ALISON BALSOM · TOM POSTER — Légende : Works for Trumpet and Piano (2016) FLAC (tracks+.cue), lossless

Alison Balsom has been successful since the early 2000s with a standard diet of Baroque trumpet works and the usual Classical-period concertos. In the mid-2010s she turned toward more contemporary repertory with a French conservatory flavor. The results on the trumpet-and-piano Légende, named for the effusive Enescu piece (track five), are impressive; Balsom deepens her art with a coherent program even as she plays mostly music that could be characterized as light. Sample one of the movements of the opening Sonatine of the mightily underrated Jean Françaix, whose understated style, not so much humorous as subtle and elegant, poses challenges for a trumpet confined mostly to its middle register. Balsom's bright, perfectly controlled lines and close ensemble with pianist Tom Poster pass all the tests. After that you get a mix of other neoclassic pieces, the heavier Hindemith Trumpet Sonata in the middle, and popular songs, small chunks all hanging together that stimulate the listener even without awareness of same. Brava. James Manheim
Tracklist :
1-4.    Sonatine Pour Trompette Et Piano (6:50)
Composed By – Jean Françaix
5. Légende For Trumpet And Piano 6:09
Composed By – George Enescu
6. Concert Etude, Op.49 (3:17)
Composed By – Alexander Goedicke
7-11. Farewell To Stromness 3:52
Composed By – Peter Maxwell Davies
Transcription By – A. Balsom, T. Poster
8-11.    Sonata For Trumpet And Piano (15:47)
Composed By – Paul Hindemith
12. Minuet From Sonatine (Piano Solo) 3:36
Composed By – Maurice Ravel
13.    The Thoughts Of Dr May 6:27
Composed By – Alison Balsom, Tom Poster
14.    Sonate For Trumpet And Piano 7:05
Composed By – Bohuslav Martinů
15.    Rondo For Lifey1:19
Composed By – Leonard Bernstein
16.    Someone To Watch Over Me 4:00
Arranged By – J. Turrin
Composed By – George Gershwin
17.    The Way You Look Tonight 2:52
Arranged By – A. Balsom, T. Poster
Composed By – Jerome Kern
Credits :
Piano – Tom Poster
Trumpet – Alison Balsom

ENESCU : Complete Orchestral Works, Vol. 1 (Horia Andreescu · Romanian National Radio Orchestra) (1994) Olympia Explorer Series | APE (image+.cue), lossless

George Enescu (1881-1955)

1-3    Symphony No.1 In E Flat Major, Op.13 (To Alfred Casella)    (32:53)
4    Overture On Popular Romanian Themes In A Major, Op.32 (10:03)
Engineer [Sound] – Cornelia Andreescu
5-7    Study Symphony (No.4) In E Flat Major    (36:13)

Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

ENESCU : Complete Orchestral Works, Vol. 2 (Horia Andreescu · Romanian National Radio Orchestra) (1994) Olympia Explorer Series | APE (image+.cue), lossless

George Enescu (1881-1955)

1-3    Symphony No.2 In A Major, Op.17    (48:19)
4    Romanian Rhapsody In A Major, Op.11 No.1    11:42
5    Romanian Rhapsody In D Major, Op.11 No.2    11:53

Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

ENESCU : Complete Orchestral Works, Vol. 3 (Horia Andreescu · Romanian National Radio Orchestra & Choir) (1994) Olympia Explorer Series | APE (image+.cue), lossless

George Enescu (1881-1955)

1-3    Symphony No. 3 In C Major, Op.21    (44:20)
4    Romanian Poem For Orchestra, Op.1    26:54

Romanian National Radio Choir
Chorus Master – Aurel Grigoras
Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

ENESCU : Complete Orchestral Works, Vol. 4 (Horia Andreescu · Romanian National Radio Orchestra) (1995) Olympia Explorer Series | APE (image+.cue), lossless

George Enescu (1881-1955)

