a review of the RCA 'Living Stereo' release, not the later SACD compatible version. RCA was famous for it's ground-breaking work in the mid-to-late fifties when it came to vivid, immersive stereo sound and it's reputation lives to this day. I'm not sure if the reviewer below is experienced in vintage classical recordings predating the digital era. Yes, they contain some tape hiss but it's really insignificant to what value the performances themselves have and the soundstage is very vibrant. I have personally listened to recordings from Solti on DECCA, Jansons on EMI and Fischer on Philips in these fine works by Bartok and none have come close to the passionate intensity of the interpretations or the wonderful recorded sound that these Reiner versions capture.

Reiner's account of the Concerto for Orchestra, one of the most famous 20th-century orchestral works, is on everyone's list as truly exceptional. The Music for Strings, Percussion and Celesta receives just the kind of wicked, eerie, powerhouse performance that will make you a fan of Bartok for life and this piece in particular.

If you're going to own one Bela Bartok CD, this is one of the best choices on the market today. After you've ingrained this music into your mind, time for the Miraculous Mandarin, the Piano Concertos and the String Quartets to follow.

Too much hissing.......2006-08-24

After reading so many positive reviews, I was very exited when I recieved this cd in the mail. I popped it in my bose wave radio, turned it up to 85, and listened to the most annoying hissing sound I've ever heard coming from my system. I regret purchasing this cd.

Bartók: Concerto for Orchestra; etc. [Hybrid SACD]

Average customer rating:

tedious...
A Peerless Recording
dschlvr
There and then, here and now
The Gold Standard for these Bartók works.

Bartók: Concerto for Orchestra; etc. [Hybrid SACD]
Bela Bartok , and Fritz Reiner
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002TKFQS
Release Date: 2004-09-14

Tracks:

Introduzione: Andante Non Troppo; Allegro Vivace
Giuoco Delle Coppie: Allegretto Scherzando
Elegia: Andante Non Troppo
Intermezzo Interrotto: Allegretto
Finale: Pesante; Presto
Andante Tranquillo
Allegro
Adagio
Allegro Molto
An Evening In The Village
Bear Dance
Melody
Slightly Tipsy
Swineherd's Dance

Customer Reviews:

tedious..........2006-11-10

I just could not comprehend why many music lovers love Bartok--
his music might be intellectual, but to me it's boring!

A Peerless Recording.......2006-04-30

I loved the previous issue of this recording, but this one is even clearer, which is some praise, since the previous issue was a brilliant pressing of a brilliant recording. I never tire of Reiner's performance.

There is no other recording of these pieces that approaches this one - absolutely none (not even Leinsdorf's version). Not only is this Reiner disc the best Bartok recording ever made, but it is one of the best classical recordings ever made... truly a desert island disc.

Only a cretin wouldn't buy this record. ;)

dschlvr.......2005-07-31

What a great step up from the previous release.
There some details that have come out in this recording that I really enjoy.
In many ways, a truly revalatory recording.
A lover of Bartok should not be without it.

There and then, here and now.......2005-06-18

Many years ago I knew someone who had often heard Fritz Reiner conduct the Chicago Symphony Orchestra in concerts (a pleasure I am sorry to say I never experienced). Reiner's conducting style, he said, was at the opposite extreme from the histrionics of (for instance) Leonard Bernstein. On the podium, Reiner exhibited no baton waving, choreographic body language, or ecstatic or pained facial expressions. In fact, said my acquaintance, if you were seated directly behind Reiner you might not see him move at all for long stretches! Such was his rapport with the orchestra that no show-biz gestures were necessary, not to mention foreign to his temperament.

The performances he led of the two major works on this disc suggest what he was able to achieve when he conducted music that suited him. (His recordings of Richard Strauss are in the same category.) Reiner surely had an affinity with Bartok (partly, perhaps, because Reiner too was originally Hungarian).

There are recordings that make you think, "What a superb orchestra!" There are others that elicit accolades for the interpretation or the sound quality. And then there are a very few -- the best -- that make you forget about things like those while you're listening, and if you have any thought it's simply, "What great music this is."

Reiner's Bartok falls into that rarefied category, and I can think of no higher praise.

