All three of the works in this programme reveal a young composer on the threshold of greatness, serving as his passport to the vast new world of orchestral music prevailing at the beginning of the 20th century. Inspired by the tone poems of Richard Strauss, Bartók’s Kossuth dramatically commemorates the struggle for Hungarian independence in 1848 with an alluring and provocative orchestration. The Two Portraits set moods of love and painful heartbreak into stark contrast, while the First Suite is a showcase of symphonic effects which caused a sensation in Vienna at its première in 1905.
JoAnn Falletta and the Buffalo Philharmonic rather miss the savagery of the latter [Portrait], but they're on fine form elsewhere, and the disc provides invaluable insight into Bartok's formative years.
Falletta's performances of these early Bartok show-stoppers really do raise the roof. Making the First Suite sound compelling is no mean feat, and yet, right from the ebullient opening Allegro vivace, the Buffalo Philharmonic sound fully on course for the challenge.
The Buffalo Philharmonic performances under JoAnn Falletta don't stint on what this music needs: energy and colour.
Bartók: Kossuth Symphonic Poem Sz21 Bartók: Suite No. 1, Op. 3, BB. 39, Sz. 31 Bartók: Two Portraits Op. 5 Conductors Falletta, JoAnn Groups & Artists Buffalo Philharmonic Orchestra
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