Bartók: The Miraculous Mandarin Suite, Op. 19 | Hungarian Radio Symphony Orchestra & Christian Badea

Béla Bartók: The Miraculous Mandarin Suite, Op. 19 (A csodálatos mandarin) | Hungarian Radio Symphony Orchestra & Christian Badea | George Enescu Festival | 21.09.2021 | Bucharest Palace Hall
Recorded from public broadcast. Enjoy!
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Béla Bartók composed his pantomime The Miraculous Mandarin (A csodálatos mandarin) in short score between October 1918 and May 1919. At the time, he was living under difficult conditions in a small village east of Budapest. The defeat of Austria-Hungary in World War I and its subsequent fragmentation translated into hardship and privation for central and southeastern Europe in the years after the war. The Bartóks had no electricity, no running water, little fuel, and not much food, and, to compound the situation, the composer contracted Spanish Influenza in 1918. Medical help had to be brought in from Budapest; eventually, the family gave up and moved to the new Hungarian capital.
The capital itself was a site of political upheaval, with a rapid succession of governments in 1918-19. In the fall of 1919, a right-wing government under Miklós Horthy took power, and the left-leaning Bartók fell under suspicion for his ethnomusicological activities, which had taken him into Transylvania and Slovakia, both formerly Austro-Hungarian territories that had become parts of two newly-formed nations, Romania and Czechoslovakia. The right-wing press attacked him for secretly being a Romanian Nationalist and a traitor to Hungary. Bartók, with no prospect of securing a performance for Mandarin in Budapest, set the work aside until a first performance was arranged for Cologne. The composer orchestrated the pantomime in 1924, and it was premiered on November 27, 1926. The work was not performed in Budapest until after Bartók's death, in 1945.
The Miraculous Mandarin was withdrawn after its premiere at then-Oberbürgermeister Konrad Adenauer's insistence. Music had offered up a work of great importance (Bartók thought the score one of his best, and hated that his ballet The Wooden Prince, which he thought far inferior, was performed far more often), but it fell victim to the struggle between artistic adventure and political caution, between the left and the right that defined Germany in the 1920s. (Adenauer was a prominent figure in the conservative Catholic Center Party and almost became chancellor twice during the Weimar Republic before finally winning the office in 1949 as the first leader of West Germany.)
The Suite addresses concerns about the "filth" of the plot by stopping at the point where the Mandarin chases the girl, before the tramps' three attempts to kill him and his sexual union with the girl. The Suite begins with the pantomime's overture, a striking portrait of the unsettling dynamism and vigor of the seedier side of the modern urban landscape. A languorous melody unfolds slowly, seductively on the clarinet as the girl appears at the window to entice her first victim. Stuttering rising glissandos in the trombones characterize the stumbling, disheveled old man, the tramps' first victim. The girl returns to the window with a variation of the clarinet melody to lure the young man, who is represented by the oboe. Further development of the clarinet theme marks the girl's third appearance in the window - now shuddering strings, glissandos in the harp and piano, and breathless figures in the other winds heighten the tension. The trombones, reinforced by cymbals and bass drum and underpinned by an unsettling tremolo in the whole orchestra, announce the arrival of the Mandarin with terrifying majesty. Bartók uses the Mandarin's motive as the basis of the maiden's dance. The chase elicits music of sustained rhythmic energy unmatched elsewhere in Bartók's output.
- John Mangum