The Concerto is probably the most popular and most frequently performed 20th century piece of orchestral music. Like anything that is played and recorded often, it can seem to be too much of a good thing. To Reiner and his Chicagoans of the 1950s, it was relatively new music, and the fact that it had not yet become standard repertory may have been one reason they were able to project it so vividly: there was no routine to fall into.

It would be absurd to say that listening to this recording was like hearing the Concerto and the Music for Strings, Percussion, and Celesta for the first time. Nevertheless, I was more conscious than ever of the strangeness mixed with the beauty, the exoticism coupled with the power.

Technically, the recording is not one marvel but two. First was the original recording team from RCA, who must have been geniuses. Not only did they record these performances in two channels (the Concerto) and three channels (the Music for Strings etc.) before there was any commercially established way of reproducing multiple channels in playback, but they also must have used what was then state-of-the-art mikes and tape recorders.

The second marvel is the SACD remastering, which was clearly done by sound engineers who knew their business and who used only the original channels, not adding synthetic rear channels. The result is that 50 years drop away, and you are there and then. Or, thanks to the realization of Bartok's scores that you are hearing, in some wondrous dreamscape beyond place and time.

What great music this is.

The Gold Standard for these Bartók works........2004-12-30

I suppose I could well have waited a few more days, until the turn of the New Year, to be able to say "Now, 50 years later, Bartók's Concerto for Orchestra as it must have sounded to the engineers in the studio." After all, this "classic of all classics" does date from 1955. (The other two works on the album have recording dates from 1958, and I sure don't plan to wait *that* long for a silver anniversary!) Actually, I have been listening to this hybrid SACD release for at least a few weeks now, but it was only this past weekend that I had my first opportunity to listen directly to the SACD layer; previous hearings were of the "redbook" CD layer only.

So, I'm jumping the gun as regards the 50 year celebration, but for good reason. The newly-mastered DSD sound from the analog master tapes, as heard in the SACD layer, are enough of an improvement over the redbook CD sound to justify my impatience. And the redbook CD layer is already excellent as it is!

At this late date, there is little left to be said about how significant these performances are. By now, anyone interested in these Bartók works probably already knows that Fritz Reiner had two things in his favor in these performances that make them as authoritative as they are: His close personal friendship with the composer, and the Chicago Symphony Orchestra in one of its most glorious periods, almost without equal (thanks of course to Reiner). Not always apparent (particularly in some of the many earlier releases of this work in less than excellent sound in years past) was the contribution of the RCA engineers in those very early days of stereo. But it all comes together, in sound better than ever thought possible, thanks to DSD (Direct Stream Digital) processing of the original analog master tapes and SACD technology for converting the sound back to analog, giving us the nearest thing to "perfect analog"; the closest possible replica of the original tapes.

The Concerto for Orchestra is, by far, Bartók's best-known and most popular work, immediately accessible in a way that many of his other mature works are not. (His very earliest works, such as "Kossuth" and the "Orchestral Suite No. 1," written largely in the style of Richard Strauss before he began his studies of Hungarian and Rumanian folk music, are also immediately accessible, if hardly of the quality of his mature works.) Reiner, being as close to Bartók as he was, knew this work "inside and out" and committed a performance for the ages in this session. He of course was also aware of the reason why Bartók chose to parodize the "invasion" theme from Shostakovich's 7th Symphony in the fourth movement of the Concerto, and plays this loopy parody, complete with its growling trombone raspberries, for all it is worth. But the work is of course much more than this oft-mentioned parody, and Reiner's interpretation is as good as any, and now - with DSD/SACD technology - fully competitive to versions recorded decades later.

If the Concerto for Orchestra is Bartók's most popular and accessible work, then Music for Strings, Percussion and Celeste ("MfSPC") is probably his greatest masterpiece in respect to incorporating his studies and usage of Magyar folk music into "serious" works. Here, Reiner and his Chicagoans are, if anything, even better than in the Concerto. Their execution of the work has a hair-raising "snap" that many other performances fail to achieve, and the sound - three years newer (1958) than the session at which the Concerto had been recorded - is even better.

