November 23, 2015

  • A Near Definitive Bartok Concerto

     

    Bartok: Rhapsodies; Violin Concerto No. 2
    Barnabas Kelemen, violin. Hungarian National Philharmonic Orchestra/Zoltan Kocsis
    Hungaraton Classic 32509
    Total Time:  77:39
    Recording:   ****/****
    Performance: ****/****

    Violinist Barnabas Kelemen built a name for himself as one of the great new Bartok interpreters.  This Hungaroton Classics release, dating from 2010, is again making the rounds as a SACD disc.  It is part of a new series of Hungaroton reissues.  The performances here have established themselves at the top of the heap when it comes to both the second violin concerto and the rhapsodies.  Zoltan Kocsis, himself a noted Bartok interpreter, is also on hand to lead the equally fabulous Hungarian National Philharmonic Orchestra in these recordings.

    What is additionally attractive for this release is that it presents an opportunity to hear alternative endings to all three works on this release.  These are included as an “appendix” at the end of the album.  Of course, this is very instructive as well as a great bonus to Bartok lovers and includes the first recording of the second rhapsodies original version.  The tracking of the rhapsodies and concerto thus allows you to opt to use the alternate endings with some simple programming adjustments.  This is an extremely helpful way to explore this music.

    The two brief Rhapsodies for Violin and Orchestra serve as the opening works.  Often they are considered the composer’s response to Kodaly’s Marosszek Dances (1927).  The first one, from 1928, also appeared for cello and piano especially for the great Pablo Casals.  The music of the first rhapsody is also notable for Bartok’s use of a cimbalom—the only time it appears in his work.  The rhapsody is filled with folk melodies and, apart from a slightly more modern harmonic idiom, has one foot firmly in the previous century’s folk-like music.  The ending has two options allowing for a slower or faster finish.  The latter preferred if just that movement was performed.  The Rhapsody No. 2 was finished over 1928-1929.  Its history is a bit more complicated as there were two different published versions following a revision Bartok made in 1935.  The latter version is the one most listeners will be familiar with but the original ending is the last track on this program.  The second rhapsody’s character is much like the first, but with far more thematic ideas being presented as the work unfolds.  The musical language has also begun to shift to even more modern gestures.  One certainly hears this most in the revised second movement as closer intervals become more aggressive in the harmony.  The orchestration is quite open at times with great touches of color as different soloists add extra flavor.

    By contrast, the second Violin Concerto, Sz 112 contains no folk themes, however the melodic phrasing borrows from those musical gestures.  The concerto, written for his friend Zoltan Szekely, is cast in a traditional three-movement structure.  Originally, Bartok was thinking of a set of variations, this shows itself in the central movement where a theme and variations, with a most gorgeous theme, becomes one of the concerto’s most memorable moments.  The opening movement originally had a “verbunkos” tempo marking suggesting that Bartok was creating out of the motivic, rhythmic, and harmonic structures of folk music.  The movement also employs an exploration of the chromatic scale, more an allusion to serial technique than a direct application.  The use of engaging melodic ideas helps draw the listener in immediately before they begin veering slightly into more modern musical territory.  The solo line almost feels as if it is watching the dissolution of the past with times feeling romantic, folkish, or modern all at once.  The final movement recalls the opening movement’s theme, now cast more as a dance providing another larger arch to the work as a whole.  Next to Berg’s 1935 concerto, this certainly stands as one of the great works of this period.

    Kelemen’s performance here is simply revelatory.  He somehow manages to make some of the more angular lines feel natural and tone and rhythmic accents are spot on.  The orchestra also manages to shine with different sections balancing well against the soloist.  The sound is indeed something which makes this release stand out as well.  Now, there is some “performer” noise due to the way mikes are picking up things and this may be disconcerting at first, but not distracting.  All said, if you have not yet picked up this performance it is certainly worth adding to your attention.