In 1988 EMI reissued the 1953 Menuhin/Furtwängler Bartók Second Concerto, coupled with the violinist’s 1947 premiere recording of the composer’s solo violin sonata (Menuhin commissioned the work from Bartók). Here’s the concerto remastered, but it’s now coupled with Menuhin’s 1957 mono LP remake of the solo sonata. In every respect I prefer the sonata’s earlier recording. Even with 78 rpm surface scratch, the 1947 engineering sounds warmer, fuller, and less shrill and strident than the close-up, airless 1957 sonics. Furthermore, if you compare the 1947 Menuhin’s excellent intonation and uncannily clear part playing in the Fugue with his raspy, choppy, thinner-toned, technically inferior 1957 self, you’ll wonder if it’s the same fiddler. In 1947 Menuhin took the presto slightly slower but sung out the whirling patterns with more variety of tone and a securer bow-arm. In neither recording, incidentally, does Menuhin attempt Bartók’s written microtonal passages, opting instead for the conventional alternatives.
As for the concerto, Furtwängler doesn’t vivify the incisive woodwind writing in the outer movements with the rhythmic spring characterizing Antal Dorati’s accompaniments for Menuhin’s three other recorded versions. Nor does he fully honor the composer’s carefully gauged dynamic levels. Yet the central Andante tranquillo has plenty of mysterious atmosphere and sustained lyricism, together with Menuhin’s almost improvisatory parsing of the cadenza-like passages that bookend the movement. In the present transfer, the winds and high strings open up on top, but the equalization also renders an unattractive edginess to the solo violin’s upper partials. Still, you might consider this release if you want the Menuhin/Furtwängler Bartok Second Concerto. But if the Sonata’s your main interest, Menuhin’s 1957 recording remains outclassed by the violinist’s younger self.
