Bela Bartok Orchestral Masterpieces

Bela Bartok  - Orchestral Works  - Hungarian State Symphony Orchestra & Adam Fischer

Bela Bartok - Orchestral Works - Hungarian State Symphony Orchestra & Adam Fischer
Classical | EAC: FLAC+Cue+Log | 5 Cd, Covers (Front + Back) | 1.19 Gb
Label: Brilliant/Nimbus - Date: 1989 - 1992

Bartók: The Orchestral Masterpieces  

Posted by Alvensson at Nov. 21, 2008
Bartók: The Orchestral Masterpieces

Bartók: The Orchestral Masterpieces
Chicago Symphony Orchestra, dir. Sir Georg Solti

DDD | 2 CD | APE (EAC Rip) CUE | covers (300dpi) | 555 Mb

This Decca Double Decker release offers world class performances and recordings of Bela Bartok's most famous orchestral works. Having received Grammy awards many times for his Bartok recordings (some of which have been reincarnated and are reissued here), George Solti is recognized as one of the composers foremost interpreters. The Chicago Symphony sounds as mighty and intensely responsive as ever; and Decca's sonics are simply spectacular with remarkable clarity and depth. This is Bartok for the ages.
Andras Keller, Janos Pilz - Bela Bartok: 44 Duos for Two Violins (2002)

Andras Keller, Janos Pilz - Bela Bartok: 44 Duos for Two Violins (2002)
EAC | APE (log,image+cue) -> 237 Mb (5% Rec.) | Mp3 CBR320 Kbps -> 140 Mb (5% Rec.) | Scans included
Classical | Label: ECM Records, #465 849-2 | 2002 | 0:58:21

Bartok's Duos are triple-threats: progressions of very brief practice works for violinists from students to skilled artists; transformations of folk dances and songs into art works; and pieces for concert performance, either piecemeal or complete. The Keller-Pilz duo makes its own sequence of the 44 primarily to heighten contrasts and sustain interest, a practice sanctioned by Bartok since the published order progressing from easiest to most difficult doesn't complement the pure listening experience. This revised order certainly works in these spirited performances.
Bela Bartok & Tatrai Quartet - String Quartets Nos 1-6 Divertimento (1992)

Bela Bartok & Tatrai Quartet - String Quartets Nos 1-6 Divertimento (1992)
Classical | MP3 CBR 320 kbps | 02:57:05 | 405 MB
Label: Hungaroton

The inclusion of a fine performance of the Divertimento composed just before the 6th Quartet is a welcome bonus on this set. The recordings date from 1966 (quartets) and 1964 (Divertimento, Hungarian Chamber Orchestra led by Vilmos Tátrai), and they sound very good, though dry compared with the excellent Takacs recording, which is justly regarded as one of the finest chamber music recordings yet made. Among the three I would recommend Takacs for those getting to know the music and wanting a 'best' recording performance, sound, the whole ball of wax. Otherwise, one can't go wrong with any of these (the Vegh set being a personal favorite), and the inclusion of the Divertimento makes this Tátrai recording a very attractive choice.

Vegh Quartet - Bela Bartok: Complete String Quartets (2001) 3CD  Music

Posted by Designol at March 18, 2016
Vegh Quartet - Bela Bartok: Complete String Quartets (2001) 3CD

Quatuor Végh - Béla Bartók: Complete String Quartets (2001) 3CD
EAC | FLAC | Tracks (Cue&Log) ~ 618 Mb (incl 5%) | Scans ~ 50 Mb
Genre: Classical | Label: Naïve | # V 4870 | Time: 02:18:54

The Végh Quartet was not only one of the finest string quartets from mid-twentieth century Europe, but its style was never subjected to radical change over the years from personnel changes because the four original players remained members for 38 of the 40 years of the ensemble's existence. Its style evolved in subtle ways, of course, but its essential character endured until 1978: the quartet was Central European in its sound, with a bit more prominence given to the cello in order to build tonal qualities from the bottom upward. The Végh Quartet was best known for its cycles – two each – of the Beethoven and Bartók quartets. It also performed and recorded many of the Haydn quartets, as well as numerous other staples of the repertory by Mozart, Schumann, Brahms, and Debussy. For a group that disbanded in 1980, its recordings are still quite popular, with major efforts available in varied reissues from Music & Arts, Archipel, Naïve, and Orfeo.
Andras Schiff, Ivan Fischer, BFO - Bela Bartok: Piano Concertos Nos. 1-3 (1996)

