Béla BARTÓK (1881-1945)
Violin Concerto No.1 BB 48a (1907-08) [20:45]
Violin Concerto No.2 BB 117 (1937-38) [36:01]
Viola Concerto Sz120, BB 128 (1945) edited and completed by Tibor Serly [20:40]
James Ehnes (violin; viola)
BBC Philharmonic/Gianandrea Noseda
rec. Studio 7 New Broadcasting House, Manchester, England 8 November (Violin
Concerto No.2); 1 November 2010 (Violin Concerto No.1); 27 February 2011 (Viola
Concerto)
CHANDOS CHAN 10690 [77:45] 
James Ehnes is one of a select group of violinists whose recordings I would
seek out regardless of the repertoire they contain. His name is synonymous
with music making of the very highest calibre allied to a technique seemingly
untroubled by any degree of complexity. I am pleased to report that this CD
is a continuation of such superb recordings. By bringing together the three
Bartók string concerti on a single disc Chandos have stolen quite a march
on its competitors regardless of quality. Since this contains performances
of simply sensational quality it is an easy task to put this right to the
top of the list of preferred discs of Bartok string concerti.
Curiously Bartók is a composer whose work seems to spark more negative passions
in some collectors than many others. A quick look at some of the classical
music forums on the web and you will understand what I mean. This dyspeptic
dislike leaves me scratching my head – to my ear he is a fascinating fusion
of modernism, form and folk-influence. All of which is instantly apparent
in the Violin Concerto No.1 of 1907-8 written while he was enamoured
by the nineteen year old fiddler Steffi Geyer. Apparently they soon parted
company and Geyer kept the score which remained unpublished and unperformed
(in its original form) until after her death in 1956. The modernism is apparent
for all to hear – remarkable to think this is as early a work as it is yet
cunningly woven into its two-movement structure (an early example of the composer’s
fascination for this bi-partite form) are reminiscences of folksongs they
collected together in Hungary’s countryside. Ehnes plays this breathtakingly
well be-it the opening pages of yearning lyricism or the second movement’s
venomous bite. Add superlative Chandos engineering to the usual brilliance
of the BBC PO (track 2 around 7:00 demonstrates both these attributes amply)
and you will appreciate just what a special disc this is. I have to say I
have not been a huge admirer of all of Noseda’s discs for this label but here
he seems totally within the idiom and in inspired form too – there is a bi-polar
quirkiness about the rapid mood changes in this work that require both conductor
and players to respond with razor-sharp emotional and technical precision
if it is not to sound simply bitty – I have not heard those transitions more
convincingly achieved than here.
It is fascinating to juxtapose the two concerti – separated by more than thirty
years. This first was a product of the composer’s twenties but by the time
Bartók got to hear the second (in 1943 – he could not attend the 1939 premiere)
he had just two more years to live. On one level it is less modern for its
time yet the absorption of the folk-idiom is now complete and so brilliantly
handled that the composer can also include a second subject that includes
a 12-tone theme acknowledging the influence of Schoenberg and the Second Viennese
School. Some find Bartók’s strict adherence to chosen forms a limitation but
as here where he manages to fuse variation form and his favoured symmetrical
arch I for one have nothing but admiration for such confident handling of
complex structures.
Talking of confident handling; one of Ehnes’ especial talents is a miraculous
sweetness of tone when playing quietly at extreme altitude – the material
that develops from this ‘serial’ second subject is a perfect example of this.
Not that passages of machine-gun rapidity hold any devils for him either [track
3 6:30 for example] – far from it the articulacy here allied to muscularity
is simply remarkable. He has a remarkable ability to be able to focus on the
lyrical and melodic elements of even the most complex passages – rightly the
technical demands serve the music and do not dominate it. In music such as
this it produces a result where the piece comes across as strikingly more
‘romantic’ than might otherwise appear – try the very opening of the central
movement [track 4] if you are not sure what I mean – this is played with yearning
beauty by both soloist and orchestra. There are echoes of other night scenes
so prevalent in Bartók but this is a dreamland of greater humanity than he
evokes elsewhere. Again Ehnes is nothing short of exceptional in the filigree
passage work he dispatches with nonchalant ease – absolutely perfect in design
and execution. The finale of the work is equally impressive – I have heard
this played with a greater degree of earthy folkiness – possibly, just possibly
this is the one moment when Ehnes’ brilliance works a fraction against the
spirit of the music but even as I write this I feel guilty for criticising
someone for being too good!
Although by its inclusion this becomes a disc of superb value in playing time
terms as well as anything else there is a small degree of controversy in the
presence of the Viola Concerto. As a piece it is only performable by
using an edition/completion by the composer’s friend and colleague Tibor Serly.
Additionally, I do have some sympathy for members of the viola-playing union
who get frustrated by a violinist muscling their way into the already limited
repertoire of the viola concerto. You never get a violist swapping to a violin
and recording standard repertoire but the transition the other way is a far
more regular occurrence albeit with varying degrees of success. The viola
is a very different beast to play requiring a different bow technique in particular.
Of course no surprise to read that Ehnes plays the viola supremely well. His
instrument here, a 1793 Guadagnini as opposed to his 1715 Stradivarius violin,
sounds quite ravishing. Compared to say Rivka Golani on the defunct Conifer
label Ehnes is the superior technician but Golani digs deeper producing a
guttural tone. I have not heard Lawrence Power’s compilation of Hungarian
concerti on BIS but I imagine it would be very fine. It is down to the individual
listener and their expectations and hopes for the ‘sound’ of this instrument.
As to the piece itself I do have lingering doubts as to how sure we can be
that what we are hearing are the composer’s final thoughts – as presented
the second violin concerto is surely a finer work. Sensational playing and
engineering once again though from the BBC orchestra and the Chandos production
team. Ehnes is at his finest in the rhapsodic central movement – the sweetness
of his lyrical playing of poignant beauty (I am not sure I have ever heard
a viola sound so like a violin) is little short of astounding. The gypsy finale
is lighter hearted than any of the music elsewhere on the disc and as such
it provides an exciting and uplifting close to the programme – Ehnes’ apparent
technical ease is one final joyful marvel to hear.
I have to be honest and say that this is not recorded repertoire I know from
multiple versions – the only other copy in my collection is by André Gertler
with Karel Ancerl on Supraphon. They are very fine and as full of character
as you might expect but they are surpassed on just about every level by this
new disc. I see from the catalogue there are versions by famous violinists
from Menuhin to Chung and Shaham (the latter in No.2). I am sure they all
have their virtues but none bring together the three works on a single disc
as here and I doubt they can better it on a purely technical level from either
players or engineers. Ehnes adds a personal note to the liner expressing his
delight and pride in this CD – I can only echo that sentiment; a surefire
winner.
Nick Barnard