1-3    Orchestral Suite No.1, Op.9    (26:03)
4    4        Symphonie Concertante For Cello And Orchestra, Op.8
Cello – Marin Cazacu
5-6    Two Intermezzi For String Orchestra, Op.12    (9:41)

Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

ENESCU : Complete Orchestral Works, Vol. 5 (Horia Andreescu · Romanian National Radio Orchestra) (1995) Olympia Explorer Series | APE (image+.cue), lossless

 George Enescu (1881-1955)

1-6    Orchestral Suite No.2, Op.20    (25:09)
7-11    Orchestral Suite No.3 ('Villageoise'), Op.27    (29:23)
12    Andantino (1896)    7:30

Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

ENESCU : Complete Orchestral Works, Vol. 6 (Horia Andreescu · Romanian National Radio Orchestra & Choir) (1995) Olympia Explorer Series | APE (image+.cue), lossless

George Enescu (1881-1955)

1    Vox Maris (Symphonic Poem), Op.31 (26:44)
Chorus – Romanian National Radio Choir
Chorus Master – Aurel Grigoras
Tenor Vocals – Robert Nagy
2-5    Study Symphony No.1 In D Minor (1895) (39:49)
6    Ballade For Violin And Orchestra, Op.4a (4:17)
Violin – Cristina Anghelescu

Conductor – Horia Andreescu
Orchestra – Romanian National Radio Orchestra

GEORGE ENESCU : Cello Sonatas Nos. 1 and 2 (Buruiana-Tchiba) (2008) FLAC (tracks+.cue), lossless

Although George Enescu published both of his cello sonatas under Op. 26, almost 40 years passed between their respective compositions. In a way, the striking differences between the two sonatas encapsulate much of Enescu's entire output. The First Sonata is very much in the solidly tonal, late-German Romantic camp. By the time of the Second Sonata, Enescu had completely matured and developed his own voice, both harmonically and melodically. Although published as being in C major, the Second Sonata continually shifts the focus of tonality while still leaving the listener feeling grounded, though rarely in C major. Both of these works have been criminally neglected and are finally being given the respect they deserve as masterpieces of the repertoire.

This Naxos album features cellist Laura Buruiana and pianist Martin Tchiba in what could have been a reference recording of these sonatas. Buruiana's playing is technically brilliant, with spot-on intonation, sweeping musical gestures, and a clear understanding of the score and how her part dialogues with the piano. Likewise, Tchiba is an elegant pianist who produces a wealth of colors that are so necessary in the frequently changing tonal environment of the Second Sonata. The problem -- and it's a big one -- is balance. There are entire passages where the cello is quite simply inaudible. Buruiana appears to be scrubbing away, drawing as much sound from her instrument as possible. Whether the balance issue stems from overexuberance on the part of Tchiba or a mixing/microphone issue from Naxos is not completely clear, but the result is the same: it's difficult to recommend an album of Enescu's cello sonatas, no matter how well-performed they are, if the cello itself can't be heard clearly. by Mike D. Brownell 

 Chamber music was a prominent feature of Enescu’s music from his earliest years. Though separated by almost four decades, the two Cello Sonatas were not published until 1935. The First is indebted in many respects to Brahms and to Enescu’s French contemporaries, but the Second, dedicated to Pablo Casals, could only be by Enescu in its density of thought and subtlety of expression. The finale is marked à la roumaine, which aptly describes the work’s overall character and the profile of its material. Naxos
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GEORGE ENESCU : Piano Quintet & Piano Quartet 2 (Solomon Ensemble) FLAC (tracks+.cue), lossless

George Enescu (1881-1955)

Piano Quintet • Piano Quartet No. 2

The Romanian composer and violinist George Enescu may now be seen as the most important figure in the musical history of his country. He was born in Moldavia in 1881 and had violin lessons there with a pupil of Vieuxtemps, before moving, at the age of seven, to the Conservatory in Vienna, where he studied with Josef Hellmesberger. In 1893 he went to Paris for further study of the violin with Marsick and of composition with Massenet and Fauré, and in 1897 a concert of his work was given there. By 1899, when he won the first violin prize at the Conservatoire, he was already known as a composer, his Poème romaine having proved particularly successful. His subsequent career brought him similar distinction both as a performer and as a conductor.