The final work on the album is his Hungarian Sketches, again exhibiting the results of his musicological studies as incorporated into a unique personal style. It - like the MfSPC - was recorded in 1958 sessions, but, like that work, sounds as if it had been recorded just yesterday. For those coming upon this work for the first time, don't expect to hear ersatz "ethnic" music in the vein of Liszt and, say, Enescu. Not that assimilating the five movements is in any way difficult, but it is really only in the final movement ("Swineherd's Dance") where the music approximates what we generally tend to think of as "Hungarian folk music." But clearly tinged with the unique piquancy that was Bartók.

This is an album that always had been famous for its performances. Now, fifty years after the fact, thanks to DSD/SACD technology, it can also be appreciated for having the sound quality that had been there all the time on the original master tapes, but never quite realized with this level of perfection in its earlier reincarnations.

An essential album if ever there were one!

Bob Zeidler

Average customer rating:

a very welcome anthology for modest price
Bartok and Kodaly in hungarian style

Bartók for Orchestra

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Grieg: Complete Music with Orchestra
Mendelssohn: 5 Symphonies; 7 Overtures

ASIN: B0000037B0
Release Date: 1997-10-07

Tracks:

The Wooden Prince: Ste, Op.13: Vorspiel-Die Prinzessin
The Wooden Prince: Ste, Op.13: Der Wald
The Wooden Prince: Ste, Op.13: Arbeitslied Der Prinzen
The Wooden Prince: Ste, Op.13: Der Bach
The Wooden Prince: Ste, Op.13: Tanz Des Holzgeschnitzien Prinzen-Nachapiel
Two Portraits, Op.5: I. One Ideal
Two Portraits, Op.5: II. One Grotesque

Tracks:

Music: I. Andante Tranquillo
Music: II. Allegro
Music: III. Adagio
Music: IV. Allegro Molto
Diver: I. Allegro Non Troppo
Diver: II. Molto Adagio
Divert: III. Allegro Assai

Tracks:

Vn Con No.1 (Op. Posth.): I. Andante Sostenuto
Vn Con No.1 (Op. Posth.): II. Allegro Giocoso
Vn Con No.2: I. Allegro Non Troppo
Vn Con No.2: II. Andante Tranquillo
Vn Con No.2: III. Allegro Molto

Tracks:

Romanian Folk Dances: I. The Stick Dance
Romanian Folk Dances: II. Round Dance
Romanian Folk Dances: III. In One Spot
Romanian Folk Dances: IV. The Horn Dance
Romanian Folk Dances: V. Romanian Polka
Romanian Folk Dances: VI. Short And Sweet
Romanian Folk Dances: VII. Short And Sweet
Dance Ste: I. Moderato
Dance Ste: II. Allegro Molto
Dance Ste: III. Allegro Vivace
Dance Ste: IV. Molto Tranquillo
Dance Ste: V. Comodo
Dance Ste: VI. Finale: Allegro
Hungarian Pictures: I. Evening In Transylvania
Hungarian Pictures: II. Bear Dance
Hungarian Pictures: III. Melody
Hungarian Pictures: IV. A Bit Tipsy
Hungarian Pictures: V. Urog Swineherd Dance
Two Pictures: I. In Full Bloom
Two Pictures: II. Village Dance
Romanian Dance: Allegro Vivace

Tracks:

Con: I. Intro: Andante Non Troppo-Allegro
Con: II. Giuoco Delle Coppie: Allegretto Scherzando
Con: III. Elegia: Andante, Non Troppo
Con: IV. Intermezzo Interrotto: Allegretto
Con: V. Finale: Pesante-Presto
The Miraculous Mandarin: Ste

Tracks:

Hary Janos: Ste: Prld/The Fairy/Tale Begins
Hary Janos: Ste: Viennese Musical Clock
Hary Janos: Ste: Song
Hary Janos: Ste: Battle And Defeat Of Napoleon
Hary Janos: Ste: Intermezzo
Hary Janos: Ste: Entrance Of The Emperor And His Court
Dances Of Galanta
Vars On A Hungarian Folksong (The Peacock)

