Enescu: Symphony No. 3; Romanian Rhapsody No. 1

Enescu: Symphony No. 3; Romanian Rhapsody No. 1

Enescu: Symphony No. 3; Romanian Rhapsody No. 1
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CD Details

Composer: George Enescu
Conductor: Gennady Rozhdestvensky
Orchestra: BBC Philharmonic Orchestra
Edition: Music CD
CD Release Date: 1998-07-21
Music Label: Chandos
Soundtracks:
  1. Symphony No. 3, Op. 21 In C Major: I. Moderato, un poco maestoso
  2. Symphony No. 3, Op. 21 In C Major: II. Vivace, ma non troppo
  3. Symphony No. 3, Op. 21 In C Major: III. Lento, ma non troppo
  4. Romanian Rhapsody, Op. 11 No. 1 In A Major

Music reviews of Enescu: Symphony No. 3; Romanian Rhapsody No. 1

Music Review: A Balkan Late-Romantic
Rating: 5 Stars

George Enescu's (1880-1955) Third Symphony in C-Major (1919-1921) surpasses even his Second in A Major (1916-1917) in the sumptuousness of its instrumentation and the largeness of its scale. The Second deploys a huge orchestra, which the Third not only duplicates but then bolsters by the addition of a wordless four-part chorus and an organ. Like the vast, late tone-poems of Richard Strauss or the feverish orchestral compositions of Alexander Scriabin, the symphonies of George Enescu seem ripe with narrative and philosophical import. Their proximity to World War One, in which Romania fought with the Allies, underlines the impression. If the Second be agitated and desperate throughout, managing only a mock victory in the martial apotheosis of the Finale, the Third traces a development from agitation and despair to something like conciliation or hope. The long First Movement (Moderato, Un Poco Maestoso [20.27]) begins quietly over a slow duple rhythm in the timpani; the mood remains dark, even as a trumpet signal attempts to light the scene from out of the depth. A theme in three-quarter time briefly clarifies the atmosphere, which returns, however, to brooding cloudiness. The trumpet-signal later becomes a richly harmonized fanfare, strongly reminiscent of those in Ernest Bloch's "Schelomo." The climax happens about thirteen minutes into the movement, where Enescu asserts the major key, only to let it subside in renewed minor-key disgruntlement. The opening material, with its timpani rhythms, returns with perfunctory ferociousness at the end. Rozhdestvensky paces this Moderato with fine calculation and, helped expertly by the Chandos engineers, brings out the subtleties of Enescu's orchestral counterpoint. The Second Movement (Vivace, Ma Non Troppo [15.21]) combines dance-like gestures with grotesque elements, somewhat in the manner of a Mahler scherzo. The gloomy and threatening march from the beginning of the Moderato resurfaces in a most glowering guise. The Third Movement (Lento, Ma Non Troppo), lasting nearly as long as the First, achieves its hard-earned relaxation with the help of the chorus and the organ. Enescu borrowed Cesar Franck's "cyclical" model for his First Symphony and used it again in both the Second and the Third. The Third's Lento thus retrieves material from the Moderato and the Vivace in altered form. The end comes quietly. The coupling is Enescu's Romanian Rhapsody No. 1 (1902), suitably energetic under Rozhdestvensky's direction. Musicologist Gabriela Ocneanu links Enescu to "impressionism" broadly construed as movement embracing not only Debussy's idiosyncratic harmony but Gregorian archaism as in Respighi and Eastern European folk-music exoticism as in Bartok and Janacek. She writes of Enescu that he "assimilated these currents so as to be able afterwards... to give [them] their full strength. In this way Enescu helped to reveal certain... essential characteristics of... human spirituality, which thus could appear and grow at [a] favorable moment." Rozhdestvensky's performances underline Ocneanu's argument. A magnificent disc, with an attractive booklet (photographs of Romanian folk-life on the cover) and decent, if not excellent, notes. Recommended.
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