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Forgotten Records, which we have already spoken, exploits the fertile vein recordings of Prague after the war. A recent publication suggests Edouard Lalo edited by Constantin Silvestri. The CD is complemented by works of Cesar Franck by the top two teams from Bohemia, headed by local chiefs.

The few great cello concertos of the Romantic count among them the dramatic D minor Edward Lalo. Halfway time highs signed Robert Schumann and Antonín Dvořák, the score by Lalo, less accomplished, remains firmly anchored to the directory. The weakness of the literature to explain this shape this success, as the work of the French knows fascinated by its dramatic effect (the famous onslaught of the orchestra's Prelude, responding to the tragic melody of the soloist) tempered by the impulsive charm of the intermezzo median. Too bad the finale and coda, too agreed undermine the initial impression and leave a mixed taste in the ear.

Redoutable part for the soloist. His play, detached from the orchestral mass, is exposed to all risks. But André Navarra is an outstanding musician, broke the challenge. That day in 1953, along with a Czech Philharmonic Orchestra conducted by Constantin Silvestri soberly, he can light up a partition that is dear to him. His technique is impeccable melodic biased constant. The Romanian leader refuses to use the power of the orchestra to its maximum, as are wont to do so many directors of second order in the minutes of the concerto. And we know how brave it is for a leader to accept the erasure behind a soloist promised all the honors.

Great work Forgotten Records, which manages to obscure the original LP of the original source. It should be noted however that the official CD Supraphon knew avoid the unpleasant sound of many historic recordings from this label. Thanks be made to the simple mono!

In this same CD Supraphon, supplements are important: the two Enesco Rhapsodies, superlative, even more magnified than Dorati; orchestra Talich Ančerl and then gives its full extent. A beautiful English Rhapsody Maurice Ravel closes the recital. It is regrettable that Silvestri still holds until the end of the year 1953 the Bucharest Philharmonic, chose not to honor his nation by offering music in Navarra the infrequent (and demanding, whatever is said) Symphony Concertante of Enesco.

The two works by Cesar Franck CDs that complement the Forgotten Records are rarer. Singular Symphonic Variations for piano and orchestra , where the pianist comes off the orchestral mass without opposition. The option Concertante is irrelevant here: not much to do with the strong variations of a Liszt or Rachmaninoff. The gentle poetry of Frank announcement Rather Symphony on a mountain his pupil and successor Vincent d'Indy. From the incipit, the orchestra, a scansion of his leg, examines the anapests the soloist. Various episodes ethereal make full justice to the name of Frank - "Pater Seraphicus" - before culminating in a naive joy, a kind of childish round where one looks in vain for the slightest weight.

The very discreet Eva Bernátová perform without a blow of his piano part, although it is possible to find her a bit too insistent pounding in the conclusion. Václav Smetáček, historic leader of the Prague Symphony, is not particularly renowned for his familiarity with French music. This household, however, with its trade musicians whose strings sing heroic here know a flawless unison.

The Cursed Hunter offers a different aspect of Franck. This symphonic poem, we do not know enough, is a kind of Symphonie fantastique in summary, with its four linked movements but characterized (Czech music connoisseurs are sure to make the connection with Polednice , the Noon Witch, Antonín Dvořák). Caesar Franck was inspired by a ballad by Gottfried August Bürger. Each stanza is a movement of the symphonic poem. Respectively: Andantino quasi allegretto , Poco più animato , Molto lento and Allegro molto - Quasi presto. reads Bürger, as it appears in the preface to the score of Cesar Franck (available online at http://imslp.info/files/imglnks/usimg/4/43/IMSLP13678-Franck_ _Le_Chasseur_Maudit__score_.pdf-). It is so short that a summary would be, at best, a clumsy paraphrase.

It was Sunday morning and rang off the joyful sound of bells and hymns from the crowd ... Sacrilege! The grim Earl Rhine sounded his horn.

