Album available // Bartók: Music for Strings, Percussion and Celesta by Evgeny Mravinsky 🎧 Qobuz (Hi-Res) cutt.ly/5eI8DwPB Tidal (Hi-Res) cutt.ly/ieI8DUTQ 🎧 Apple Music (Lossless) cutt.ly/HeI8DLr4 Deezer (Hi-Fi) cutt.ly/deI8D9oj 🎧 Amazon Music (Hi-Res) cutt.ly/CeI8FdMd Spotify (mp3) cutt.ly/jeI8FAJK 🎧 Idagio (Hi-Fi) cutt.ly/deI8F3RJ TH-cam Music (mp4) cutt.ly/6eI8GaMW 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/classicalmusicreference_com_Bartok_Mravinsky Béla Bartók (1881-1945) Music for Strings, Percussion and Celesta, Sz. 106 00:00 I. Andante tranquillo 07:14 II. Allegro 14:49 III. Adagio 21:43 IV. Allegro molto Leningrad Philharmonic Orchestra Conductor: Evgeny Mravinsky Recorded in 1965, at Moscow New mastering in 2024 by AB for CMRR 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg 🔊 Follow us on Spotify: spoti.fi/3016eVr On June 23, 1936, when Paul Sacher wrote to Bartók to commission a work for his Basel Chamber Orchestra, he gave him a number of details as to what he was to deliver: "Each of the pieces should last about 15 minutes. The size of the piece is justified by the size of our orchestra, which consists of an ensemble of around 30 strings. We have to hire the winds from the municipal orchestra, which often runs up against technical difficulties, not to mention the financial consequences. There is the possibility of adding a piano or harpsichord (as a sort of continuo) or any percussion instrument." Bartók responded almost instantly, posting his agreement in principle on June 27. "I'm thinking of a piece for strings and percussion instruments (i.e., apart from strings: piano, celesta, harp, xylophone and percussion); I assume there will be no difficulty in using them. It does, however, make it more difficult to fulfill your wish that the work not be too arduous. As far as technical difficulties are concerned, in all probability they can be overcome; but rhythmic difficulties are more complicated to avoid. When you write something new, the very fact of its unusual character is a source of difficulty for the performers. In any case, I'll try to write as simply as possible. I never write deliberately in order to accumulate as many performance difficulties as possible." The premiere concert in Basel on January 21, 1937 was a huge success. The very next day, the Journal National de Bâle devoted an article to it: "This memorable evening was to take on an exceptional dimension thanks to the first performance of the last work by Béla Bartók, to whom contemporary music perhaps owes its most innovative ideas, along with Schoenberg and Stravinsky; it was clear that the composer was at the zenith of his career (...) After the last movement, an allegro with irresistible momentum and surprising harmonic and diatonic brilliance, there was a burst of applause that usually only comes from performers in the public eye; it was striking to hear it directed at a composer, and a living one at that, who is regarded as a questionable innovator. It seems hard to believe that the small, lanky, silver-haired man who, bowing almost shyly, thanked the audience, orchestra and conductor for their shared enthusiasm, could be so devil-may-care. And so something rarely seen in our conventional musical life happened: the audience finally got the last movement repeated." Evgeny Mravinsky makes one of the greatest recordings of orchestral music of the 20ᵉ century. The extreme tension and blistering rhythm of his conducting have never yet been equaled. Béla Bartók PLAYLIST (reference recordings): th-cam.com/video/tRYgoKqx6JM/w-d-xo.html
Wunderschöne und spannende Interpretation dieser neoklassischen und perfekt komponierten Suite mit farbenprächtigen doch perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt echt lebhaft und auch spannend. Im Kontrast klingt der dritte Satz echt mysteriös und auch außerirdisch. Endlich kommt der letzte Satz voller Bewegung und Dynamik. Der intelligente und unvergleichliche Dirigent leitet das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
