Romanian composer Paul Constantinescu (1909-1963) was born in Ploieşti, some 40 miles north of Bucharest. He was greatly influenced by the folk music of his country as well as Byzantine chant, and would leave a small oeuvre across most genres. This recent Hänssler CD gives us two orchestral ones.

By way of background, from 1828 to 1933, Paul studied at what's now known as the National University of Music Bucharest (UNMB). Then the years 1934 and 1935 saw him attend the University of Music and Performing Arts Vienna (MDW). However, he subsequently went back to Bucharest and taught at the Academy for Religious Music {1937-1941). Then from 1941 right up until his demise, Paul was a professor of composition at the UNMB.

The program begins with his three-movement Piano Concerto (1952), whose first one [T-1] has an austere, "Sostenuto (Sustained)" preface, where the piano [00:03] is soon joined by the orchestra [00:06]. Then both begin the "Allegro (Fast)" remainder of the movement with a scurrying idea [00:42]. This is examined and adjoins a related, songful episode [01:46], which escalates into a fugal developmental section [03:03].

Subsequently, the foregoing intensifies, but wanes, thereby invoking more of those songful thoughts [05:49]. These become forceful [06:46] with showy moments for the soloist [07:32] as well as a magnificent, extended cadenza [08:13-10:26]. Then the orchestra returns [10:27], and both launch a thrilling segment [11:41] that brings the movement to a dramatic conclusion.

The "Andante (Slow)" middle one [T-2] has a lovely doina-like, opening theme for the piano [00:00], which soon receives some wistful orchestral support [01:12]. Then a strumming soloist [03:36] calls up a melancholy segment for all [03:40] that becomes quite intense [04:49].

And after that tremolo-spiced piano passages [05:06] invoke transitional ones for all [05:46], which give way to a gorgeous rhapsodic episode [07:28]. This has memories of the movement's opening thoughts [08:27] that end it tranquilly.

The "Presto (Very fast)" closing one [T-3] is rondoesque and starts with a racing, principal theme (RP) played by all [00:01]. RP is soon picked up by the piano [00:13] and sounds somewhat reminiscent of those melodies Béla Bartók (1881-1945) used in his Romanian Folk Dances (Sz. 56, 1915).

After that, PR is interspersed with some related episodes that range from flighty [00:34] to fickle [01:14], venatic [01:41] and genial [02:36]. Then PR returns [03:18], and insistent passages [04:51, 05:52] bring the work to a stern conclusion.

This release is filled out with Paul's one-act, choreographic poem titled "Wedding in the Carpathians" (1938). Its scenario is a marriage ceremony featuring the music, dances, costumes and customs found in the Fundu Moldovei area of northeastern Romania. Incidentally, the scoring is at times meant to reflect the sound of a taraf. More specifically, the harp and piano imitate a tambal, the clarinet, a tárogató, and trombones, dancers' cries.

As presented here, this is in eleven contiguous segments that are each presented on a separate track. All of their tempo markings are given, and eight even have short Romanian captions.

The opening one [T-4] has an "Allegro vivo (Fast and lively)" preface [00:01] followed by a "Moderato (Moderate)" section [00:08] and an ""Allegretto (Fairly quick)" one [00:55]. This adjoins a "Jocul zestrei (Dance of the dowry)" [T-5] that's "Vivo (Lively)" right from the start [00:00}, but has a pensive inner moment [00:57-01:11].

It's succeeded by an "Alaiul (Parade)" [T-6], which is "Allegretto poco pomposo (Fairly quick and a little pompous)". This slows [00:44] into a "Jocul voinicesc (Heroic game)" [T-7] of "Pesante (Animated)" disposition. The latter adjoins a "De trei ori de după masă (Three times after meals)" [T-8], which is respectively "Moderato (Moderate)" [00:00], "Comodo poco rubato (Comfortable with a little syncopation)" [00:16], "Tempestuoso (Stormy)" and "Giocoso (Playful)" {02:47].

Then the foregoing transitions attacca into a "Tranquillo (Calm)" "Hora" [T-9, 00:00] that introduces a "De doi (For two)" [T-10]. The latter starts "Allegro non troppo (Fast but not too quickly)" [00:00], but has an "Andantino (leisurely)" marked closing {02:09] with piano spicing [02:54].

