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
Oryx (HPC 907): Bach: as above + BWV 1057, with Gaston Crunelle, second flute
Enescu Edition Modern / KEAN: Beethoven, see id 171 + CD Schumann, Sonata No. 2 in D minor, Op. 121 + Bach Andante from Sonata BWV 1003
