Concerto for Orchestra [Import]

Both Béla Bartók in 1943 and Witold Lutoslawski in 1955 celebrated the symphonic associations of the world in a way few other composers have achieved - by composing works that keep the spotlight within the body of musicians. Their obvious shared respect for each of the individual sections and musicians within those sections of the orchestra is paid homage in these challenging works. 'Concerto for Orchestra' indicates a work that is just that: a work for full orchestra in which each section is highlighted as soloist against the fabric of the full orchestra, no matter how short or how long.

Each of this similar works abounds in creative, folklike ideas and span the gamut of emotional communication. The works are demanding and are best performed by the finest orchestras with depth in every section. Such is most assuredly the case with this excellent recording with Christoph von Dohnányi conducting the Cleveland Orchestra. There is an incisiveness to the execution of attack and yet a sensitivity to the elegiac sections which makes these performances among the finest on record. While other conductors and orchestras my find more blatant showmanship in the solo portions, few can achieve the balance of the full orchestra as well as the Cleveland Orchestra on this recording. Highly recommended. Grady Harp, March 06

In 1990, when Dohnanyi decided to pair the twentieth century's two most famous concertos for orchestra, by Bartok and Lutoslawski, no one had ever done it before, and even now only one other recording, by Paavo Jarvi and the Cincinnati Orch., has copied the program. I imagine that the novelty of a concerto that features an entire orchestra, which Bartok invented, has worn off. the reason that Lutoslawki's version isn't paired with its predecessor is that the works are so uneven; the Gramophone reviewer of this album sniffed that the Lutoslawski is "more chaotic than composed," and he went on to praise Dohnanyi for keeping the anarchy under control.

That same reviewer complained that the Barok was bland and detached as conducted by Dohnanyi. It's undeniable that dramatic contrasts are smoothed out, the pacing tends to be on the cautious side, and the funny parts aren't funny. But Dohnanyi, Hungarian by ancestry but very German in musical temperament, can't be faulted for the clarity of the playing heard in in detailed, natural sound -- Decca lives up to its reputation. There's considerable intensity in the Elegie, even if the other movements are on the bland side. Bartok had his own detached, analytical side, so perhaps that's the best justification for this precise, cool reading.

The more interesting performance is the Lutoslawki, which can benefit from restraint and refinement. I dare say the Cleveland Orch. brings more pedigree to the music than any other on disc. the splashy, at times crude effects that the composer aimed at stir up some extra energy from Dohnanyi, and all told, we go on a thrill-a-minute ride that's much more gripping than the Bartok. This may be the one recording anyone needs to have; I doubt any major conductor will approach the score again for quite a while.