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Helsinki Philharmonic Orchestra|Bartók: Orchestral Works

Bartók: Orchestral Works

Helsinki Philharmonic Orchestra, Susanna Mälkki

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On the two previously released Bartók programmes (both highly praised), Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have recorded Bartók’s three scores for the stage – The Miraculous Mandarin, The Wooden Prince and Bluebeard’s Castle, all written before 1918. The team now takes on two of his late orchestral masterpieces.

Composed in 1936 for the Basel Chamber Orchestra, Music for Strings, Percussion and Celesta is one of the purest examples of Bartók’s mature style, with its synthesis of folk music, classicism and modernism. One immediately striking feature is the unusual instrumentation: two string orchestras seated on opposite sides of the stage, with percussion and keyboard instruments in the middle and towards the back.
In 1940, during the Second World War, Bartók emigrated to the United States, where he initially found it difficult to compose. In 1943 he received a prestigious commission from the Boston Symphony Orchestra, however, and in less than eight weeks he composed the Concerto for Orchestra. In it he worked with contrasts between different sections of the orchestra, and the soloistic treatment of these groupings was his reason for calling the work a concerto rather than a symphony. © BIS Records

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Bartók: Orchestral Works

Helsinki Philharmonic Orchestra

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

1
I. Andante tranquillo
00:07:51

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

2
II. Allegro
00:07:32

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

3
III. Adagio
00:07:32

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

4
IV. Allegro molto
00:07:22

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

Concerto for Orchestra, Sz. 116 (Béla Bartók)

5
I. Introduzione
00:09:52

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

6
II. Presentando le coppie
00:06:41

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

7
III. Elegia
00:07:31

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

8
IV. Intermezzo interrotto
00:04:23

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

9
V. Finale
00:10:05

Helsinki Philharmonic Orchestra, Orchestra, MainArtist - Bela Bartok, Composer - Susanna Mälkki, Conductor, MainArtist

(C) 2021 BIS (P) 2021 BIS

Album Description

On the two previously released Bartók programmes (both highly praised), Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have recorded Bartók’s three scores for the stage – The Miraculous Mandarin, The Wooden Prince and Bluebeard’s Castle, all written before 1918. The team now takes on two of his late orchestral masterpieces.

Composed in 1936 for the Basel Chamber Orchestra, Music for Strings, Percussion and Celesta is one of the purest examples of Bartók’s mature style, with its synthesis of folk music, classicism and modernism. One immediately striking feature is the unusual instrumentation: two string orchestras seated on opposite sides of the stage, with percussion and keyboard instruments in the middle and towards the back.
In 1940, during the Second World War, Bartók emigrated to the United States, where he initially found it difficult to compose. In 1943 he received a prestigious commission from the Boston Symphony Orchestra, however, and in less than eight weeks he composed the Concerto for Orchestra. In it he worked with contrasts between different sections of the orchestra, and the soloistic treatment of these groupings was his reason for calling the work a concerto rather than a symphony. © BIS Records

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