Flemish Concertos for orchestra
Jef MAES (1905-1996) Overture Concertante (1961) [6:50]
Arthur MEULEMANS (1884-1966) Concerto for orchestra No. 1 (1953)
[18:21]
Norbert ROSSEAU (1907-1975) Concerto for orchestra No. 1, Op.
37 (1947) - III. Scherzo – only [3:58]
Arthur MEULEMANS Concerto for orchestra No. 2 (1956-7) [19:39]
Royal Flemish Philharmonic/Martyn Brabbins
rec. 10-12 February 2011, deSingel, Antwerp. DDD
ROYAL FLEMISH PHILHARMONIC RFP002 [49:07]
Three Flemish concertos for orchestra present their calling card, even if
one of them is represented by a parsimonious fragment comprising just one
movement. There’s also Jeff Maes’ rather catchy and imaginative Overture
Concertante to usher the listener in.
The Royal Flemish Philharmonic is already known to collectors from their Marco
Polo and Naxos discs. In addition they have appeared with Martyn Brabbins
on Hyperion in two CDs of the Vieuxtemps violin concertos (1 and 2: CDA67878
and 4 and 5: CDA67798) and Mortelmanns’ Homerische Symfonie (CDA67766).
They have now launched their own label with three series of which this CD
forms part of the Belgian Boutique line.
Maes was a self-taught composer whose orchestral inheritance only announced
itself after World War II. His 1961 Ouverture Concertante is a zesty
and effervescent piece with a darker middle section. Certainly the music is
melodious – a little like Kabalevsky - and has little truck with modernist
trends, dissonance or ‘-isms’. This flamboyant overture was often used by
the RFP as an opener for concerts conducted by Eduard Flipse; no wonder.
The core of the ‘offer’ lies in Meulemans’ two numbered Concertos for
Orchestra – 1950s vintage. The First is modelled on Bartók’s Concerto
for Orchestra. You can hear this in the bubbling flow of woodwind in
the second movement. The third movement is colder - not exactly gaunt – but
mercurially discursive. The harp’s arpeggiation makes play with the woodwind
as zephyrs stir and weave. The finale is more sanguine, bubbling and jolly.
We are in the same region as the Ibert Bacchanale, the Maes Ouverture
and the Moeran Overture for a Masque. It ends in an extravagant wave
of euphoria.
The Second Concerto is replete with ideas in collision or indifferent
to each other. Everything is melodic but the density of the weave produces
a pleasant jibber-jabber. The second movement’s flighty sighing and wisps
precede the third’s musing woodwind choir and a mournful, romantic and restless
obsession with change. The final section’s metallic crashing and arrogant
brass fanfares mingle, surge, wax and wane. Meulemans turns to fugal writing
then presses forward into chattering exultation and a blazingly positive climactic
sunrise. Very attractive material.
How sad that in a disc that runs to such a short playing time we get only
the third movement of Rosseau’s First Concerto for Orchestra. Its chattering
woodwind might remind some British listeners of Ronald Binge. It’s blithe
of countenance and then adopts a Pulcinella manner. Once again this
is very attractive so let's have the whole thing next time and at least
one complete Rosseau CD.
Brabbins has already added magnificently to the store of recorded music with
many discs for Hyperion including the recent Gothic BBC co-production.
The essential notes are by Tom Janssens.
There you have it: three engaging Flemish concertos for orchestra and an effervescent
overture. Pity about short playing time and the fragmentary Rosseau.
Rob Barnett
Three engaging Belgian concertos for orchestra and an effervescent overture.
Pity about short playing time and the fragmentary Rosseau.
see also review by Hubert Culot