On June 23, 1936, when Paul Sacher wrote to Bartók to commission a work for his Basel Chamber Orchestra, he gave him a number of details as to what he was to deliver: "Each of the pieces should last about 15 minutes. The size of the piece is justified by the size of our orchestra, which consists of an ensemble of around 30 strings. We have to hire the winds from the municipal orchestra, which often runs up against technical difficulties, not to mention the financial consequences. There is the possibility of adding a piano or harpsichord (as a sort of continuo) or any percussion instrument." Bartók responded almost instantly, posting his agreement in principle on June 27. "I'm thinking of a piece for strings and percussion instruments (i.e., apart from strings: piano, celesta, harp, xylophone and percussion); I assume there will be no difficulty in using them. It does, however, make it more difficult to fulfill your wish that the work not be too arduous. As far as technical difficulties are concerned, in all probability they can be overcome; but rhythmic difficulties are more complicated to avoid. When you write something new, the very fact of its unusual character is a source of difficulty for the performers. In any case, I'll try to write as simply as possible. I never write deliberately in order to accumulate as many performance difficulties as possible." The premiere concert in Basel on January 21, 1937 was a huge success. The very next day, the Journal National de Bâle devoted an article to it: "This memorable evening was to take on an exceptional dimension thanks to the first performance of the last work by Béla Bartók, to whom contemporary music perhaps owes its most innovative ideas, along with Schoenberg and Stravinsky; it was clear that the composer was at the zenith of his career (...) After the last movement, an allegro with irresistible momentum and surprising harmonic and diatonic brilliance, there was a burst of applause that usually only comes from performers in the public eye; it was striking to hear it directed at a composer, and a living one at that, who is regarded as a questionable innovator. It seems hard to believe that the small, lanky, silver-haired man who, bowing almost shyly, thanked the audience, orchestra and conductor for their shared enthusiasm, could be so devil-may-care. And so something rarely seen in our conventional musical life happened: the audience finally got the last movement repeated." Evgeny Mravinsky makes one of the greatest recordings of orchestral music of the 20ᵉ century. The extreme tension and blistering rhythm of his conducting have never yet been equaled. ❤🔊 If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
De 09:44 à 10:34, la merveille qui m'a servi de porte d'entrée à l'univers de Bartok dans l'interprétation de György Lehel tirée de la Complete Édition sortie chez Hungaroton, un vinyl trouvé par hasard au rayon musique classique chez Mammouth dans les années 70.
Album available // Bartók: Music for Strings, Percussion and Celesta by Evgeny Mravinsky
🎧 Qobuz (Hi-Res) cutt.ly/5eI8DwPB Tidal (Hi-Res) cutt.ly/ieI8DUTQ
🎧 Apple Music (Lossless) cutt.ly/HeI8DLr4 Deezer (Hi-Fi) cutt.ly/deI8D9oj
🎧 Amazon Music (Hi-Res) cutt.ly/CeI8FdMd Spotify (mp3) cutt.ly/jeI8FAJK
🎧 Idagio (Hi-Fi) cutt.ly/deI8F3RJ TH-cam Music (mp4) cutt.ly/6eI8GaMW
🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/classicalmusicreference_com_Bartok_Mravinsky
Béla Bartók (1881-1945) Music for Strings, Percussion and Celesta, Sz. 106
00:00 I. Andante tranquillo
07:14 II. Allegro
14:49 III. Adagio
21:43 IV. Allegro molto
Leningrad Philharmonic Orchestra
Conductor: Evgeny Mravinsky
Recorded in 1965, at Moscow
New mastering in 2024 by AB for CMRR
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): bit.ly/3Mraw1r
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ): bit.ly/370zcMg
🔊 Follow us on Spotify: spoti.fi/3016eVr
On June 23, 1936, when Paul Sacher wrote to Bartók to commission a work for his Basel Chamber Orchestra, he gave him a number of details as to what he was to deliver: "Each of the pieces should last about 15 minutes. The size of the piece is justified by the size of our orchestra, which consists of an ensemble of around 30 strings. We have to hire the winds from the municipal orchestra, which often runs up against technical difficulties, not to mention the financial consequences. There is the possibility of adding a piano or harpsichord (as a sort of continuo) or any percussion instrument."
Bartók responded almost instantly, posting his agreement in principle on June 27. "I'm thinking of a piece for strings and percussion instruments (i.e., apart from strings: piano, celesta, harp, xylophone and percussion); I assume there will be no difficulty in using them. It does, however, make it more difficult to fulfill your wish that the work not be too arduous. As far as technical difficulties are concerned, in all probability they can be overcome; but rhythmic difficulties are more complicated to avoid. When you write something new, the very fact of its unusual character is a source of difficulty for the performers. In any case, I'll try to write as simply as possible. I never write deliberately in order to accumulate as many performance difficulties as possible."
