Enescu Concerts Series 2016/17 – Ioanna Bentoiu (soprano, above) and Lena Vieru Conta (piano)
Romanian Cultural Institute, London; Friday 7th April, 2017
Schumann Frauenliebe und Leben Op.42 (1840)
Bentoiu Eminesciana II, Op.8 (1958)
Enescu Sept Chansons de Clément Marot, Op.15 (1908)
The death – in February last year – of Pascal Bentoiu robbed Romania of its finest composer after Enescu, as well as a musicologist and cultural polymath of stature. Save for a broadcast performance of his comic opera Doctor Cupid in 1969, little of his music has been performed in the UK – making this recital and talk at London’s Romanian Cultural Institute a welcome redress. The talk, given by this author and musicologist Mihai Coma, provided a context for three song-cycles given by Bentoiu’s daughter Ioanna and regular pianist Lena Vieru Conta.
Schumann’s Frauenliebe und Leben was evidently Bentoiu’s favourite lieder cycle and while the overt sentiment of Adelbert von Chamisso’s verse may now seem cloying, the symphonic integration achieved during this telling of a relationship from the female perspective retains its innovatory impulse. Taking care to convey this sequence as a formal and cohesive totality, Bentoiu and Conta were yet mindful of the subtly varying emotional nuance between each ‘movement’ and that sense of resigned fulfilment such as permeates the touching final song.
Although orchestral work latterly came to dominate Bentoiu’s creativity, his output of around 30 songs is a significant and no less typical facet of his composing. The three sonnets which comprise Eminesciana II finds him marshalling the ardent rhetoric and imaginative flights of fancy in which Mihai Eminescu writing abounds. No less distinctive are the piano interludes that not only connect these three settings but also point up musical as well as semantic links between them. Clearly, they need to be explored in the context of the wider song tradition.
For their final offering, Bentoiu and Conta turned to Enescu, and the best known of his song collections. Modest in dimension yet abounding in pointers to the music of his maturity, the Sept Chansons de Clément Marot (of which Bentoiu latterly made an insightful arrangement for chamber orchestra) ranges from ribald humour to searching pathos; the formalized texts yielding an emotional acuity that was tangibly realized by singer and pianist. Enescu, as with Bentoiu after him, was nothing if not penetrating as to his insights into the human condition.
The evening was enhanced by photographic exhibition Pascal Bentoiu: His Life and Works, as curated by Irina Niţu and produced by the George Enescu National Museum in Bucharest. This is at the Romanian Cultural Institute until April 27th, then in part at St James’s Church, Sussex Gardens on Saturday 29th April at a concert by the Oberon Symphony Orchestra and Samuel Draper which includes the UK premiere of Enescu’s Fourth Symphony – completion of whose orchestration was among the most significant of Pascal Bentoiu’s later endeavours.
For further details on the Oberon Symphony Orchestra’s forthcoming concert of the Fourth Symphony, head to their website