Bartók - Music for strings, percussion and celesta (Barenboim - ECO) - [44.1/16 bits LP Rip] [EMI]

×

Bartók - Music for strings, percussion and celesta (Barenboim - ECO) - [44.1/16 bits LP Rip] [EMI]

Close

. . . HMV ASD2670 (2-35) This Barenboim record represents a direct challenge to the fine disc by Marriner and the Academy of St Martin's, not only in the choice of works (a particularly apt coupling otherwise unavailable), but in the use of a group of chamber size. But thanks in part to the recording, in part to the players and most of all to the two directors, the contrasts are very clear. They are most obviously established in the first movement of the Divertinzento, where Barenboim presents a brutal assault in thundering, rich peasant rhythms. The earthiness of his approach could hardly be farther removed from the refined, clean-cut, even elegant playing of the St Martin's Academy in the same passage. Barenboim and the EGO are altogether wilder, not just in their general approach but in the actual finish of the ensemble, though the shading of dynamic is always beautifully turned, and the clear impression of spontaneity carries one over momentary imprecisions. It is characteristic of Barenboim's positive, individual manner— inevitably different from the corporate St Martin's interpretation—that when the main theme emerges lyrically and gently at bar 73 Barenboim presents the passage with overt romanticism, not quite back to Tempo primo, where the Academy players indulge themselves in less expressiveness. The differences are less extreme in the other two movements of the Divertimento, with Barenboim achieving a hushed pianissimo in the Motto Adagio that matches that of the Academy even though the EMI recording places his players much closer than the Argo. In the finale the rhythmic lilt of both versions conveys jollity, but Barenboim sounds a degree more uninhibited or—to put it the other way round—wilder. In the Divertinzento the red-bloodedness of Barenboim's reading outweighs for me the extra refinement and precision of the St Martin's players. In the illusic for strings, percussion and celesta the issue is more complex, except in the finale where again the wildness of 13arenboim's reading, the simulation of peasant music, again sweeps away any doubts. But the romanticism ofBarenboim's reading of the slow fugue which opens the work will not please everyone. His basic tempo is very slow (the overall timing of 8' 24" is over a minute longer than most rivals) but his stringendo up to the climax is cunningly paced, to be as unobtrusive as possible. The punch of the climax could hardly be greater considering the number of performers. When you go to Marriner, the result is less obviously emotional (many will prefer that), the balances and contrasts of texture are far more precisely controlled, and the extra refinement of the string playing, intonation as well as tone, is very welcome. The first fugal entry of the second violin at bar 12 always presents the danger of suspect intonation (the more so in a chamber group) and the Academy players effectively skirt it, while the EGO sound is comparatively seedy. Not everyone will agree just how important in this work purity of intonation is, but to my mind the Academy scores decisively both in this and in the clarity of the stereo placing. As usual with EMI's records of the ECO the overall impression is warm and realistic, but the antiphony of the string groups is almost too sharply defined. The balance of celesta and harp is very close: they really are percussion instruments rather than aids to colour. For that matter the timpani and piano both sound closer than the strings. Let me make it plain that my reservations, whether over the ECO's playing or the recording balance, are merely relative to the fine achievement of the St Martin's players. In the second movement Barenboim is fierce and intense rather than jaunty as Marriner is. In the third movement the opening musings on the viola and second violin are taken by solo players, with what justification I cannot say, but the result is more lyrical. In the finale the headlong rush is halted at letter D for a very much slower tempo for the following eleven bars, not just the un poco meno mosso specified. Even so Barenboim makes all his tempo changes sound natural and spontaneous. I wondered at times whether he was leading from the solo piano (no soloists named on the sleeve) but even Barenboim and the EGO could hardly have achieved the precision they do with that arrangement. Choice between this HMV disc and the Argo is not easy. If the Divertimento is of particular importance then I would suggest going for the new Barenboim. Otherwise it is a question how romantic you like your BartOk or how precisely you require the ensemble to be. For what it is worth, one of my most devotedly Bartaian friends opted firmly—without being told names —for Barenboim.

×

Bartók - Music for strings, percussion and celesta (Barenboim - ECO) - [44.1/16 bits LP Rip] [EMI]

Close

×

Bartók - Music for strings, percussion and celesta (Barenboim - ECO) - [44.1/16 bits LP Rip] [EMI]

Close