![]() ![]() Isabelle Faust vn Florent Boffard, Ewa Kupiec pfs Fischer never vulgarizes, brutalizes or overstates the case and, what is most important, he underlines those quickly flickering, folkish elements in Bartók’s musical language (they are everywhere in evidence) that other, less intuitive conductors barely acknowledge.' Read the review Everything tells – the flavour is right, the pacing too and the sound has a toughened, raw-edged quality that is an essential constituent of Bartók’s tonal language.Delicacy trails bullish aggression, forcefulness alternates with an almost graphic suggestiveness – and it’s all there in the full score. 'As Mandarins go, they don’t come more miraculous than this – a vivid, no-holds-barred performance that henceforth tops my list of current recommendations. To find the perfect subscription for you, simply visit: .uk/subscribeīudapest Festival Orchestra / Iván Fischer Subscribing to Gramophone is easy, you can choose how you want to enjoy each new issue (our beautifully produced printed magazine or the digital edition, or both) and also whether you would like access to our complete digital archive (stretching back to our very first issue in April 1923) and unparalleled Reviews Database, covering 50,000 albums and written by leading experts in their field. When Bartók slackens the tension and allows lyric reflectiveness to emerge, as in the first movement’s development, this performance is poetic and subtly shaded to a fault and even though the second and third movements are usually played with a somewhat lighter touch, I found the sheer intensity of Kopatchinskaja and Eötvös’s advocacy compelling.' Read the review The effect can be downright hectic but it’s a mightily exciting account, which certainly doesn’t rush its fences or sell the score short. ![]() 'Bartók’s Second Violin Concerto has long since been accorded classic status and in – my guess – making a determined effort to ‘think it new’, Kopatchinskaja and Eötvös sometimes risk exaggerating what is already pretty intense. Patricia Kopatchinskaja vn Frankfurt Radio Symphony Orchestra / Peter Eötvös Combine this with controlled vehemence, headlong velocity and razor-sharp unanimity (any fast movement from quartets two to five can serve as illustration) and you have a formidable alliance of virtues.' Read the review DG's close brightly-lit, yet never oppressive recording quality must share some of the credit for that, of course. 'The impression one gains from these recordings (I have not seen the Quartet in the concert hall) is of massive tonal projection and superlative clarity, each textural strand coloured and made audible to a degree possibly unrivalled in the recorded history of these works. RCA's sound reportage of the Concerto for Orchestra has uncanny realism, and if the climaxes are occasionally reined in, the fervour of Reiner's direction more than compensates.' Read the review With staggering playing by the Chicago Symphony and recording that simply doesn't sound its age, this is a magnificent achievement. 'A classic recording by one of the master Bartók conductors. Chicago Symphony Orchestra / Fritz Reiner ![]()
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