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Bartok;Bela Cto for Orchiscove [Import]

 NR (Not Rated)   DVD

Price: CDN$ 23.99 & FREE Shipping on orders over CDN$ 25. Details
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Product Details

  • Format: AC-3, Classical, Color, Dolby, DTS Surround Sound, DVD-Video, NTSC, Import
  • Language: English, German, French, Spanish
  • Subtitles: English
  • Region: All RegionsAll Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 1
  • MPAA Rating: NR
  • Studio: Euroarts
  • Release Date: Oct. 30 2007
  • Run Time: 68 minutes
  • ASIN: B000VUVGH0

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.2 out of 5 stars  4 reviews
11 of 11 people found the following review helpful
5.0 out of 5 stars A Helpful Introduction to and Brilliant Performance of Bartók's Concerto for Orchestra Nov. 19 2007
By J Scott Morrison - Published on Amazon.com
In 2003 Pierre Boulez led the Berliner Philharmoniker in a performance of Bartók's 'Concerto for Orchestra' at the beautiful Mosteiro dos Jerónimos in Lisbon and camera crews recorded it. This DVD presents that performance in up-to-date video and audio, smoothly directed by Bob Coles. Accompanying it is a twenty-minute documentary about the work, with script by the film's co-producer and director, Günter Atteln. The film was co-produced by the doyen of German classical music videos, Paul Smaczny. [This performance is also seen on a complete concert DVD that I've reviewed previously: Europa Konzert From Lisbon / Pierre Boulez, Maria Joao Pires, Berliner Philharmoniker. In addition to the Bartók it contains a marvelous Mozart piano concerto with pianist Maria João Pires.]

The documentary is in English, although the interview with Boulez is, interestingly, in German with subtitles. It takes the Concerto movement by movement, describing various points of its construction (complete with views of pertinent parts of the score) such as its unique form, its metrical complications, its brilliant orchestration and the like. Interweaved with this are biographical details of Bartók's life, particularly his difficult emigration to New York during World War II and his several years in poor health and poverty there. Much is made of Serge Koussevitzky's commission of the piece. Boulez makes the point that although the commission may have initially been more in the nature of 'alms for the poor' the work turned out to be hugely successful both at its premiere in Boston and later that year in New York. And he comments that the extremely virtuosic writing for the orchestra was specifically in response to the vaunted technical abilities of American orchestras of the time, as compared to the orchestral standards in Europe.

As for the performance of the work, the Berliner Philharmoniker under Boulez play brilliantly, each of the orchestra's departments covering itself with glory, from the strings in the first and third movements as well as with that well-night impossible-to-play whirling figure in the fifth movement, the brass in the second movement chorale and the finale and, best of all, the winds in the 'play of pairs' second movement. One is not surprised, I suppose, that this performance is very nearly the equal of the classic Reiner/Chicago recording, and certainly in better sound.

I can easily imagine this DVD being used in a music appreciation class, but also believe that for those who either know and love the Concerto, or for those who don't know it very well or at all, it would be enlightening and enjoyable.

Vigorously recommended.

Scott Morrison
12 of 15 people found the following review helpful
3.0 out of 5 stars eeeeh..it's ok April 15 2010
By Troy Nicar - Published on Amazon.com
Ok here's the deal.The place they choose to record this is some huge stone church converted into a "concert hall" so the acoustics in this place could not be any worse, with a full 3 or 4 second reverb.Pretty much sounds like what it is-a cave. On top of that Mr. director figures- Hell since we are in a cave,everyone wants to see the ceiling,right? So the nitwit chooses to take pictures of the ceiling (grrr!) rather than the musicians who are playing thier a##es off trying to make this thing happen while playing in a cave.Come on guys,Bartok (especially this piece) deserves much better treatment.I must say though,I have always like Boulez's interpretation of this piece (I grew up listening to his CBS Masterworks album of it)especially his treatment of the final movement with a nice brisk tempo which keeps the excitement level high..
1 of 1 people found the following review helpful
4.0 out of 5 stars Concerto for Orchestra July 17 2013
By Genio - Published on Amazon.com
Verified Purchase
The music and accompanying interview were tip top, but the camera crew evidently didn't think so. An awful lot of the time was spent examining the (admittedly extraordinary) features of the venue. Very distracting!
2 of 4 people found the following review helpful
5.0 out of 5 stars excellent Boulez interpretation of the kind of music Boulez knows best July 11 2011
By Jmam - Published on Amazon.com
Verified Purchase
The Concerto for Orchestra is one of the more high-strung, neurotic pieces of classical music created, full of images of estrangement, and fun melodies that are also lurid and gossamer, and that threaten to lead us into scary corners. The musical neurosis is almost exciting, and in an entertaining way devoid of moral meaning. The composer was dying of leukemia while he was composing it, during the violent lurid years of the second world war. He must have felt quite neurotic during this time of his life, and did not seem to inhibit that feeling in his music, but instead seemed to embrace the high-strung neurotic life in this music, and even try to make it feel fun. It is tricky to perform the concerto convincingly because of the twists and turns of its musical logic and sudden changes of mood and timbre, but Pierre Boulez does an excellent job with the interpretation. The process of interpreting the music is made more challenging because the objective of the interpretation is to bring about an energetic neurotic aura, the kind of intelligent, caffeine-drive neurotic energy that one needs to understand death by leukemia and the violence of a world war. The music is less about trying to bring out a "theme" or "philosophy." To understand the interpretation, one must understand how to bring about an emotional aura without necessarily having the conscious mind direct the music towards some kind of philosophy. That requires a lot of objectivity, and to be able to feel musical logic for the sake of the logic. Boulez is that kind of objective interpreter. The music makes you want to go out and conquer something, although you're not sure what it is you want to conquer.

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