The final release of the George Enescu (1881-1955) symphony cycle includes two neglected masterpieces: the 1st Symphony filled with youthful energy and the poetic and lyric Symphonie concertante for Cello and Orchestra. The soloist of the Symphony concertante is the award-winning cellist Truls Mørk. Enescu wrote both of the works at a relatively young age: the Symphonie concertante was written at the age of 20 and the 1st Symphony was premiered when the composer was 25 years of age. Even so, Enescu had already created himself an impressive career as a composer with several large-scale works.
Ondine is pleased to announce the second CD in their Enescu cycle. The first release featuring Symphony No. 2 and the Chamber Symphony Op. 33 was highly praised by critics and nominated for the Gramophone Awards 2013. Enescu is Romania’s most notable composer – and one of the most neglected composers of the 20th century. This release demonstrates a master of orchestral colour and impressive imagination.
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.
Most recordings of Gustav Mahler's Symphony No. 1 in D major present it as it was published in 1899, in the definitive four-movement version. Yet an earlier state of the work was the 1888 tone poem Der Titan, which not only lent its title as an unofficial nickname for the work, but also contained the Blumine movement, which Mahler dropped from the final score. Curiously, many modern conductors have incorporated it back into the symphony as the second movement, even though its slow tempo and sentimental mood break the momentum and excitement created by the joyous first movement.
Since winning the Silver Medal and the Krystian Zimerman Sonata award at the 2015 Chopin Piano Competition, Montreal and Quebec at large have been gaga – for good reason – over Charles Richard-Hamelin. Recorded live in concert this past May at Salle Raoul-Jobin of the Palais Montcalm in Quebec City, this album may begin conservatively with Beethoven’s Two Rondos for Piano, Op. 51, but takes a turn with George Enescu’s Second Suite, Op. 10. With the Enescu, Richard-Hamelin digresses from clinical Classicism into the Romanian composer’s grandiose late-Romantic chromaticism. Even in a live recording, Richard-Hamelin shows not only acute elegance and poise, but extreme precision and a heightened emotional sensibility.
With his seven symphonies the Finnish composer Jean Sibelius marks a high point in the symphonic repertoire of the 20th century. The music evokes the ghostliness of the Finnish landscape, carries an inner strength and depth and proves itself full of technical fi nesse that still poses a challenge for both conductors and performers. For Sibelius “a symphony is not a ‘composition’ in the ordinary sense. Rather, it is a declaration of faith at different stages of one’s life.”
The viola works on this recording fuse lyricism with virtuosity, and sometimes invoke folkloric moments as well as more rhapsodic flights. Martinů’s 1955 Sonata plays on elements of folk music and rhapsody, as well as a toccata-like intensity and a pervasive feeling of nostalgia. Kodály’s Adagio is an early work, highly expressive and richly romantic, whilst his compatriot Dohnányi wrote a Sonata of mature distinction, employing variations and transformed themes to magical effect. Joachim, upholder of the German violin school, also composed, and in his Hebrew Melodies crafts great pathos, whilst Enescu’s Concertstück fuses the lyrical with the dashing, as befits a competition test piece.