In the "Concerto" which he also engraved in Chicago (Emi) and Saito Kinen Orchestra with (Philips), the Japanese maestro knows how to get all the precision required by the language of the Hungarian composer, although the night of poetry Elegy here seems more manufactured than spontaneous.
In any case, it meshes mechanics "couples Game" with rigor, ensured by its velocity blowers, almost exact to the nimble metronomic requirements of the score (but how many leaders meet?)
Ozawa particularly successful voltefaces of the Allegro vivace, the lapidary tone of "Intermezzo interrotto" active and vigorous influx conqueror of Presto. Be warned that this ends by concluding Finale originally conceived by Bartok, very steep compared to that in March 1945 rewritten and hear normally.
For the "Miraculous Mandarin", in its entirety, diligent Ozawa very smooth playback demanded by the oppressive climate of this move to brigandage, without harming the lasciviousness that must express the seduction sequences.
Brass Boston show an amazing brio, including paper clips in the brawl.
Indicate that it is in live performances, which attests to the level of virtuosity that reaches emeritus this phalanx, even in the heat of the concert.
The "Concerto" was certainly very well served by discography (Fritz Reiner, Karel Ancerl, George Szell ...), but we will celebrate this attractive coupling a welcome return to the catalog, with interpretations of Pierre Boulez, Christoph von Dohnanyi and Antal Dorati for "Mandarin".
Very good sound, realistic and true to the instrumental timbres, returned without coloring.