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CHAN 241-52M
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2 for 1 Logo
CHAN 241-52
(multiple CD Set)

Bartok: Orchestral Works

The Classical Shop
release date: July 2014

Originally recorded in 1990

Artists:

Philharmonia Orchestra


Royal Scottish National Orchestra


Neeme Jarvi



Venue:

All Saints' Church, Tooting, London


Henry Wood Hall, Glasgow


Church of St Jude-on-the Hill, Central Square, London NW11



Producer:

Brian Couzens



Engineer:

Ralph Couzens


Jeffrey Ginn

(Assistant: (The Miraculous Mandarin)

Peter Newble

(Assistant: (The Wooden Prince, Hungarian Pictures)

Ben Connellan

(Assistant: Concerto for Orchestra)

Record Label
2 for 1

Genre:

Orchestral & Concertos


Classical

Total Time - 140:31
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BELA BARTOK

(1881-1945)
   
 

The Wooden Prince, Op. 13, BB 74 (1914-16, orchestrated 1916-17)

54:06  
  A Dance-pantomime in One Act by Béla Balázs (1884-1949)  
1 Prelude – 4:58
2 Dance 1. Dance of the Princess in the Forest – 5:06
3 Dance 2. Dance of the Trees – 5:14
4 Dance 3. Dance of the Waves – 11:16
5 Dance 4. Dance of the Princess with the Wooden Doll – 15:25
6 Dance 5. The Princess pulls and pushes him [the wooden 1:43
  prince] and tries to make him dance –  
7 Dance 6. She tries to attract him [the real prince] with a 1:31
  seductive dance –  
8 Dance 7. Alarmed, the Princess rushes after him [the real 6:42
  prince], but the Forest stops her –  
9 Postlude 2:09
   
 

Hungarian Pictures, BB 103

11:47  
10 1 An Evening in the Village 3:06
11 2 Bear Dance 1:39
12 3 Melody 2:26
13 4 Slightly Tipsy 2:31
14 5 Swineherd's Dance 2:03
   
 

The Miraculous Mandarin, Op. 19, BB 82 (1918-19, orchestrated 1924, revised 1926-31)

34  
  Pantomime in One Act by Melchior Lengyel (1880-1974)  
  London Voices  
  Terry Edwards director  
15 A shabby room in the slums – 3:34
16 First decoy game – 4:18
17 Second decoy game – 3:34
18 Third decoy game – 4:00
19 The girl is undecided – 4:37
20 The passion of the Mandarin is finally roused – 5:07
21 Suddenly the Mandarin's head appears between 4:24
  the pillows –  
22 The Mandarin's body begins to glow with a greenish- 2:17
  blue light –  
23 The Mandarin falls to the floor and at once leaps at 2:33
  the girl  
 

Concerto for Orchestra, BB 123 (1943, revised 1945)

40:35  
24 1 Introduzione. Andante non troppo - Allegro vivace 10:18
25 II Giuoco delle coppie. Allegretto scherzando 6:36
26 III Elegia. Andante, non troppo 8:44
27 IV Intermezzo interrotto. Allegretto 4:35
28 V Finale. Pesante - Presto 10:05
   
 Neeme Jarvi
  27 and 30 30 April 1990 (The Wooden Prince, Hungarian Pictures)  
  3 and 4 September 1990 (Concerto for Orchestra)  
  17 and 18 October 1990 (The Miraculous Mandarin)  


 This ‘2for1’ reissue brings together the best performances by Neeme Järvi of the music by Bartók, taken from his extraordinarily prolific recording career with Chandos Records. The four works span Bartók career and include some of the greatest music he ever wrote.

 
The Concerto for Orchestra has remained one of Bartók’s most popular orchestral works since its triumphant premiere in 1944. Its title signals that each section of instruments is treated in a soloistic and virtuoso way. According to Bartók himself, ‘the general mood of the work represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one’.
 
The ballet The Miraculous Mandarin is heard here in its complete form. Set in a seedy urban underworld, it tells the tale of a prostitute, the three thugs that control her, and their mysterious encounter with the eponymous Mandarin. In portraying this scenario Bartók creates an astonishingly vivid score with some of the most colourful music he ever wrote. 
 
The Wooden Prince, an earlier ballet, could not on the surface be further from The Miraculous Mandarin. Lacking its daring modernism, it instead shows the influence of Debussy, Strauss, and Wagner. However, its outwardly sunny character obscures a strange and surreal undertone.
T
he Hungarian Pictures are skilful and imaginative orchestrations made in 1931 of five earlier piano pieces. Each with its own distinct character, these pieces give the impression of being an authentic folksong arrangement, although this is true only of the last of the five.
 
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