Composer: George Barati
Works: Symphony No. 1 Alpine (1963), Chant of Light (1994-95), Chant of Darkness (1993)
Performers: Budapest Symphony Orchestra/László Kováks (symphony), Czech Radio Symphony Orchestra/Vladimir Válek (Chants)
Recording: 20-23 Apr 1998, Budapest (Symphony), 29 Sept 1995, Prague (Chants)
Label: NAXOS
George Barati, a Hungarian émigré who shaped a unique voice in American classical music, presents a compelling musical narrative through this collection of works. His Symphony No. 1, composed in 1963, reflects the modernist sensibilities of its time—an era marked by the exploration of dissonance and intricate textures. Barati’s stylistic lineage can be traced back to figures such as Bartók and Roger Sessions, yet his music stands apart for its austere emotional landscape and reluctance to yield to lyrical expression. This recording serves not only as a testament to Barati’s compositional craft but also as a poignant reminder of his personal tragedies that informed his later works.
The performance of the Symphony No. 1, under László Kováks, reveals a rich but challenging soundscape. The outer movements are punctuated by an unsettling energy; they ripple with incident yet resist a clear trajectory, which might frustrate listeners seeking conventional symphonic direction. The andantino tranquillo offers a rare moment of introspection, its wispy melancholy providing a brief respite from the surrounding turbulence. This contrasts starkly with the more assured and expressive nature of the later Chants, which were born from profound personal loss. The Budapest Symphony Orchestra executes Barati’s demanding score with commendable precision, although the dense orchestration occasionally obscures the intricate interplay of voices.
Vladimir Válek’s interpretation of the Chants showcases a more mature Barati—one who channels grief and introspection into evocative soundscapes. The Chant of Light, infused with a sense of aspiration, contrasts sharply with the raw emotionality of the Chant of Darkness, which grapples with the painful immediacy of bereavement. Here, Barati’s textural clarity shines through; the delicate interplay of percussion and strings creates a vivid tapestry, where moments of nobility emerge amidst the tumult. Noteworthy is the slow-motion “lightning strikes” around the 11:30 mark in Chant of Darkness, where massed violins serve as a haunting protest against the darkness that envelops the work.
The recording quality is exemplary, allowing the listener to appreciate every nuance of the orchestration. The acoustics of both Budapest and Prague enhance the clarity of instrumental lines, enabling the intricate details of Barati’s writing to resonate. Compared to other recordings of modernist symphonies, this NAXOS release stands out for its fidelity and the quality of its performances, particularly in the Chants, which reflect a deeper emotional engagement than the symphony.
Barati’s oeuvre, particularly these works, underscores the contributions of Hungarian musicians to the global cultural landscape, often overshadowed by their historical context. The emotional gravity of the Chants, which emerged from personal tragedy, provides a compelling counterpoint to the Symphony’s more cerebral approach. The recording encapsulates the essence of Barati’s vision—one that is unflinchingly modernist yet deeply human.
The depth of emotion and technical mastery displayed in this release merits careful listening. Barati’s Symphony No. 1 may be viewed as a fascinating artifact of its time, but it is the Chants that resonate with a profound sense of loss and reflection. This collection not only honors Barati’s legacy but invites audiences to consider the power of music as a response to personal and collective grief.
