★★★★☆ Shaham and Boulez pair for a vivid, detailed, Bartok 2nd, but there's a lack of spontaneity

Bartok: Violin Concerto No. 2; Rhapsodies

Pierre Boulez has made a name for himself in Bartok, and Gil Shaham has recorded a glittering array of concerto discs for DG, so it's easy to see why listeners are attracted to this disc. I've just recently come to know the Bartok Second Violin Concerto, and have been amazed at the wealth of inspiration; it has sent me running around, buying half a dozen copies. Surely this disc should be one of them?

This is clearly a beautiful interpretation, one that takes advantage of the sound of the Chicago Symphony, which plays with impeccable polish.  Shaham is assured and golden-toned. This is Bartok played more for elegance than the struggle, for sure, so it sounds a bit smoothed over. Boulez is an accomplished conductor, and there's no denying that he finds a wealth of ideas. But I miss the elements of desperation and agony. The detail and novelty are on a high level, but it doesn't emotionally charge you.

The concerto is ambiguous enough that a slight tinkering with the line can have far-reaching results. Bars that can sound ponderous can be turned into scintillating mystery seemingly at the press of a button. Shaham doesn't believe in such a volatile world, though. His playing stands out for its clarity, poise, and supreme virtuosity. And indeed, he plays with an ease that betters most of his rivals on disc. He's very much in tune with a romantic sound world. But the main point of this concerto, again, is its unpredictability, and there's a place for brutality. As it is, we wallow in a world of mesmerizing sounds, especially in the second movement, where both Shaham and Boulez are somber and achingly beautiful. If only it could be less drawn out.

The Rhapsodies are more successful, because here Boulez's sensitive touch and and simultaneous richness adds a great element of warmth. It's bittersweet though, just like it should be. It's not tragic, but these short pieces don't need to be; I welcome the extra folk element. Shaham's tone is luxuriant, and if at times the mood is meditative, I'd argue that it works. Certainly it's emotionally gripping.

Maybe you shouldn't run out and buy this reading, as high level and professional as it is. I'm more convinced by readings from Chung, Zehetmair, and Faust. By all means this is an engaging reading, but it doesn't leave you feeling like you're going to die. I wish it would.