August ENNA (1859-1939)
Overture Cleopatra (1893) [8:38]
Violin Concerto in D major (1897) [25:54]*
Symphonic Fantasy (1930-31) [28:42]
Kathrin Rabus (violin)*
NDR Radiophilharmonie/Hermann Bäumer
rec. 14-18 February 2011, Grosser Sendesaal, Funkhaus NDR, Hannover.
CPO 777 674-2 [63:40]
Fans of Danish music are less likely to have come across the name August
Enna than his contemporary Carl Nielsen, but the CPO label are doing us
all a service by drawing attention to one of this country’s very
fine but sadly neglected musical voices. Enna’s influences included
Wagner, and this can strongly be heard in the Overture from his
opera Cleopatra. Enna is probably best remembered for his operas,
and if this powerful chunk of music is anything to go by then a revival
of this work would seem to be overdue.
The Violin Concerto in D major is much more open in character,
and while some gorgeous sonorities are generated the soloist is left plenty
of room for colour and subtlety in spinning their amicable musical narrative.
Jens Cornelius’s booklet notes indicate that the concerto “stands
with one foot in Nordic music and the other in Italian opera”, which
sums up its character very well indeed. The expansive vestures of the
outer movements have a distinctive outdoor feel, while the central Andante
opens with a quote from Leoncavallo’s I Pagliacci, which
Cornelius posits may be Enna’s “self-portrait … the
eternal entertainer, unveiling what actually lies behind his mask.”
However we interpret it, this is excellent music which manages both to
maintain tradition in terms of violin concertos, while communicating plenty
of personal expression though numerous distinctive passages, if not that
one ‘big tune’ which might have given the work a higher profile
in our times.
The Symphonic Fantasy is one of relatively few orchestral works
from this composer. There are some mysteries surrounding its content and
conception, but as it stands the work has plenty going for it, with remarkably
effective orchestration and truckloads of rich harmonies and gorgeous
melody. Enna continued composing in a romantic idiom into this his last
orchestral piece, and if listening ‘blind’ I doubt many would
label it as from the early 1930s. There are flecks of Tchaikovsky and
moments Wagnerian, but this still remains glorious concert music which
rises well above accusations of reactionary weakness.
I’m glad to be able to agree with Rob Barnett (see review)
that August Enna is a name well worth exploring. It’s a shame that,
like Rued Langgaard, he came to resent the success and fame achieved by
Carl Nielsen, but with such fine and clearly committed performances as
these at least now we can view Enna’s work objectively, and appreciate
it for its honest and highly attractive musical vision.
Dominy Clements
Previous review: Rob
Barnett
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