Composer: Béla Bartók
Works: Concerto for Orchestra (1943), Taras Bulba (1918), Concerto for Orchestra (1939)
Performers: Israel Philharmonic Orchestra/Zubin Mehta, Philharmonia Hungarica/Antal Dorati, Cleveland Orchestra/Christoph von Dohnányi
Recording: Sept-Dec 1973, Marl, Germany (Kodály), March 1975 Kingsway Hall (Bartók), Oct 1989, Masonic Auditorium, Cleveland, Ohio (Janáček)
Label: DECCA
Béla Bartók’s Concerto for Orchestra stands as a monumental work of the 20th-century orchestral repertoire, emblematic of the composer’s synthesis of folk idioms and modernist techniques. Written during a period of personal and political upheaval, it represents Bartók’s embrace of American orchestral traditions while remaining deeply rooted in his Hungarian heritage. The present anthology, featuring performances by Zubin Mehta, Antal Dorati, and Christoph von Dohnányi, offers a compelling exploration of three central European giants, each contributing a distinct voice to the orchestral landscape.
The recording of Kodály’s Concerto for Orchestra, under Dorati’s baton, is particularly noteworthy for its spirited and buoyant character. Dorati emphasizes the work’s folk-infused vitality, coaxing a vibrant sound from the Philharmonia Hungarica, which, while slightly less polished than contemporary ensembles, imbues the performance with an authentic warmth reflective of its origins. The orchestration shines in moments such as the second movement, where the woodwinds engage in a playful dialogue, their timbres dancing in the air with a freshness that recalls the countryside’s exuberance. However, it is crucial to recognize that this performance, while affable, does not achieve the same level of incisiveness found in others, such as the recordings by the Chicago Symphony Orchestra under Frederick Stock, which are often heralded for their incisive energy and clarity.
Zubin Mehta’s interpretation of Bartók’s Concerto for Orchestra presents a more complex engagement with the text. The Israel Philharmonic’s performance reveals a robust orchestral palette; Mehta’s direction gives the music a distinctly romantic twist, particularly in the Intermezzo interrotto. Here, the woodwind solos are highlighted with a zeal that both charms and challenges the listener, drawing attention with an almost seductive quality. The recording captures the textural depth of Bartók’s orchestration—consider the stark contrasts between the lyrical and the percussive, which are vividly articulated in this performance. However, the finale feels somewhat diffuse, lacking the tautness that some other recordings, particularly those by Leonard Bernstein or Esa-Pekka Salonen, manage to achieve with their more stringent pacing and dynamic contrasts.
Christoph von Dohnányi’s reading of Janáček’s Taras Bulba offers a contemplative counterpoint to the more extroverted works on this disc. The Cleveland Orchestra delivers a sound that is rich and resonant, beautifully balancing the work’s expansive gestures with moments of intimate reflection. Dohnányi’s approach is marked by a measured, almost prayerful quality, particularly in the poignant “Death of Andrij,” where the strings evoke a deep sense of mourning. This reading provides a thoughtful alternative to the more dramatic interpretations available, such as those by Serebrier or Ančerl, which employ a more overtly theatrical approach. The sound quality is notable, with a warmth that enhances the emotional depth of Janáček’s orchestration, though modern listeners may find themselves yearning for the sharper delineation of details that contemporary recordings can offer.
This compilation, while it showcases the breadth of central European orchestral music, reflects a complex tapestry of interpretation. Each conductor brings a unique perspective, yet the collective sound is uneven—some performances resonate with clarity and purpose, while others meander without the necessary incisiveness. The engineering, although competent, does not always capture the full vibrancy of the orchestras involved; moments of brilliance are sometimes obscured by a less-than-ideal sonic landscape. Despite these variances, the anthology remains a valuable exploration of these significant works, particularly for those interested in the evolution of orchestral performance practice during a pivotal era in music history. The performances, though not universally definitive, offer insight into the interpretative choices that shape our understanding of these vital compositions.
