This Ondine release is the second of a projected George Enescu cycle
from Tampere and Hannu Lintu, a past artistic director of the Finnish
orchestra. Enescu is surely Romania’s most important composer and as a
contemporary of Bartók and Stravinsky is also one most of the most
neglected of the 20th century.
First the
Ouverture de Concert sur des Thèmes dans le
Caractère Populaire Roumain. It was written while Enescu was
residing in Paris, suffering from illness, cut off from the assets he had in
his native Romania. He dedicated it to the memory of his patroness Romanian
princess Elena Bibescu who had died over forty years earlier in 1902. Like
many of Enescu’s works it was inspired by themes from Romanian folk
music. The frolicsome opening, evocative of a pair of peasant folk fiddlers,
sets the scene. Next there’s a swift change to richer scoring of a
more serious rather tragic character. From then on he moves within a range
of serious moods. A dark and weightier central section easily evokes rugged
mountainous regions in stark winter weather. Strongly committed playing from
the Tampere Phil gives fresh directness to Enescu’s forceful and
fertile imagination.
The
Symphony No. 3 is scored for large orchestra and wordless
chorus. It was started in 1916 in the mountain resort of Sinaia just before
Romania entered the First World War. Enescu continued to work on the score
whilst staying in Iaci, Moldavia and completed it there in 1918. He
conducted the première in 1919 in Budapest. Dissatisfied, Enescu
undertook alterations in 1920 with this revised version being successfully
introduced in 1921 in Paris. It seems that he was never fully satisfied with
the symphony and made minor alterations to it right up to his death. It has
been suggested that the three movements of this dramatically colourful
Symphony may represent Hell, Purgatory and Heaven in the manner of
Liszt’s
Dante Symphony. Moody and squally, the opening
Moderato is suffused with dark and disturbing writing of a distinctly
cinematic quality. The brassy
Scherzo-like central movement
Vivace, ma non troppo has strong march-like elements reminding me of
a Max Steiner or Korngold score to an Errol Flynn adventure. As the writing
turns darker and denser we reach a weighty and wildly dramatic outburst at
10:53-11:13. Slow and solemn with sumptuous orchestral colours the
Finale:
ma non troppo has a wordless chorus with a
conspicuously liturgical quality first heard at 3:43. Suggestive of the
consecration rites of the Catholic Church a tolling bell at 13:21 heralds
the conclusion with the music fading away to nothing. Throughout Hannu Lintu
conducts the Tampere Phil with real penetration and his obvious advocacy for
the music strongly held my attention. Lintu’s interpretation ensures
the emotional impact of the writing comes over with telling effect.
This admirable release has the advantage of commanding sonics from
the Ondine engineers - a full rich sound with an excellent balance.
Michael Cookson