Amazon.com

Some people are frightened by the (mostly) 20th century Hungarian composer Béla Bartók. His colorful orchestration and by turns folksy and angular rhythms and melodies seem to be cut from very exotic cloth. But there's nothing to fear--this six-CD set presents his most popular orchestral music played with authentic flair by the Hungarian State Orchestra: the two violin concerti with the excellent soloist Gerhart Hetzel, the suite from his ballet The Wooden Prince, the Music for Strings, Percussion, and Celesta, the Concerto for Orchestra, and several other flavorful works. As a bonus, three pieces by his compatriot, Zoltán Kodály are included. A fine introduction to a master composer. --Robert Levine

Customer Reviews:

a very welcome anthology for modest price.......2001-01-06

For many classical music lovers who are not specialists in Hungarian music - and I would count myself among them - this collection of Bartok's orchestral works along with a supplemental Kodaly disc at budget price cannot be too strongly welcomed. The Hungarian State Symphony Orchestra plays with rhythmic finesse and considerable virtuoso skill, and the direction of Adam Fischer is very fine. I will not attempt a comparison between his performances and those of Janos Ferencsik and Arpad Joo among others. The documentation is brief but well written. CD 1 has a playing time of only 39:25, but that should not seriously deter anybody. The tracking and cueing is excellent, as is the digital stereo sound. The reproduction of the painting "Preparing the meal in the wood" by A. Fenyes on the cover is very tasteful. Overall, this is a very satisfying issue.

Bartok and Kodaly in hungarian style.......2000-06-15

This 6 cd box is a very good one if you are looking for a essential Bartok, as a gift you get Kodaly too. Bartok is a master of taking folk songs and translated them to the finest classical music. The quality of recording is very good and we can imagine that the interpretation is accurate since the players are hungarians. There is a tenderness in the orchestra under Mr. Fischer that bring us a light and elegant Bartok instead of a rough one, as we can expect from folkloric music. The Romanian Folk Dances are amazing and you can imagine people dancing in the country. But the best in this collection are the violin concertos. Since I bought this box I listen the concertos many times and it is always a pleasure for soul.

Bartók: The Miraculous Mandarin; Hungarian Sketches: Suite No. 1

Average customer rating:

Bartok--Young and Old
Astounding performances and rich in its selections
Astonishing value!

Bartók: The Miraculous Mandarin; Hungarian Sketches: Suite No. 1

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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Hindemith: Orchestral Works

ASIN: B0000042DM
Release Date: 1997-10-14

Tracks:

The Miraculous Mandarin, Op.19: Allegro - Curtain
The Miraculous Mandarin, Op.19: First Decoy Game: Moderato
The Miraculous Mandarin, Op.19: Second Decoy Game
The Miraculous Mandarin, Op.19: Third Decoy Game (Sostenuto)
The Miraculous Mandarin, Op.19: Maestoso
The Miraculous Mandarin, Op.19: Allegro
The Miraculous Mandarin, Op.19: Sempre vivo
The Miraculous Mandarin, Op.19: Adagio
The Miraculous Mandarin, Op.19: Agitato
The Miraculous Mandarin, Op.19: Molto moderato
The Miraculous Mandarin, Op.19: Piu mosso
Music For Strings, Percussion And Celesta: I. Andante tranquillo
Music For Strings, Percussion And Celesta: II. Allegro
Music For Strings, Percussion And Celesta: III. Adagio
Music For Strings, Percussion And Celesta: IV. Allegro molto
Hungarian Sketches: I. An Evening In The Village: Lento Rubato
Hungarian Sketches: II. Bear Dance: Allegro vivace
Hungarian Sketches: III. Melody: Andante
Hungarian Sketches: IV. Slightly Tipsy: Allegretto rubato
Hungarian Sketches: V. Swineherd's Dance: Allegro molto

Tracks:

Rhapsody For Piano And Orchestra, Op. 1 - Bela Bartok
Suite No. 1, Op. 3: I. Allegro vivace - Bela Bartok
Suite No. 1, Op. 3: II. Poco adagio - Bela Bartok
Suite No. 1, Op. 3: III. Presto - Bela Bartok
Suite No. 1, Op. 3: IV. Moderato - Bela Bartok
Suite No. 1, Op. 3: V. Molto vivace - Bela Bartok
Two Pictures, Op. 10: I. In Full Flower - Bela Bartok
Two Pictures, Op. 10: II. Village Dance - Bela Bartok

