Bartok: Music for Strings, Percussion and Celesta

Finally after some long time, I have ample time to spend time on internet. I have three recordings to compare here, two by Chicago Symphony under direction of two different maestros and one by Berlin Philharmonics led by Herbert von Karajan. By all means my review would not glorify one recording and lambast another for one certainly cannot own just one recording of this work. All three are certainly fascinating in their own way although at the end, I cannot deny which recording is my favorite and least although the most inferior one is not to be entirely dismissed. By all means, all three certainly has it's own hits and misses.

Fritz Reiner's "landmark" recording needs no mention when it comes to it's popularity among other contenders in the market. Technically, it sounds unsurpassed when it comes to sheer brutality and rhythmic bite by the Chicago folks. Some critics also mentioned Reiner's affinity with Bartok and Hungary's cultural background thus the folk influence of the work is more apparent. The numerous gear changes in time signature seems like a cakewalk to them since it's easy for lesser-skilled conductors and their orchestras to slam brakes and slowing down just to prevent things from falling apart. Numerous praises heaped on this recording failed to mention some cons, notably the technical superiority of the Chicagoans and interpretation of Fritz Reiner. Their playing is so perfect that the tempo employed allow little for the music to breathe, and I have to mention this is most apparent in their recording of Beethoven's Coriolan Overture. As technically brilliant as the CSO strings, they lacked the muscle of Karajan's Berliners which is richer, intense, fuller and highlights Bartok's magnificent string writing like no other. Last but not least hile this record is much praised for recording technique that surpasses it's time, the sound is admittedly too dry and a little shallow in the acoustics. Boulez' DG recording with the same orchestra is on the contrary.

Pierre Boulez' recording with the same orchestra some forty plus years later sacrifices rhythmic tautness and a little momentum for clarity in details. The notion that Boulez is clinical to a point of being devoid of emotion is nonsense, of course. Thus, the melancholic gloom of the "Apollo" fugue of the first movement and the surreal, spooky night music of the third movement can be clearly felt. A little bit lost momentum in the fast movements robs the tautness and vigority one gets used in, say Reiner's recording. I particularly like the timpani better than the other recordings since's it has a little more punch but that doesn't save these movements from being a bit dull. Boulez approach works best for the spooky terrain of third movement's Nachtmusik. The climax centres around the combined arpeggio-like buildup of celesta, piano and harp and the textures presented are the best I've heard of all the recordings.

Lastly is the Karajan's Berlin Philharmonic recording on DG. This recording was recorded in 1969, so I am not sure if it's the 2nd or 3rd account here (other than the EMI version). This Karajan recording are for those who prefers emotion over the intellectual aspect of the work. If you think Fritz Reiner's account is overhyped because of it's coldness, this CD will probably appeal to you. Technically, rhythm is just perfect and not too overdriven. There are huge dynamic difference in the first movement for example, from the pianissimis rarely observed at the opening of the fugue until the mutes are removed where Berliner strings emerges uncloaked like ghouls crawling out from a grave. The last movement alone is worth the price of the disc with the opening bars executed with conviction, the dance interlude has best snap attacks ever and the agressive acceleration at the second subject will leave you breathless. Cons? The playing of celesta and piano seems a little bit weak and underperformed, but that doesn't mar the whole performance. Other "fillers" or "courses" like Reiner's Concerto for Orchestra, Boulez' Miraculous Mandarin and Karajan's Apollon Musegate are worth listening as well.

Reiner/CSO:

Technical: 10
Interpretation: 8
Recording: 8

Boulez/CSO:

Technical: 8
Interrpretation: 8
Recording: 9

Karajan/BPO:

Technical: 10
Interpretation: 10
Recording: 8