Hallo! Hallo! Hunting darts by the corn, heaths, grasslands - Stop, Count, I beg you, listen to the songs thinking. - No ... Hallo! Hallo! - Stop, Count, I beg you, take care ... No, the ride and rushed like a whirlwind.

Suddenly, count is alone no longer wants his horse forward, he blows his horn, and the horn does not resonate more ... a mournful voice, the implacable cursed Sacrilege, "she said. Be ever ran through hell.

Then the flames emanating from all shares ... The count, maddened with terror, fled, always, always faster, pursued by a pack of demons ... during the day through the depths at midnight through the air ...

vision of Michel Plasson, EMI Classics, is justly famous. French chef knows how to live every nuance of the score (including the cell rhythmic call of the horn) and the sound manages to render distant countermelodies brass. Plasson even succeed - high quality - to get musicians du Capitole de Toulouse and a healthy respect for the eloquent silence (listening, for example, measures before Molto Lento ).

Four decades earlier, in the hall of the Rudolfinum in Prague, Karel Sejna momentum imparted equally strong in the Czech Philharmonic Orchestra. Despite almost identical to the timing of Plasson, Sejna has a commitment certainly less "literary" than the latter. However, as often with him, there is a manifest care for detail. The flames of hell, which gradually emerge around the hunter cursed (driver: letter L busiest ) and binding satanic race to the bottom? A simple phrase in the violins, apparently discrete, even trivial. But in Sejna, What indeed! The reputation of Czech string is not on this example, spoofed.

We can ignore another version, much more famous, the Hunter cursed with the Czech Philharmonic. At the lectern, the French Jean Fournet. Captured in 1967, year of relative liberalization, while the prestigious Prague phalanx opened to many foreign leaders (Serge Baudo, Paul Kletsk, Lovro Von Matacic Antonio Pedrotti ...), this service is opulent, amazingly, less exciting than Sejna. Perhaps due to sound a little too much dough mat? In stereo, it will be understood, Plasson is unavoidable.

The source of the compact Forgotten LP Records unnoticed. The dynamics remains satisfactory.

References cited in this article:

Forgotten Records en 201: Edouard Lalo, Concerto for Cello and Orchestra in D minor .

André Navarra, cello. Czech Philharmonic Orchestra, Constantin Silvestri direction.

Cesar Franck Symphonic Variations for piano and orchestra .

Bernátová Eva, piano. Prague Symphony Orchestra, Václav Smetáček direction.

Cesar Franck, cursed the hunter.

Czech Philharmonic Orchestra, Karel Sejna direction.

Emi Classics 5 55385 2: Cesar Franck, The hunter cursed + other French symphonic poems.

Orchestre du Capitole de Toulouse, Michel Plasson direction.

Supraphon Crystal Collection 11 0613-2: Cesar Franck, The hunter cursed + Symphony in D minor , Les Djinns .

Czech Philharmonic Orchestra, conducted by Jean Fournet (Sir John Barbirolli in Symphony).

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A recent CD label Forgotten Records offers rare recordings of Bach and Beethoven by Enesco. This new release gives us an opportunity to discuss the art of master Romanian post-war with two of his favorite composers.

Bach and Enesco: far from a simple meeting of composer performer, here we must celebrate the passion that did combine, beyond age, the father of all music to one of the most talented musicians of the twentieth century. More than a passion, a merger. Bach, the music itself, in its complex clearly his inexhaustible counterpoint, his productions abyss defying spirit. And Enesco, born in a time where virtuosity was a goal and not a means, but knowing so early avoid such pitfalls to serve the music as it should be. Unpretentious, intelligent, beautiful.

While Bach has never left the desk of an enlightened elite, whatever the profiteers of kitsch to which the teacher does not owe its revival after decades of darkness. Still! Busoni must convince to romanticize, Casals himself was in favor of a very personal and so marked by the taste of the time. Later, Stokowski dare philharmoniser Bach and even accompany the images already syrupy Walt Disney.