Béla Bartók - Piano Concertos Nos. 1-3 (1996)
András Schiff, piano; Budapest Festival Orchestra, conducted by Iván Fischer

EAC | FLAC | Tracks (Cue&Log) ~ 345 Mb (incl 5%) | Mp3 (CBR320) ~ 206 Mb (incl 5%) | Scans included
Genre: Classical | Label: Teldec Classics | # 0630-13158-2 | Time: 01:16:26

First there was rhythm - pulsing, driving, primal rhythm. And a new word in musical terminology: Barbaro. As with sticks on skins, so with hammers on strings. The piano as one of the percussion family, the piano among the percussion family. The first and second concertos were written to be performed that way. But the rhythm had shape and direction, myriad accents, myriad subtleties. An informed primitivism. A Baroque primitivism. Then came the folkloric inflections chipped from the music of time: the crude and misshapen suddenly finding a singing voice. Like the simple melody - perhaps a childhood recollection - that emerges from the dogged rhythm of the First Concerto's second movement. András Schiff plays it like a defining moment - the piano reinvented as a singing instrument. His "parlando" (conversational) style is very much in Bartók's own image. But it's the balance here between the honed and unhoned, the brawn and beauty, the elegance and wit of this astonishing music that make these readings special.
Yevgeny Mravinsky - Bela Bartok, Arthur Honegger, Igor Stravinsky (2015)

Béla Bartók: Music for Strings, Percussion & Celesta, Sz. 106;
Arthur Honegger: Symphony No. 3, H186 'Liturgique'; Igor Stravinsky: Agon 'Ballet for Twelve Dancers'
Leningrad Philharmonic Orchestra, conducted by Yevgeny Mravinsky

EAC | FLAC | Image (Cue&Log) ~ 449 Mb (incl 5%) | Mp3 (CBR320) ~ 220 Mb | Scans included
Genre: Classical | Label: Praga Digitals | # 350 087 | Time: 01:18:28

This release in Praga's Reminiscences series features Yevgeny Mravinsky leading the Leningrad Philharmonic Orchestra in a programme that includes one of Béla Bartók's best-known compositions: 'Music for Strings, Percussion and Celeste'. It is coupled with Honneger's Symphony No.3, composed in the aftermath of World War II, and music from Stravinsky's modernist ballet 'Agon'.
Keith Jarrett - Samuel Barber, Bela Bartok, Keith Jarrett (2015) {ECM}

Keith Jarrett - Samuel Barber, Bela Bartok, Keith Jarrett (2015) {ECM}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 279 Mb | MP3 @320 -> 140 Mb
Full Artwork @ 600 dpi (png) -> 389 Mb | 5% repair rar
© 2015 ECM Records | ECM New Series 2445
Classical / Piano

Never-heard music from the mighty Keith Jarrett – performances recorded in the mid 80s, and featuring Jarrett working in a mix of jazz and classical styles that's pretty darn great! The first piece is Samuel Barber's "Piano Concerto Op 38", performed with the Rundfunk Sinfonieorchester, conducted by Dennis Russell Davies – but Jarrett's performance brings an edge and sense of air that recalls some of his own compositions for larger groups from the 70s, especially with Davie at the helm.
Bela Bartok - Bluebeard's Castle (Nadja Michael, Mikhail Petrenko) 2015 [HDTV 1080i]

Bela Bartok - Bluebeard's Castle (Nadja Michael, Mikhail Petrenko) 2015 [HDTV 1080i]
AVC, 1920x1080i (16:9), 19.0 mbps, 25 fps | Hungarian AC3 448 kbps, 2 ch / Subs: Eng, Ger, Ita, Spa, Fre, Por, Rus & Swe | 01:17:26 | 10.7 GB
Classical, Opera | Metropolitan Opera HD Live | HDTV->TS

Metropolitan Opera presents Mariusz Treliński's new production of Béla Bartók's "Bluebeard's Castle," starring Nadja Michael, Mikhail Petrenko and conducted by Valery Gergiev.
The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music

The Music of Bela Bartok: A Study of Tonality and Progression in Twentieth-Century Music by Elliott Antokoletz
English | Jan 11, 1990 | ISBN: 0520067479 | 472 Pages | PDF | 14 MB

The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.