And after, that there's a "Jocul cumetrelor (Game of dice)" [T-11]. This gets off to an "Allegretto scherzando (Lively and playful)" start [00:00], but becomes "Andantino (leisurely)" [02:03], hinting at the subsequent "Ca la Breaza (At dawn)" [T-12]. The latter has a "Molto ritmato (Very rhythmical)", playful preface [00:00] followed by "Rubato" passages [01:19].

They adjoin an "Andantino (leisurely)" marked segment [T-13, 00:00], which introduces a closing "Ursăreasca (Bear dance)" [T-14]. This gets off to an "Allegro con brio (Lively with spirit)" start [00:00] presumably with dancers rushing about.

After that, the music becomes "Pesante (Animated)" [01:17] as well as "Allegretto poco pomposo (Fairly quick and a little pompous)" [01:51]. However, the latter becomes somewhat "Languissando (Languid)" [02:04], thereby adjoining a "Vivo (Lively)" moment [03:18] that ends the work and disc emphatically.

These superb performances are by the North German Philharmonic Orchestra Rostock (Norddeutsche Philharmonie Rostock, NDP Rostock) under its chief conductor, German-born-and-trained Marcus Bosch (b. 1969). They're joined by German pianist Oliver Triendl (b. 1970; see 31 July 2024) in the concerto, and he may also be at the keyboard for the other selection. Incidentally, these are the only readily available versions of this music currently on disc.

The recordings were made 10-12 December 2023 in the Volkstheater Rostock, located some 140 miles north-northwest of Berlin. They project a suitably sized sonic image of the orchestra in a spacious venue with Herr Triendl's piano centered, well captured and adequately highlighted. As for the overall orchestral timbre, it's characterized by pleasant highs, a satisfying midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241231)

This German composer-pianist (1878-1950) was born in Cologne to the affluent, music-loving Bing family. Then in 1901, she married chemist Albert Herz, and became Maria Herz.

Maria got her early musical training from a couple of instructors at what's now known as the Cologne University of Music and Dance. But because of rising antisemitism in Germany, Maria and Albert soon moved to England, where she took composition lessons from Arthur Edmund Grimshaw (1864-1913)

The year 1914 saw them return to Cologne. But with the outbreak of World War I (1914-1918), they were forced to remain there. And consequently, Albert was drafted into the German army, but would die of influenza during 1920.

Subsequently, Maria resumed composition lessons, and her new works were performed more frequently. However, World War II (1939-1945) and the rise of Nazism with its antisemitic policies forced her to make a circuitous move through Germany, eventually taking up residence in London during 1945. After that, there were trips to Switzerland, France and England. Then Maria emigrated to New Yok City, where she'd spend the rest of her life.

Mrs. Herz left a small body of works across several genres, most of which were written between 1920 and 1935. Four in the orchestral category are featured here, and all of them are world premiere recordings.

The concert opens with her "Concerto for Piano and Orchestra, Op. 4" (1927), which is in three movements, the first being marked "Allegro (Fast)" [T-1]. It begins with a feisty orchestral theme [00:01] that serves as an introduction for the soloist [00:17]. Then the two explore this idea [00:45], and the piano introduces a related, more songful, second thought [02:41].

These are the subjects of several, subsequent variational passages. They range from lyrical [04:25] to restless [05:01], confident [06:00], flighty [06:18] with a demanding piano cadenza [07:37-08:31], forceful [08:32] and coy [09:44], Then frenetic ones [12:40] having some virtuosic, keyboard fireworks end the movement excitedly.

The middle "Andante sostenuto (Slow and sustained)" [T-2] starts with a sorrowful, cor anglais spiced, orchestral thought [00:01] that an underlying piano picks up on [00:14]. This is the subject for a musical lament having strident passages [01:58] that wane into more hopeful ones [03:43]. Then the latter gracefully transition into mellow moments with more cor anglais, which end things serenely.

Structurally, the closing "Allegro moderato (Moderately fast)" [T-3] resembles the work's opening movement. It gets off to a rousing start with a five-note, trumpet call [00:01] reminiscent of the opening to Ravel's (1875-1937) orchestral version (1922) of Mussorgsky's (1839-1881) Pictures at an Exhibition (1874). This hints at a bustling theme soon launched by the orchestra [00:14].

After that, the soloist plays a dance-like version of it, which becomes the subject of several treatments. These range from timid [01:33] to assertive [03:08], contemplative [04:34] and capricious [05:34]. Then a pugnacious one [07:04] with bravura moments for the piano brings the work to a thrilling conclusion.

