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Saito Kinen Orchestra|Bartok: Concerto for Orchestra / Music for Strings, Percussion & Celeste

Bartok: Concerto for Orchestra / Music for Strings, Percussion & Celeste

Saito Kinen Festival Orchestra

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This 2005 hybrid SACD of Béla Bartók's Music for Strings, Percussion and Celesta, Sz. 106, and the Concerto for Orchestra, Sz. 116, is remarkable for its up-close multichannel recording and glorious sonorities, but it is truly extraordinary for its stunning musicality and powerful depth of expression. Seiji Ozawa and the Saito Kinen Orchestra are in rare form in both works, and this famously exacting conductor draws out vividly detailed performances that can be compared in all fairness with the legendary renditions by Fritz Reiner and the Chicago Symphony Orchestra. In this terrific live recording of Music, one is reminded at every bar of all the meticulous details and magical timbres Reiner achieved in his 1958 RCA recording; and Ozawa's pacing and articulation in the Concerto for Orchestra are quite similar to Reiner's 1955 recording. But more importantly, what both Reiner and Ozawa produced in their respective recordings -- overlooking the 50 years of recording advances between them -- is a special kind of vitality that transcends technique, and a freshness that feels authentic and faithful to Bartók's idiom. In Reiner's case, his close personal friendship with the composer accounts for his inspired interpretations and exceptional precision. In Ozawa's, perhaps only a lifetime of conducting the modern repertoire and familiarity with Bartók's work can explain the nearly ideal quality of these performances; but that is sufficient. So if one needs classic readings of these pieces, Reiner's are to be preferred; but Ozawa's disc is such a close contender, it is a more than reasonable second choice. Audiophiles, though, will enjoy this package more, because it has incredibly lifelike surround sound.
© TiVo

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Bartok: Concerto for Orchestra / Music for Strings, Percussion & Celeste

Saito Kinen Orchestra

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Music for Strings, Percussion and Celesta, Sz. 106 (Béla Bartók)

1
1. Andante tranquillo
00:07:27

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Jonathan Stokes, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer

℗ 2005 Saito Kinen Festival

2
2. Allegro
00:07:30

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Jonathan Stokes, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer

℗ 2005 Saito Kinen Festival

3
3. Adagio
00:06:53

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Jonathan Stokes, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer

℗ 2005 Saito Kinen Festival

4
4. Allegro molto
00:07:18

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Jonathan Stokes, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer

℗ 2005 Saito Kinen Festival

Concerto for Orchestra, Sz. 116 (Béla Bartók)

5
1. Introduzione. Andante non troppo - Allegro vivace
00:09:37

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Mariko Miyashita, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer - Hiroshi Murai, Recording Engineer, StudioPersonnel - Chiaki Shigemoto, Recording Engineer, StudioPersonnel

℗ 2005 Saito Kinen Festival

6
2. Giuoco della coppie. Allegretto scherzando
00:06:21

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Mariko Miyashita, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer - Hiroshi Murai, Recording Engineer, StudioPersonnel - Chiaki Shigemoto, Recording Engineer, StudioPersonnel

℗ 2005 Saito Kinen Festival

7
3. Elegia. Andante, non troppo
00:06:58

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Mariko Miyashita, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer - Hiroshi Murai, Recording Engineer, StudioPersonnel - Chiaki Shigemoto, Recording Engineer, StudioPersonnel

℗ 2005 Saito Kinen Festival

8
4. Intermezzo interrotto. Allegretto
00:04:26

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Mariko Miyashita, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer - Hiroshi Murai, Recording Engineer, StudioPersonnel - Chiaki Shigemoto, Recording Engineer, StudioPersonnel

℗ 2005 Saito Kinen Festival

9
5. Finale. Pesante - Presto
00:10:00

Seiji Ozawa, Conductor, MainArtist - Saito Kinen Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Mariko Miyashita, Recording Engineer, StudioPersonnel - Dominic Fyfe, Producer, Recording Producer - Hiroshi Murai, Recording Engineer, StudioPersonnel - Chiaki Shigemoto, Recording Engineer, StudioPersonnel

℗ 2005 Saito Kinen Festival

Chronique

This 2005 hybrid SACD of Béla Bartók's Music for Strings, Percussion and Celesta, Sz. 106, and the Concerto for Orchestra, Sz. 116, is remarkable for its up-close multichannel recording and glorious sonorities, but it is truly extraordinary for its stunning musicality and powerful depth of expression. Seiji Ozawa and the Saito Kinen Orchestra are in rare form in both works, and this famously exacting conductor draws out vividly detailed performances that can be compared in all fairness with the legendary renditions by Fritz Reiner and the Chicago Symphony Orchestra. In this terrific live recording of Music, one is reminded at every bar of all the meticulous details and magical timbres Reiner achieved in his 1958 RCA recording; and Ozawa's pacing and articulation in the Concerto for Orchestra are quite similar to Reiner's 1955 recording. But more importantly, what both Reiner and Ozawa produced in their respective recordings -- overlooking the 50 years of recording advances between them -- is a special kind of vitality that transcends technique, and a freshness that feels authentic and faithful to Bartók's idiom. In Reiner's case, his close personal friendship with the composer accounts for his inspired interpretations and exceptional precision. In Ozawa's, perhaps only a lifetime of conducting the modern repertoire and familiarity with Bartók's work can explain the nearly ideal quality of these performances; but that is sufficient. So if one needs classic readings of these pieces, Reiner's are to be preferred; but Ozawa's disc is such a close contender, it is a more than reasonable second choice. Audiophiles, though, will enjoy this package more, because it has incredibly lifelike surround sound.
© TiVo

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