This is probably the most significant orchestral work of the 40s. And it is one of the few two-channel recordings by the RCA. Fritz Reiner, the conductor of this recording, happend to be pupil of Bartók. He succeeds to express perfect natural dynamics in this recording. In my opinion, this purist recording is one of the great moments of vinyl history.

A two-channel recording creates an intensity stereophonic sound. This means stereophonic, for which only intensity differences are exploited in the channels A and B. The exceptionally reallistische space picture of this recording is also a good example of it, how much the RCA Toningeneure subsequently lost with the new technical recording possibilities. The architectural features of the Chicago Orchestra Hall to play in an excellent natural spatial sound. Acoustically, the host transfers the entire space dimensions. All instrumental groups are represented in a perfect balance of highly differentiated. This feat is only possible if the game Performances will show no weaknesses. Fritz Reiner, shows his great proximity to the composition of Bartók and elicits from the orchestra a natural dynamics. From the very first sentence he manages to elicit a realism to the music, the illusion of attending the concert comes very close. Highlight would be the final tutti, and the subsequent introduction to the "game of pairs. Here we see the colors combined with the playfulness and freshness in the most impressive. The prerequisites to attend this live illusion is an acoustic listening room, and matching the appropriate high-profile high-end facility. Then the audience will experience one of the great recordings of the recording history.

Tracks

1. Introduzione: - A worn, mysterious opening turns into a fast allegro section with many fugal passages.

2. Giuoco delle coppie (en. "game of pairs"): In this sentence, the snare drum comes out at the start and end with a big pregnant rhythm. Between pairs of wind instruments play short passages respectively, at a different interval offset from one another: When the bassoon, it is a minor sixth, the oboes playing in thirds, clarinets in sevenths, flutes in fifths, and the trumpets in seconds.

3. Elegia: a slow movement, typical of Bartók's called "Night Music".

4. Intermezzo interrotto (dt, "interrupted intermezzo"): A flowing melody with Taktwechseln adjourned at quite an ironic way by a trivial issue, partly as a parody of the march from the "Leningrad" Symphony (No. 7) by Dmitri Shostakovich understand is. The theme itself is banal in turn interrupted by "repelling" the glissando trombones and "laughing" woodwinds.

5. Finale: with the tempo marking of presto (fast), competes in a swirling perpetual motion main theme with a fireworks fugal passages and folk melodies. (Wikipedia)

Concerto for Orchestra (1943)

Bartók's work is probably the most famous of a number of pieces with the first appear contradictory title Concerto for Orchestra ". Bartók described the play by his own admission, therefore, as a concert and not a symphony, because the individual instruments are mostly being a soloist and virtuoso.

It was a commissioned work for the foundation of the conductor Sergei Koussevitzky. Without this order Bartók would have probably already composing after 6 String Quartet (1939) abandoned. As it emerged in the wake several other works, such as the Sonata for solo violin and the 3rd Piano Concerto.

Conductor: Fritz Reiner / Chicago Symphony Orchestra

First published 1958 - RCA Victor (Living Stereo) LSC-1934 "shaded dog logo"

Logo another Living Stereo Shaded Dog LP with logo.

Collector Info

The Living Stereo edition 1958 (EX) has become a sought-after collector's item. Prices up to 500.00 euros would be achieved for this edition. Very rare and unique items offered in Mint (M), can achieve rates of up to 1000.00 euros. Here, you should be very careful! For in America welded LP `s (ss, offered still sealed) as forgeries.

Silver Sticker from Limited Edition expenditure (Reissue `s).

Note

Bela Bartok (1881-1945) - In February 1945, seven months before his death, Bartók revised the work again. The most significant change relates to the last sentence, to which the composer wrote an extended conclusion. Both versions were published and to be performed today.