BARTOK. Concerto for Orchestra. Boston Symphony Orchestra conducted by Rafael Kubelik. DG 2530 479 (2.95).

Selected comparisons:

LSO, Solti (12/85) SXL8212

Berlin PO, Karajan (5(88) 139 003

Berlin PO, Karajan (1/75) ASD3048

This, rather surprisingly, is the first ever recording of the BartOk Concerto for Orchestra by the orchestra which inspired it. It is of course superbly played, but for once there is remarkably little display for its own sake. That of course is a mark of extra assurance with such a conductor and such an orchestra, for Kubelik here as in his earlier version with the Royal Philharmonic (HMV ASD312—now deleted) refuses to push the music too hard. Even more than before he presents a relaxed view with the rhythms pointed to bring out the wit, above all the peasant-like jollity. Only in the second movement "Play of the couples" does Kubelik's shaping seem in any way self-conscious and then it is no more than momentarily fussy. Otherwise this is a performance to keep making you smile with delight, not merely in the `gallumphing' of the brassy climax of the first movement or the highspirited gaiety of the finale (normally tense rather than jolly), but in the famous Shostakovich parody of the fourth movement, which does genuinely nudge you in the ribs with the chattering woodwind simulating laughter. In sheer animal excitement and biting intensity Kubelik may give points to both Solti and Karajan, but in its way his underlining of a different, more carefree side of this most approachable of Bart& scores is just as valid, and certainly just as compelling thanks to the precision and polish of the playing. It may be a relatively relaxed performance, but helped by the ripe Boston recording quality the dynamic contrasts are never underplayed. In the slow movement indeed Kubelik provides the ideal half-way point between the bitingly precise Solti (on Decca) and the headily atmospheric Karajan (DG and EMI). Like Solti, Kubelik fractionally exaggerates what might be described as the ethnic snapping rhythms, but adopts the same slow tempo as Karajan and similarly plays on a comparable warm acoustic.

This is of course a more polished reading than Kubelik's earlier version, but this time he offers no fill-up, where before he had the Two Portraits. At least DG are quite open about the poor value in playing time, refusing to spread out the grooves on the disc and giving the precise timings of movements on the sleeve—under seventeen minutes on Side 1, under twenty-two minutes on Side 2. Among the versions listed above, only Solti provides a coupling and that is the substantial Dance Suite. The DG recording is warm and atmospheric but equally has good inner detail. It is typical that the trumpet solos in the last movement do not stand out nearly as much as usual from the orchestral ensemble.

E.G.