Composer: George Enescu
Orchestra: Tampere Philharmonic Orchestra
Conductor: Hannu Lintu
Number of Discs: 1 CD
Format: DSF (tracks)
Bit Depth: DSD 64 (2,8 MHz/1 Bit)
Number of channels: 2.0
Size: 2.75 GB
Scan: yes (PDF)
George Enescu – Symphony No. 2 & Chamber Symphony (2015)
George Enescu (1881-1955)
Symphony No. 2, Op. 17
01. I. Vivace ma non troppo 20’09
02. II. Andante giusto 14’27
03. III. Un poco lento, marziale – 4’01
04. IV. Allegro vivace, marziale 14’39
Chamber Symphony for 12 instruments, Op. 33
05. I. Molto moderato, un poco maestoso 5’54
06. II. Allegretto molto 3’54
07. III. Adagio 2’04
08. IV. Allegro molto moderato 3’58
Ondine is pleased to announce the first release of an Enescu cycle with the Tampere Philharmonic Orchestra under the baton of its artistic director Hannu Lintu.
George Enescu is Romania’s most important composer – and one of the most neglected composers of the 20th century.
Artistic director of the Tampere Philharmonic Orchestra since 2009, Hannu Lintu has rapidly been creating an international career and is a sought-after conductor.
Previous work from the Tampere Philharmonic Orchestra, Hannu Lintu and Ondine include Rautavaara’s opera Kaivos (ODE11742) and a recording with works by young Finnish composer Uljas Pulkkis (ODE11762).
There is a pedigreed narrative about the emergence of canonic composers in the eastern half of Europe in the late nineteenth and early twentieth centuries. Like social modernisation, cultural renewal during the nineteenth century was supposedly a response to ideas and practices from the charismatic cultural capitals of Western Europe: an appropriation and then a transformation of modalities developed elsewhere.
And because of this response mode, so it is argued, there was initially an element of ‘forms without substance’ about the process. Then, as this response slowly fused with a developing nationalist commitment, music in these regions found its ‘historical moment’, initially in the Czech lands, and then in Hungary, Poland and Romania. When the conditions were right, significant composers, including Béla Bartók, Karol Szymanowski and George Enescu, appeared on cue.
George Enescu is best remembered for his evergreen Roumanian Rhapsody No. 1, but most of his music has taken a long time to enter the western repertoire. Because the Symphony No. 2 in A major and the Chamber Symphony for 12 instruments have been treated to a handful of recordings, they are perhaps more familiar to listeners than most of his works, though limited availability still keeps them from a wider audience. That’s why Hannu Lintu’s recording of these works for Ondine is an important contribution to the catalog, because his clear and cogent readings with the Tampere Philharmonic Orchestra have the potential to establish these pieces outside Romania. Enescu’s youthful energy, gift for memorable thems, and lush post-Romantic orchestration in the style of Richard Strauss make the Symphony No. 2 an engaging piece that listeners will immediately appreciate. The Chamber Symphony was Enescu’s last composition, left incomplete because of a stroke, so the work was finished by Marcel Mihalovici. It is somewhat less ingratiating because of its serious mood and comparatively thin textures, but its lyrical lines and coherent development make it accessible. Ondine’s recording of the symphony is spacious and vibrant, and all the details of the score are presented in gorgeous colors. However, the sound of the Chamber Symphony is dry and close to the instruments, making its sonorities sharp and austere. ~~AllMusic Review by Blair Sanderson
BBC Music Magazine
There are other good versions of this sumptuous work [the Second Symphony]…but this new Finnish account is at least their equal in impetus and recorded sound…Lintu and his players sympathetically expound [the Chamber Symphony], at once elegiac and exploratory…At once cosmopolitan and nostalgically Romanian, this is a little masterpiece.
[the Second Symphony is] expressively elusive, for sure, and in style somewhat backward-looking, but find its scoring nicely judged and not at all congested. The Tampere players seem to relish repertoire that sounds both familiar and unfamiliar. Hannu Lintu directs sympathetic performances