Maria's "Four Short Orchestral Pieces, Op. 8" (1929) follows, the first being marked "Allegro commodo (Comfortably fast)" [T-4]. This opens with a captivating theme [00:00] that becomes quite boisterous [03:03], but suddenly stops. It sets the stage for the following "Agitato (Excited)" one [T-5]. Here agitated outer sections [00:00 & 02:17] surround a related wistful segment [01:13-02:16], and end this second piece excitedly.

Then we get one marked "Un poco sostenuto (A little sustained)" [T-6]. It has dark, double-bass-pizzicato passages that invoke a cantilena-like idea from the woodwinds [00:56] and violins [01:22]. This is the subject of brightening passages that slowly float away. And subsequently, a "Presto (Very fast)" last piece [T-7] starts with a scurrying ditty [00:00] that darts about. But It gives way to a related thoughtful moment [01:33-01:59], only to return [02:00] and bring this intricate work to a strident conclusion.

Next, there's the composer's "Concerto for Cello and Orchestra, Op. 10" (1930) that's in one, twenty-minute movement [T-8]. This opens "Langsam (Slowly)" with a tam-tam-augmented, ominous orchestral pedal point [00:01], from which the soloist gradually emerges [00:15, 01:17], finally playing a melancholy idea [02:39]. Then the cello receives increasing support from the orchestra in passages [beginning at 02:56] that become progressively more flamboyant. These call up an impassioned cadenza for the soloist [07:33-08:25].

After that, the music turns "Allegro leggiero (Fast and nimble)" with an ambulant, opening theme for all [08:27]. This cavorts about and parents Jewish Freylekhs-like dance passages [11:30]. These transition [17:01] into a fugal finale [17:38], where an ardent cello [18:35] and fiery orchestral accompaniment end the work with a stormy stretto [19:30].

Last but not least, there's Maria's "Orchestral Suite, Op. 13" (1932), which is in seven short movements of varying disposition. The "Allegro moderato, quasi polacca (Moderately fast, and somewhat Polish)" first [T-9] begins with an arresting flourish [00:00], followed by polonaise-flavored passages [00:03] that suddenly quit. Then there's an "Andante tranquillo (Tranquilly flowing)" second [T-10], which sounds like a hymn tune.

It's followed by an "Allegretto (Lively)" marked, capricious, pizzicato-spiced third [T-11]. And after that, we get an "Allegro commodo, fließend (Comfortably fast, flowing)" sarabande-like fourth [T-12]. Then there's a "Marcato (Forceful)" fifth [T-13], which from its opening note [00:01] is of Russian neoclassical temperament.

Subsequently, Herz serves up a "Sostenuto (Sustained)" sixth [T-14] based on a moving melody heard at the outset [00:01]. Then she gives us an "Allegro (fast)" seventh [T-15] that's a saucy, superbly crafted fugal creation with a brash opening subject [00:01]. It has a brief forceful moment [03:15-03:46] and brings the work as well as this CD to a bumptious conclusion.

The performances are by the Rundfunk-Sinfonieorchestra Berlin (RSOBerlin) under German conductor Christiane Silber (b. 19??). They're joined by that ubiquitous German pianist Oliver Triendl (see the Constatninescu release above) for the first selection, and German cellist Konstanze von Gutzeit (b. 1985) for the third. All together, they make a strong case for Maria's music.

These recordings were all made in Berlin at the RBB's Saal 1. More specifically, those of the first [T-1 thru 3] and third [T-8] selections took place 15-18 November 2022. Then the second [T4 thru 7] as well as fourth [T-9 thru 15] were done 12-13 June 2023. Despite their different times, they all project a robust sonic image of the RSOBerlin in surroundings that enrich this music all the more. Both soloists are centered, well captured and effectively highlighted against the orchestra.

The instrumental timbre is characterized by highs and mids that are about as good as they get on conventional discs. As for the lows, they're very clean and go dowm to rock bottom. Audiophiles will not be disappointed!

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241230)

Swiss composer Hans Schaeuble (1906-1988) makes his CLOFO debut with this recent release from Solo Musica. It features three of his orchestral works, all of which seem to be world premiere recordings. Bur first, a few words regarding his background.