Nothing in this Enesco. His vision of Bach is both dated and timeless. Dated? Yes. The term does not purport to be pejorative. It indicates that under his leadership, the Brandenburg Concertos resonate as a testimony of the 1950s. Dare we still play the BWV 1050 as did Jean-Pierre Rampal, Christian Ferras and Céliny Chailley-Rich? A modern flute? A non-baroque violin? Sacrilege! And what about the anachronistic piano?

Timeless. The musicians of the Association des Concerts de Chambre de Paris show how this music reflects (as a mirror of mind) the passion you put into it. Their vision, under the baton of old Enesco, breathes a seraphic joy. The slow tempo is right: a little less lively, and boredom sets. But a little faster, and harmonies telescope between them, distorting the musical message. The master Romanian remember that the instruments of Bach were less easy to manipulate, that this music was written for large vaulted rooms where the echo was his role. Then beat faster would not be desirable, though made possible by the new contemporary. Music before anything else.

pianist Charles Rosen, I believe, skilfully narrated the quality of Bach's music so remarkable for what it suggests - which explains why treatments specific to deface other composers agree without much damage to partitions of Kantor. I appreciate the utmost baroque musicians (term, however, that disgusts me), but this does not deprive me of the pleasure of tasting the art so valuable Enesco and its musicians. Should be welcomed to live in an era when the choice is imposed by either the offer or the doxa!

The Forgotten CD Decca Record contains two insertions (BWV 1044 and BWV 1050), already reported by the Canadian label Oryx (HPC 907), which offers more BWV 1057 for piano and two flutes. The postponement of the two labels is made with care. At most I've noticed on my installation, some passages of Forgotten Records where the diamond seems to "hang" groove. Forgotten

Records offers a rarity in addition to Enesco, this time it as a violinist. It should be remembered that this exceptional musician has just registered, and improperly recorded: when he was young, the art of sound capture was immature, and later he himself sinking in an age marked by the disease and joint pain. It is, alas! the situation when he agreed to entrust to Colombia's vision of the Kreutzer Sonata, with pianist Celiny Challeys-rich, his accomplice history. Approximate attacks, keeping notes failed, virtuosity in default, but also: refusal of vibrato so easy, no pathos, vitality everywhere. Even decreased, Enesco proves his ability to sing as they should, to honor the memory of the servant he has never ceased to be. We are in 1952 already. Before three years, the musician is no more. This testimony is not one that we listen to Beethoven address. That is not its purpose but is extended Romanian to admirers of the master, eager to discern despite age and illness that makes unique art so rare a violinist.

I found a local CD in Bucharest with the same record, with the 2nd sonata by Schumann, always Chailley-rich, and the Andante from Bach sonata BWV 1003. Should I tell? transfer is very much in favor of Forgotten Records. Romanian received the CD in the words of Ana-Maria Avram computer processing created by itself and used here "world first". But the "no noise" (noise cleaning) suggests the musicians to emerge as a narrow pit: spectrum confined signal too artificial, even (in my case) its inability to withstand more than ten minutes. In comparison, the postponement Forgotten Records breathes deeply, and offers a real listening comfort.

Forgotten Records (fr 171): Bach Brandenburg Concerto No. 5 in D major BWV 1050, Concerto for piano, violin and flute in A minor BWV 1044

Céliny Chailley Richez, piano

Christian Ferras,

violin Jean-Pierre Rampal, flute

Orchestra Association Concert House from Paris, George Enescu

Beethoven: Violin Sonata No. 9 in A major op. 41 "Kreutzer"

George Enescu, violin - Céliny Chailley Richez, piano

http://www.forgottenrecords.com/

Oryx (HPC 907): Bach: as above + BWV 1057, with Gaston Crunelle, second flute

http://www.baroque-music-club.com/

Enescu Edition Modern / KEAN: Beethoven, see id 171 + CD Schumann, Sonata No. 2 in D minor, Op. 121 + Bach Andante from Sonata BWV 1003

http://members.fortunecity.com/hyperionedmn/mailorder.html