Live review – Mirel Iancovici & Jeroen Riemsdijk – The Legacy of Music: Enescu and His Teachers

Mirel Iancovici (cello), Jeroen Riemsdijk (piano)

Romanian Cultural Institute, London
Thursday 7th March 2019

R. Fuchs Cello Sonata no.2 in E flat minor Op.83 (c1908)
Enescu (arr. Iancovici) Romanian Rhapsody no.2 in D major (1901)
Enescu Tre Canti (1905/1903/1938); Sonata-Torso in A minor (1911)
Massenet Thaïs – Méditation (1894)
Fauré Cello Sonata no.2 in G minor Op.117 (1921)

Written by Richard Whitehouse

The significance of Enescu‘s teachers throughout his formative years in Vienna and Paris has often been remarked but seldom reflected in performance, so making this evening’s recital as part of the Romanian Cultural Institute’s Enescu Concerts Series the more worthwhile.

Regarded more highly as a teacher than composer in his lifetime, Robert Fuchs (1847-1927) is best remembered for his orchestral Serenades. His Second Cello Sonata (its unusual key a response to the E minor of Brahms’s First Sonata?) is characteristic in its emotional reticence and intensive interplay between instruments, not least in the equable opening Allegro that duly makes way for a ruminative Adagio then a relatively animated finale. In the hands of Mirel Iancovici and Jeroen Riemsdijk, it certainly made its case for more frequent revival.

All the Enescu pieces featured were arrangements by Iancovici, beginning with that of the Second Romanian Rhapsody whose emphasis on song rather than dance makes it well suited to this medium. The Three Songs derive from various sources: the plaintive Doina (Lament) from a folk-inspired song, grandly rhetorical Preludio monodico from the initial movement of the First Orchestral Suite, then the mercurial Lăutarul (The Fiddler) from the opening movement of Impressions d’enfance. Together these made for an attractive and contrasted sequence, but it was the transcription of the Sonata-Torso that left the strongest impression – the intensely interiorized emotion and rhapsodic progress of this intriguing while undeniably discursive piece arguably better served in this guise than by the violin-and-piano original.

Just before this, the evergreen Méditation from the opera Thaïs by Massenet (a composer who wrote little or no chamber music) made for an easeful and not too indulgent interlude. The recital ended with Fauré‘s Second Cello Sonata, typical of his late music in its eliding of form into expression as confirmed by the fluid unfolding of its initial Allegro then the distanced soulfulness of its Andante, before the final Allegro affords a measure of robust humour and wistful poise as this elusive piece heads to its unexpectedly decisive close.

Throughout this recital, Iancovici’s playing was of an insight and discernment complemented by Riemsdijk’s lucid and attentive pianism. Hopefully they will return in this series; hopefully including either (or both!) of Enescu’s cello sonatas and more of Iancovici’s arrangements.

Further information on the Enescu Concerts Series at can be found at the Romanian Cultural Institute website

BBC Proms 2017 – Charles Dutoit conducts the Royal Philharmonic Orchestra in Saint-Saëns’ ‘Organ’ Symphony; Joshua Bell plays Lalo

Prom 40: Stéphanie d’Oustrac (mezzo-soprano), Joshua Bell (violin), Cameron Carpenter (organ), Royal Philharmonic Orchestra / Charles Dutoit

Falla El amor brujo (1914-5)

Lalo Symphonie Espagnole (1874)

Saint-Saëns Symphony no.3 in C minor Op.78 (1886)

Royal Albert Hall, Thursday 17 August 2017

You can listen to this Prom here for 28 days from the date of the performance

On paper, a sultry Prom for the middle of summer, capped by a colourful French symphony. In reality, even more substantial – a concert whose tuneful demeanour and performance panache really lifted the spirits, bringing new perspectives to works we might have erroneously pigeon holed as over familiar or under performed.

Into the latter category falls most of the music of Édouard Lalo, whose Symphonie espagnole, a passionate five movement work for orchestra with violin soloist, is the one work to really gain a foothold in the Proms. Lately however it has fallen out of favour, and Joshua Bell was bringing it back for the first time in 15 years. His evidence was persuasive, a performance full of character, wit and commitment that showed the French composer’s Spanish persuasions in a very positive light. The first two movements were a little on the chaste side, but that only heightened the bravura of the Intermezzo, where Bell was really able to let his hair down.

The finale was also a winner, its tune (memorably upgraded by Keith Emerson and The Nice) leaving an impression long after it had departed, and completing a convincing performance of a substantial work. It would be good to see more Lalo revived to the repertoire, for he is a composer of tuneful appeal with colourful orchestration. Bell (above) gave us a substantial bonus in a gorgeously floated encore of Massenet’s Méditation from his opera Thaïs.

Manuel de Falla also fulfils those two qualities, though his way with a melody is if anything even more exotic. El Amor Brujo (Love, The Magician) is packed full of memorably scored dance music that played right into the hands of a skilled interpreter such as Charles Dutoit. Under his baton the Royal Philharmonic Orchestra swooned and sighed, though unfortunately the contributions from mezzo-soprano Stéphanie d’Oustrac (above) were not ideally balanced from our vantage point in the Albert Hall, her notes falling short of the back of the Arena. Because of that the dances were easily the high point of what was otherwise a high quality performance.

And so to Saint-Saëns, and his Symphony no.3 – the Organ symphony, billed on account of the instrument’s role in the final movement. It was surely the last ten minutes of this work – elevated by pigs in the film Babe – that caused such queues for the arena and gallery, but it was particularly satisfying to be reminded of the work as a whole and its inventiveness.

This was surely the first occasion an organ had been used in this way before, and not just that – a piano too, the four handed part beautifully incorporated by Dutoit into the whole. Dutoit ensured the rhythmic invention of Saint-Saëns was to the fore in the first movement, the strings’ lines shimmering in the half light, while the second movement bloomed in a wondrous shade thanks to well-chosen settings by organist Cameron Carpenter (below) for his accompaniment of the strings plaintive but increasingly powerful theme.

A quickfire third movement brought rhythmic impetus again, the motto theme drumming its way firmly into the consciousness, and then it was the finale, where the balance between organ and orchestra was ideal. Dutoit, who has conducted this work for well over 30 years, relished the drama of the chorale theme and the orchestra’s rapturous response, but also brought forward the inner workings that Saint-Saëns uses to drive it forwards.

A final, personal note on Charles Dutoit, receiving his Gold Medal from the Royal Philharmonic Society before we heard the Saint-Saens – which incidentally was commissioned by the same body in 1886. In his recordings with the Montreal Symphony Orchestra, Dutoit has made some very special insights into French music that are I’m sure on the shelves of many a classical collector today. Ravel, Debussy, Poulenc and Ibert are just five of the composers to benefit from his special relationship with the orchestra – and provide just some of the reasons behind the ever-adventurous conductor’s modest receipt of the medal. He may be 81 but the creative fires still burn very keenly!

Ben Hogwood, with pictures (c) Chris Christodoulou

Stay tuned for another in Arcana’s Ask The Audience series, where Jamie Sellers will give his verdict on the Royal Philharmonic Orchestra Prom. Coming shortly! Meanwhile a Spotify playlist celebrating Charles Dutoit is below, containing some of the music from this concert.