Hans was born in Arosa, some 90 miles southeast of Zurich. He apparently took piano lessons as a child, and even began writing music. Then at age 17 (1923) he attended school in Lausanne, which is about 140 miles southwest of Zurich. While there, Schaeuble frequently attended concerts by the Orchestre de la Suisse Romande (OSR) under that great Swiss conductor, Ernest Ansermet (1883-1969). These apparently convinced him to become a composer.

Consequently, from around 1927 up through 1930 he studied piano and composition at what's now known as the University of Music and Theatre Leipzig. Then Hans moved to Berlin, and began a lifelong career as a freelance composer. He remained there until 1942, and then went back to Zurich, where he spent the rest of his life.

Schaeuble left a modest oeuvre across most genres. However, his years in Berlin lead to controversy over his political leanings during World War II (1939-1945), which has hindered performances of them (see the album booklet).

Our program here begins with his "Concerto for Piano and String Orchestra, Op. 50" (1967, rev. 1971 & 1979), which is his fifth work in the genre and has three movements. The first one called "Pavane" [T-1] opens with the strings playing a rather solemn idea [00:00] that's picked up by the soloist [00:37]. This begins a sedate dance, which becomes increasingly dramatic and then ends uneventfully.

The middle "Adagio (Slow)" movement {T-2] is in ternary, A-B-A form. Here "A"s [00:01, 05:26] based on a subdued binary thought [00:01 & 00:32], surround a related, more animated "B" [02:32-05:23], and bring things full circle.

Then the work closes with a crazed, "Allegro (Fast)", sonata-form reminiscent one. It begins with a brisk idea for the soloist [00:00}, who's soon joined by the strings [00:04]. This is the subject for a variety of subsequent developmental treatments.

These range from commanding [01:44] to songful [02:52, 04:24] with glimmers of the preceding movement. Then there's a spikey [03:22] as well as confident one [09:09] with a demanding piano cadenza [11:34-12:58]. And after that, scampering passages for all [12:59] end the work precipitously.

Our next selection is his "Concertino for Oboe and String Orchestra, Op. 44" (1959, rev. 1980), which has three movements, the first being an "Allegro (Fast)", dancelike one [T-4]. It's based on a delightful tune that begins in the strings [00:00] and is soon picked up by the soloist {00:57]. Then there are some pensive passages [02:49], but these become increasingly more lively. They invoke a piquant oboe cadenza [05:05-06:23], after which the orchestra returns [06:24], and this movement ends in perky fashion.

The second is a "Larghetto (Rather slow)" marked "Quasi Siciliano (Like a Siciliana)" [T-5]. At just over three minute, It's another dance, but of gentle, Baroque persuasion. This starts with a captivating theme [00:00], where warm strings underly a winsome melody for the soloist. It's the lifeblood of this touching, homophonic movement.

A subsequent "Allegro (Fast)", "Giocoso (Playful)" one [T-6] is delightfully whimsical. It has a capricious opening [00:00] with the oboe playing chirpy, jocund passages [00:02]. Then there's a brief pause followed by a subdued songlike segment [02:23]. However, the pace soon quickens [beginning at 03:11], and this superb addition to the oboe repertoire ends with a pianissimo high note for the soloist [04:59].

The closing "Serenade in B flat for String Orchestra, Op. 42 (1956) was written for one in Langenthal, located some 40 miles west-southwest of Zurich. The first of this work's three movements is called "Concerto Grosso" [T-7], and it's the composer's take on that Baroque form. Here a lively opening idea [00:00] is deftly bandied about in this triad-laced treat.

Subsequently, Hans gives us a palindromic movement [T-8]. It starts with a "Romanze (Romance)" based on a lovely opening idea [00:00]. Then there's a "Scherzando (Playful)" episode [02:42]" followed by a retiring "Trio (Central section)" [04:42]. And after that, another "Scherzando (Playful)" [06:34] as well as a second Romanze (Romance) [07:30] end this movement full circle.

The rondo-like, "Allegro vivace (Fast and spirited)", homophonic flavored "Finale" [T-9] begins with a scampering segment [00:01] having a songful tune (ST) [00:31-00:48]. Then there are whimsical passages [01:14, 03:07] with a more noticeable ST [03:19-03:51]. These are followed by imploring ones [04:14] with a remembrance of ST [04:53]. And then an animated, ST-based segment [06:18] ends the work and disc glowingly.