Although Enescu’s career was centred on Paris, with the formation in 1904 of the Enescu Quartet, and increasing commitments both as an unwilling virtuoso and later as a teacher, he retained his connections with Romania and did much to encourage music there, through the Bucharest Conservatory and through the Conservatory at Ia‰i, where he established the George Enescu Symphony Orchestra in 1917. His influence on younger Romanian composers was to remain considerable.

Enescu was a remarkably versatile musician. He was a competent pianist, accompanying Jacques Thibaud in the first performance of his own second Violin Sonata, and able to play all of Wagner at the keyboard from memory. In his phenomenal memory he held the complete works of Bach, and Menuhin describes how he was able to play Ravel’s new Violin Sonata from memory after two brief readings with the composer. His natural ability as a small child had led him to become a virtuoso violinist, but his interest was always rather in composition than performance, the second providing the means for the first. His life was divided between Paris and Romania, his character and music presenting a similar contrast between cosmopolitan urbanity and the more passionate elements that were part of his Moldavian inheritance.
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GEORGE ENESCU : Œuvres pour Piano (Cristian Petrescu) 3CD / FLAC (image+.cue), lossless

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GEORGE ENESCU : Piano Sonata No.1; Suite No.2 (Matei Varga) (2009) FLAC (image+.cue), lossless

This collection of piano music is a welcome reminder of the many fascinating stylistic strands that colour George Enescu’s work. Seriously under-rated today, he exerted a powerful influence on all those who came under his spell, including Yehudi Menuhin, for whom Enescu remained ‘the greatest musician’. Pianist Matei Varga is a prizewinner of numerous international competitions, among them the Maria Canals Competition in Barcelona, the Porto International Piano Competition and the George Enescu Competition in Bucharest. Naxos

GEORGE ENESCU : The Three Piano Suites (Luiza Borac) (2003) SACD / FLAC (tracks+.cue), lossless

With this disc of the rarely heard piano suites of George Enescu, Luiza Borac easily revitalizes interest in the composer and his music. Enescu's piano music is some of his least known (not that his orchestral music is that well-known either), so it's probably safe to say that almost anyone listening to the disc will be hearing it for the first time. And he or she should be very well pleased with it, especially if they are fans of late-Romantic/early Modern French music. The first suite, "Dans le style ancien," was completed in 1897, when Enescu was just a teenager. He had studied in Vienna and then went to Paris to enroll at the Conservatory. The "style ancien" is Baroque, particularly German Baroque, with its Fugue often compared to the music of Bach and Buxtehude in its construction. According to Borac's notes, Enescu was meticulous about his dynamic and pedal markings, and he put only one pedal mark in the entire first suite. Borac does use the pedal, but it sounds as if her intent is to imitate an organ rather than make the suite more Romantic sounding. In the Fugue, she does use the slightly detached touch that many pianists use when playing Bach. The Suite No. 2 and Suite No. 3, which is really a collection of impromptus rather than a suite, share their harmonies and almost improvisational sense of structure with the music of Fauré, Debussy, and Ravel. The Baroque dance titles of No. 2's movements give away only the tempo; they are otherwise joyous flights of fancy or sweet, nocturnal imaginings. The impromptus are more like what their titles represent -- the "Choral" is very reverent and the "Carillon nocturne" imitates slightly out of tune tower bells -- but are still highly stylized. "Voix de la steppe" imitates the drone of folk instruments, and the "Mazurk mélancolique" has the dance's rhythmic characteristics but none of its liveliness. Borac is very respectful of Enescu's writing, carefully following his instructions to create definite sounds, but more than that, she is able to bring out deep colors and evoke feelings and pictures in the music with some imagination. The sound is slightly dry, but close and not overly resonant. by Patsy Morita  
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GEORGE ENESCU : Symphonie Concertante; Symphony No.1 (Mørk-Lintu) (2015) FLAC (image+.cue), lossless

