Bartok Concerto For Orchestra

A new recording of a work as often recorded as the Concerto for Orchestra should offer something unusual, as well, and this disc does. Kossuth, a 20-minute symphonic poem, was the 22-year-old composer's first major orchestral composition. The conception owes much to Richard Strauss and the style to Liszt, but there are plenty of hints of material that show up in his mature works. The Village Scenes is a particularly exciting choral-orchestral expansion of a work originally for voices and piano, and the Concerto of course, is enormously popular.

Karina Canellakis offers the first fruit of her exclusive Pentatone collaboration with a recording of Bartók’s 4 Orchestral Pieces and Concerto for Orchestra, together with the Netherlands Radio Philharmonic Orchestra, of which she is the Chief Conductor. The 4 Orchestral Pieces have a strong affinity with the stage works Duke Bluebeard’s Castle and The Wooden Prince, conceived in the same period. The Concerto for Orchestra is one of Bartóks final works, full of folk tunes, and utterly colourful and virtuosic for all the instruments. As such, it’s an ideal piece to showcase the congeniality between the Netherlands Radio Philharmonic Orchestra and its star Chief Conductor.

On two highly praised discs, Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have released recordings of Béla 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.

Commencing a series on Onyx dedicated to the orchestral music of Béla Bartók, Thomas Dausgaard and the BBC Scottish Symphony Orchestra deliver dynamic performances of one of the composer's greatest works, the Concerto for Orchestra, SZ 116, accompanied by the less famous but deserving Suite No. 1, SZ 31, presented here without cuts. Because the Concerto for Orchestra is widely performed and recorded, listeners are likely to know it well, so Dausgaard's decision to open with the Suite No. 1 gives it a prominence that it rarely receives. Both works have parallels that are important to note, primarily the five-movement form and the quasi-symphonic internal structures that Bartók might have employed had he written an official symphony.