Béla BARTÓK (1881-1945)
Violin Concerto No. 2, Sz 112 (1937-1938) [36:42]
Rhapsody no. 1 for violin and orchestra, BB 94b, Sz 87 (1928-1929) [10:43]
Rhapsody no. 2 for violin and orchestra, BB 96b, Sz 90 91928-1929, 1935) [10:16]
Baiba Skride (violin)
WDR Sinfonieorchester Köln/Eivind Aadland
rec. 2017, Köln Philharmonie, Germany
ORFEO C950191 [57:45]
The booklet note tells us that after the piano, Bartók’s own instrument, the violin holds a special place in the composer’s oeuvre, and suggests that this might be due to it being “eminently suited for his folk music transcriptions and impulses.” Bartók two violin concertos were composed some thirty years apart, although it was only eleven years after the composer’s death that the Concerto No. 1 was first published, with the two rhapsodies coming between the two concertos. The two violin concertos formed my first venture into his orchestral music and are thus staples in my collection of his music.
The Violin Concerto No. 2 was during his lifetime referred to as Bartók’s only Violin Concerto, his first effort not being published until after his death. It was planned as a single movement work in the form of a set of variations, but Zoltán Székely, the violinist who commissioned the work and gave its premiere, instead asked the composer for a traditional three-movement structure. The resulting concerto is in three movements, although the second and third movements are in the form of variations, with the third movement being based upon thematic material from the first. This concerto has long been a favourite of mine, and Baiba Skride’s interpretation stands up well when compared with my favourite recordings, Isabelle Faust on Harmonia Mundi (HMC902146), who offers both concertos, and Barnabás Kelemen for Hungaroton (HSACD32509). Kelemen offers the same program as here, with the addition of alternative movements. Baiba Skride’s performance is strong, and although it does not eclipse either of my favourite versions, it is not that far behind them, as it has some nice touches. She exploits the works dynamic range to the full, showing great control and personality as she moves from the very quiet to the bolder loud sections, something which works well here, but not enough to topple either Faust or Kelemen.
Where Skride comes through the strongest is in the folk-music-inspired passages; this is especially prevalent in the two rhapsodies for violin and orchestra. Here, her playing is spirited and full of character; I even prefer her performance to that of Kelemen, although the addition of the fiendishly difficult alternative versions of the second movements of both rhapsodies makes Kelemen stand apart from the rest, this present recording included. The rhapsodies, for me, offer the listener some of Bartók’s finest folk-inspired orchestral music, and Skride certainly brings them to life with aplomb. No. 2 is a real highlight, with some finely articulated phrasing and a spirited sense of enjoyment from Skride and the orchestra.
Throughout this recording, Skride shows that she is a fine interpreter of Bartók’s music, and on this evidence, I would like to hear her performing more. The WDR Sinfonieorchester Köln under the expert leadership of Eivind Aadland are on very good form, providing ideal support and detailed accompaniment for Skride. The booklet notes are detailed and informative, with detailed descriptions of each of the works. This is a welcome and enjoyable performance even if it is not my first choice, and it is one I will be revisiting.
Stuart Sillitoe
Previous review: Robert Cummings