Customer Reviews:

Bartok--Young and Old .......2007-03-31

This disc brilliantly contrasts the mature, maverick Bartok with the younger, more traditional (but no less inspired) composer. Surprisingly, the earlier works hold up quite well, and still bear Bartok's distinct stamp and color--which is certainly not the case for many great composers (Stravinsky's early symphony, for example). Dorati is among the greatest interpreters of Bartok's music, and his version of the Mandarin is astounding, as expected. Full of fire, atmosphere, and passages of eerie beauty. His Music for Percussion and Strings is also amazing, though I actually prefer his version on Mercury with the London SO (coupled with his rare ballet, The Wooden Prince--better sound, too). But this is a small quibble, and the performance is spirited and inspired.

But I feel I really have to pitch the two largely unknown early works, the Rhapsody for Piano & Orch., Op.1 and the Suite No.1 for Orchestra, Op.3. The Rhapsody is a pungent, virtuostic piece, somewhat similar to Strauss' early Burleske, though with a more Hungarian lilt to it. It also complements his Violin Rhapsodies, though this piece is more squarely in the tradition of Liszt, Dohnanyi, and Kodaly. Why this is not more performed I will never know--it would be a sure crowd pleaser (particularly for those who are unfamiliar and unenthusiastic about his idiom).

However, my favorite piece of all is the remarkably inventive Suite, which overflows with Romantic Nationalism in a vein that skirts Dvorak and the Russians, though sounds nothing at all like them. The first movement opens up with a Straussian march, heroic, even a bit pompous, though orchestrated with glitter and fireworks. The second movement is all grim, Hungarian atmosphere, and indeed, the ominous drumbeat with muffled trumpets is quoted in the Concerto for Orchestra so many years later (or so I believe, maybe he didn't mean it?). Indeed, this piece is itself a kind of Concerto for Orchestra, as the orchestra is kept very busy embellishing his folk-like melodies. A dashing scherzo follows, and then a haunting slow movement which again sounds very nationalistic, a kind of piece Bartok would never write again. Even less Bartokian is the festive finale, which sounds a lot like Smetana--though it's completely captivating in its own, derivative way. In short, the Suite is a work of genius, if a slightly immature one; but that doesn't stop me from listening to it over and over again. Sadly, I don't have a recording of his Second Orchestral Suite...is there a Dorati version floating around somewhere?

The disc concludes with the most haunting, atmospheric, intense account of the oft-recorded Two Pictures, Op.10 I have ever heard. The sheer longing of the opening melody is almost unbearable. I also love how Dorati brings out the Debussyian sheen of the orchestra in this piece. We hear Bartok's distinct voice for the first time in the second "picture," which smacks of the sardonic humor of the Mandarin.

A wonderful, bargain of a disc that should not be missed, no matter how many Mandarins you have in your collection.

Astounding performances and rich in its selections.......2006-04-17

There is no doubt that from start to finish, on both CD's
(there are 2) every performance is extremely strong
and the audio is incredible.

The weak spot, of this release, however, is the lack
of continuity between the numbers, considering that
some of them are very differnet from each other,
such as from one composition to the next, there is
a noticeable change in mood, and musical point of view,
which distracts from the enjoyment experience.

As such, my pick on this set is unquestionable the
"Miraculous Mandarin" which is incredible in the skill
shown by the musicians and by the man leading the group
in playing and showing a cohesive musical message.

The loudness of "Miraculous Mandarin" slams the listener
like a hurricane that's never been felt before....which
is an experience that most music fans will have difficulty
achieving anywhere else.

The other pieces, on their own, are simply perfect and
gems that only the composer's, the genius Bela Bartok,
could have crafted.

Astonishing value!.......2006-03-09

If I wanted to represent Bartok in my classical CD collection with multiple popular works, this would be my CD of choice. A two-CD set, these well-known Bartok compositions are perfectly rendered. Add to that fact that the engineering/sound is just great and there you have it.

I'll let you do your own researching about the composer and his respective works but I will say that there's not a bad cut on either CD of this set. There is a mixing of three different orchestras and conductors on this recording but they all mesh right in, all superb.

What more can I say? It's an awesome set -- buy it!