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£55.99

Classical - Released January 1, 2005 | Decca Music Group Ltd.

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Violin Concertos - Released September 7, 2018 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Classical - Released January 1, 2009 | Deutsche Grammophon (DG)

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Classical - Released June 22, 2010 | harmonia mundi

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Classical - Released November 4, 2016 | RCA Red Seal

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Classical - Released January 1, 2006 | Decca Music Group Ltd.

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Violin Concertos - Released April 13, 2018 | Ondine

Hi-Res Booklet Distinctions Diapason d'or - Gramophone Award - Gramophone Record of the Month - Exceptional sound - 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
Today, Finland is one of the richest musical countries on Earth. Thanks to the exceptional quality of its musical teaching it produces numerous composers, conductors and artists who perform all over the world. The very rich catalogue of the dynamic Finnish publisher Ondine contains several recordings of the German violinist Christian Tetzlaff (Sonatas and Partitas for Solo Violin) by Bach, Mozart's sonatas, Trios by Brahms, concertos by Mendelssohn, Schumann and Shostakovich); and the Finnish conductor Hannu Lintu (Sibelius, Mahler, Enescu, Berio, Messiaen, Lindberg, Melartin), but it is their first record together. Bartók's two Violin Concertos were written thirty years apart, for two virtuosos. While the Second Concerto in the form of variations on a theme that develop ingeniously across three movements, has been well-known for a long time, the first remained unheard for years. Written as a declaration of love for the Hungarian-Swiss violinist Stefi Geyer, for whom Bartók had fallen, it was a secret kept by the dedicatee: it was only long after the composer's death that the violinist let Bartók's patron and close friend, the conductor Paul Sacher, know about the work. He would see that it was performed, with Hansheinz Schneeberger, but only in 1958. Bartók's two concertos, essential parts of the repertoire for violin and orchestra would enjoy a well-deserved resurgence in interest among a younger generation of violinists – the recording of the same works by Renaud Capuçon for Warner came out a few weeks ago. This new version, magnificently recorded, carefully explores all the orchestral richness, in perfect dialogue with Christian Tetzlaff's outstanding violin. © François Hudry/Qobuz
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Classical - Released July 6, 2009 | Warner Classics

Distinctions Golden Oldies
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Classical - Released January 1, 1988 | Deutsche Grammophon (DG)

Distinctions Gramophone Record of the Year
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Classical - Released January 1, 2016 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 4 étoiles de Classica
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Symphonic Music - Released February 21, 2014 | Sony Classical

Distinctions Choc de Classica
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Classical - Released December 1, 2004 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1997 | Decca Music Group Ltd.

Distinctions Diapason d'or - Choc du Monde de la Musique - 4F de Télérama - Gramophone Award
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Classical - Released March 23, 2018 | Warner Classics

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Concertos - Released August 26, 2013 | harmonia mundi

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Classical - Released January 26, 2018 | harmonia mundi

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Bartók’s last two orchestral masterpieces, written in exile in the United States, are presented here; two “concertos”, one for solo piano, the other for full orchestra, hence its distinctive name of Concerto for Orchestra. Granted Bartók isn’t the first to have used such a title: it can be found as soon as 1925 with Hindemith, in 1931 with Malipiero, in 37 with Casella, and two years later with Kodály. Composed in one go during an unexpected remission from leukaemia, from August to October 1943, Concerto for Orchestra is the Hungarian’s only orchestral work of such scale. Fascinating in its musical hedonism and virtuosity required from each musician, this work serves as a summary for Bartók’s career. It explores the composer’s favourite writing styles as well as the folklores that have inspired him, from Central Europe to Arabic music. It also reveals the richness of Bartókian harmonics, ranging from the diatonic and modal clarity of popular music to a bitter yet always lyric chromaticism. As for Piano Concerto No. 3, it was almost completed before the composer’s death: only the orchestration of the last seventeen measures was missing. It is the only piano piece Bartók didn’t compose on his own initiative, but for his wife Ditta Pásztory – who never had the heart to play it… With Javier Perianes on the piano, conductor Pablo Heras-Casado gives life to this concerto for orchestra with ardour and clarity, thus restoring all of its modernity. © SM/Qobuz
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Classical - Released January 21, 2008 | Warner Classics

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Classical - Released January 1, 1995 | Deutsche Grammophon Classics

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Classical - Released November 4, 2016 | RCA Red Seal

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Classical - Released January 9, 1970 | Decca Music Group Ltd.

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