The premiere concert in Basel on January 21, 1937 was a huge success. The very next day, the Journal National de Bâle devoted an article to it: "This memorable evening was to take on an exceptional dimension thanks to the first performance of the last work by Béla Bartók, to whom contemporary music perhaps owes its most innovative ideas, along with Schoenberg and Stravinsky; it was clear that the composer was at the zenith of his career (...) After the last movement, an allegro with irresistible momentum and surprising harmonic and diatonic brilliance, there was a burst of applause that usually only comes from performers in the public eye; it was striking to hear it directed at a composer, and a living one at that, who is regarded as a questionable innovator. It seems hard to believe that the small, lanky, silver-haired man who, bowing almost shyly, thanked the audience, orchestra and conductor for their shared enthusiasm, could be so devil-may-care. And so something rarely seen in our conventional musical life happened: the audience finally got the last movement repeated."
Evgeny Mravinsky makes one of the greatest recordings of orchestral music of the 20ᵉ century. The extreme tension and blistering rhythm of his conducting have never yet been equaled.
Béla Bartók PLAYLIST (reference recordings): th-cam.com/video/tRYgoKqx6JM/w-d-xo.html
Wunderschöne und spannende Interpretation dieser neoklassischen und perfekt komponierten Suite mit farbenprächtigen doch perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt echt lebhaft und auch spannend. Im Kontrast klingt der dritte Satz echt mysteriös und auch außerirdisch. Endlich kommt der letzte Satz voller Bewegung und Dynamik. Der intelligente und unvergleichliche Dirigent leitet das weltklassige Orchester im relativ schnellen Tempo und mit möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Incredible version! Thank you so much!
Once more, fantastic remastering!
On June 23, 1936, when Paul Sacher wrote to Bartók to commission a work for his Basel Chamber Orchestra, he gave him a number of details as to what he was to deliver: "Each of the pieces should last about 15 minutes. The size of the piece is justified by the size of our orchestra, which consists of an ensemble of around 30 strings. We have to hire the winds from the municipal orchestra, which often runs up against technical difficulties, not to mention the financial consequences. There is the possibility of adding a piano or harpsichord (as a sort of continuo) or any percussion instrument."
Bartók responded almost instantly, posting his agreement in principle on June 27. "I'm thinking of a piece for strings and percussion instruments (i.e., apart from strings: piano, celesta, harp, xylophone and percussion); I assume there will be no difficulty in using them. It does, however, make it more difficult to fulfill your wish that the work not be too arduous. As far as technical difficulties are concerned, in all probability they can be overcome; but rhythmic difficulties are more complicated to avoid. When you write something new, the very fact of its unusual character is a source of difficulty for the performers. In any case, I'll try to write as simply as possible. I never write deliberately in order to accumulate as many performance difficulties as possible."
The premiere concert in Basel on January 21, 1937 was a huge success. The very next day, the Journal National de Bâle devoted an article to it: "This memorable evening was to take on an exceptional dimension thanks to the first performance of the last work by Béla Bartók, to whom contemporary music perhaps owes its most innovative ideas, along with Schoenberg and Stravinsky; it was clear that the composer was at the zenith of his career (...) After the last movement, an allegro with irresistible momentum and surprising harmonic and diatonic brilliance, there was a burst of applause that usually only comes from performers in the public eye; it was striking to hear it directed at a composer, and a living one at that, who is regarded as a questionable innovator. It seems hard to believe that the small, lanky, silver-haired man who, bowing almost shyly, thanked the audience, orchestra and conductor for their shared enthusiasm, could be so devil-may-care. And so something rarely seen in our conventional musical life happened: the audience finally got the last movement repeated."
Evgeny Mravinsky makes one of the greatest recordings of orchestral music of the 20ᵉ century. The extreme tension and blistering rhythm of his conducting have never yet been equaled.
❤🔊 If you like CMRR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
Stunning - TY
Fantastic interpretation! And what a remastering!!! Many thanks for posting.
What a great performance !
I will dare to say, even outclass reiner chikago
The sound of the remaster is wonderful
De 09:44 à 10:34, la merveille qui m'a servi de porte d'entrée à l'univers de Bartok dans l'interprétation de György Lehel tirée de la Complete Édition sortie chez Hungaroton, un vinyl trouvé par hasard au rayon musique classique chez Mammouth dans les années 70.
Kind of overblown comments on the performance, but very good. Reiner and Solti.
Did Bartok program the coughs?