GEORGENESCU : Symphony No.2; Chamber Symphony (Hannu Lintu) (2012) FLAC (image+.cue), lossless

George Enescu is best remembered for his evergreen Roumanian Rhapsody No. 1, but most of his music has taken a long time to enter the western repertoire. Because the Symphony No. 2 in A major and the Chamber Symphony for 12 instruments have been treated to a handful of recordings, they are perhaps more familiar to listeners than most of his works, though limited availability still keeps them from a wider audience. That's why Hannu Lintu's recording of these works for Ondine is an important contribution to the catalog, because his clear and cogent readings with the Tampere Philharmonic Orchestra have the potential to establish these pieces outside Romania. Enescu's youthful energy, gift for memorable thems, and lush post-Romantic orchestration in the style of Richard Strauss make the Symphony No. 2 an engaging piece that listeners will immediately appreciate. The Chamber Symphony was Enescu's last composition, left incomplete because of a stroke, so the work was finished by Marcel Mihalovici. It is somewhat less ingratiating because of its serious mood and comparatively thin textures, but its lyrical lines and coherent development make it accessible. Ondine's recording of the symphony is spacious and vibrant, and all the details of the score are presented in gorgeous colors. However, the sound of the Chamber Symphony is dry and close to the instruments, making its sonorities sharp and austere. by Blair Sanderson  
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GEORGE ENESCU : Ouverture de Concert & Symphony No.3 (Hannu Lintu) (2013) FLAC (image+.cue), lossless

GEORGE ENESCU : Symphony No. 1, Suite No. 3 'Villageoise' (Gennady Rozhdestvensky) (1996) FLAC (image+.cue), lossless

GEORGE ENESCU : Symphony No. 2, Romanian Rhapsody No. 2 (1997) (Gennady Rozhdestvensky) (1997) FLAC (image+.cue), lossless

GEORGE ENESCU : Symphony No. 3, Romanian Rhapsody No. 1 (Gennady Rozhdestvensky) (1998) FLAC (image+.cue), lossless

GEORGE ENESCU, DINU LIPATTI : Enescu Și Lipatti Interpretează Enescu Și Lipatti (2001) 2CD / APE (image+.cue), lossless

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GEORGE ENESCU : Compozitor Și Interpret (Înregistrări Din Fonoteca De Aur) 2CD (2001) FLAC (image+.cue), lossless

1.1 Suita I-a Pentur Orchestră, Op.9
Composed By, Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București

1.2 Sonata Nr.1 În Sol Minor BWV 1001 Pentru Vioară Solo
Composed By – Johann Sebastian Bach
Performer [Interpret], Soloist, Violin – George Enescu

1.3 Sonata Nr.2 În La Minor BWV 1002 Pentru Vioară Solo
Composed By – Johann Sebastian Bach
Performer [Interpret], Soloist, Violin – George Enescu

2.1    Alai Țigănesc Din Suita Simfonică Op.5 „Priveliști Moldovenești” 10:01
Composed By – Mihail Jora
Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București

2.2    Cantabile Pentru Flaut Și Pian 3:49
Composed By, Piano – George Enescu
Flute – Vasile Jianu

2.3 Șase Cântece Din Ciclul „Șapte Cântece Pe Versuri De Clément Marot”, Op.15
Composed By, Piano – George Enescu
Lyrics By [Versuri De] – Clément Marot
Vocals – Constantin Stroescu

2.4 Simfonia A IV-a Op.98 În Mi Minor
Composed By – Johannes Brahms
Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București
Remastered By [Înregistrare Recondiționată De], Engineer – Andrei Papudof