On initially listening to this disc I was struck by
two somewhat opposite observations. On the positive side this is a logical,
fascinating and convenient coupling. Late Bartók and early Lutoslawski
(the works are separated by a mere ten years or so) approaching the
orchestral concerto form in very different ways yet not without clear
harmonic, melodic and rhythmic parallels. As a result I found myself
frequently flitting between the two works with my remote control.
On the negative side however both works face exceptionally
tough competition elsewhere and ultimately this disc stubbornly refused
to engage me in the music the way I would have liked. In the case of
the Lutoslawski, the composer’s own recording with the Polish National
Radio Symphony Orchestra is available on an EMI mid-price reissue (7243
5 65305 2) or double forte CD
set and has long been a definitive warhorse in my own collection.
True, the playing is somewhat rough and ready at times but the inner
energy and sheer power that the composer generates from the orchestra
more than makes up for it. Andrew Davis gives a performance that is
in many ways more rounded and is certainly not without its moments.
Try the breathtaking passage following the huge first movement climax,
at around 3’35" where Davis draws the horns through the texture
to tremendously impressive effect. The recordings too are at opposite
ends of the scale. Where the opening string motif in the composer’s
own recording hits you between the eyes, Davis’s section sounds as if
it is lost in the corridor outside the hall. For anyone with an inclination
to fully explore Lutoslawski’s music the EMI disc is also a fine introduction
to the composer, coupling the later Jeux vénitiens, Livre
pour Orchestre and Mi-parti, all masterpieces of their
time. Overall, the composer’s own recording may be a little "in
your face" for some but I love it for its raw energy and as such
it will remain my first choice.
If the Lutoslawski faces tough competition, the Bartók
has an even greater mountain to climb. In terms of modern recordings
there have been several in recent years of the finest pedigree. Perhaps
at the forefront in many people’s minds will be the Budapest Festival
Orchestra and Ivan Fischer on Philips. As you would expect Fischer’s
is a performance brimming over with Hungarian character, but it is also
seat of the pants stuff for sheer excitement. That said my own personal
first choice remains Simon Rattle and the City of Birmingham Symphony
Orchestra on EMI. A live performance recorded at Symphony Hall, the
playing of the CBSO is faultless throughout. In the opening of the Elegia
Rattle creates an immediate tangible atmosphere, his beautifully lucid
woodwind weaving their mysterious lines with great delicacy, whereas
Davis and his Swedish forces are bland in comparison. The bassoon duet
that opens the Giuoco delle coppie again lacks shape and refinement
with Davis, whilst Rattle’s finely felt sense of phrasing immediately
engages the listener. The breathless energy and drive of the Finale
is just so much more dynamic in both Rattle’s and Fischer’s recordings
and although both are of course at full price, I would recommend that
anyone in the market for a first rate modern recording of the Bartók
invest the extra in either of these discs.
Although, by virtue of its coupling, this super-budget
disc may be useful to anyone in the process of putting together a basic,
cost effective collection of twentieth century classics, I would find
it difficult to recommend it on any other grounds.
Christopher Thomas