These elegant performances feature the Sinfonietta Riga (Sinfta Rīga) under German conductor Marc Niemann (b. 1973). They're joined by that ubiquitous German pianist Oliver Triendl (b.1970; see the Hertz release above) for the first selection, and oboist Kai Frömbgen (b. 1977) for the second. Together they make a strong case for this undeservedly forgotten music.

The recordings took place 4-6 October 2023 in the Reformation Church located in Rīga, which is the capital of Latvia. They present consistently generous sonic images of all three selections in pleasant surroundings. The string tone is about as good as it gets conventional discs. As for the soloists, they're both centered, well captured and highlighted against the Sinfta Rīga.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P241229)

With this recent Naxos release, Ukrainian Composer Valentin Silvestrov (also spelled Valentyn, b. 1937) makes a long overdue return to these pages (see 30 November 2017). He was born in Kyiv, which is the capital of Ukraine.

Valentin began private piano lessons at 15 (1952), and between 1955 and 1958, he continued them at night while training to be a civil engineer. However, the years 1958 through 1964 saw him study composition at what's now known as the Ukrainian National Tchaikovsky Academy of Music.

Then in 1970, Silvestrov became a freelance composer. However, the Russian invasion of Ukraine during 2022 forced him to flee, and take up residence in Berlin (see the album booklet), He still lives there in exile, and has written a significant body of works across all genres. Two of his best orchestral ones, which were composed during the late 1900s, are featured here.

Our concert opens with his Symphony for Violin and Orchestra "Widmung" of 1990-91. The work's subtitle means "Dedication", and it's in three attacca movements, the last of which falls into two parts. Consequently, they're presented here on four consecutive tracks for individual accessibility.

The first movement [T-1] gets off to an "Allegro moderato con moto (Moderately lively with movement)" start, which has an ominous orchestral opening [00:02]. Then a distraught violin joins in [02:07], and together they paint what is presumably a tragic tone picture of the composer's home country. However, the music becomes "Moderato (Moderate) [05:19], thereby ending this movement with what seem to be hopes for better times to come.

Then the foregoing transitions attacca into the next one [T-2]. It has a "Moderato con moto (Moderate with movement)" opening, where an anguished orchestra [00:00] and violin [00:11] project feelings of desperation. But the music turns "Andantino (Leisurely)" [03:03], possibly reflecting pleasant memories from the past.

However, the foregoing bridges attacca into the closing movement's first part [T-3]. It has a searching orchestral preface [00:00] that calls up passages with a twitchy soloist [01:37]. These become increasingly minacious and then wane into the closing part [T-4].

This begins as an "Andante (Slow)", winsome serenade for all [00:00] with impressionistic overtones. But the work ends with a somewhat spacey "Moderato (Moderate)" segment {05:56], which gradually dissipates into the mists of uncertainty.

Valentin's Postludium for Piano and Orchestra of 1984 is a postlude, seemingly associated with his fellow countryman and preeminent teacher, Borys Lyatoshynsky (1895-1968). It has a twelve-tone flavored, commanding, "Comodo (Moderately)" marked beginning for all [00:00]. Then there's a compassionate, "Allegro vivace (Fast with spirit)" thought [01:26], which is the basis for eight subsequent treatments of varying tempo.

The first three are respectively "Andantino (Leisurely)" [02:22], "Allegro (Fast)" [02:49] and "Allegro vivace (Fast with spirit)" [03:37]. After that, there's another Andantino (Leisurely) one [04:13] followed by an additional "Allegro vivace (Fast with spirit)" [07:43] as well as a third "Andantino (Leisurely)" [09:14] with predominant piano passages. All These adjoin an "Allegro (Fast)" seventh [17:01] and "Andante (Slow)" eighth [18:34] treatment, which simply fades away.

These performances feature the Lithuanian National Symphony Orchestra (LNSO) under English conductor Christopher Lyndon-Gee (b. 1954). They're joined by Polish violinist Janusz Wawrowski (b. 1982) as well as Lithuanian pianist Jurgis Karnavičius (b. 1957), and together they deliver welcome accounts of these two rarities.

The recordings took place 2-6 May 2022 at the LNSO's Hall in Vilnius, which is the capital of Lithuania. They project a consistently generous sonic image of the LNSO in enriching surroundings, with the soloists centered, well captured and highlighted against it. The orchestral timbre is characterized by pleasant highs, a rich midrange and clean bass. Soundwise, this release is as good as conventional CDs get.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y241228)