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5.0 out of 5 stars
An impressive symphony forms the centrepiece of this rewarding collection of Belgian orchestral music,
By
This review is from: Symphonic Works (Audio CD)
It's a great shame that this first volume in Cypres' collection devoted to the works of Adolphe Biarent is now deleted as his only symphony is an exceptionally fine piece, sure to appeal to anyone who enjoys the music of the Late Romantic period. It bears the influence of Cesar Franck to a degree, most obviously in its cyclical structure, but it still strikes me as an individual piece and one that merits greater exposure. The compact opening 'Allegro assai ed energico' displays the composer's sure grasp of form but this concise, sometimes turbulent movement is only a taster, if you will, of what is to come in the finale, a complex and massive structure that ties everything together with assurance and that pretty much lasts as long as the preceding three movements put together. It's a marvellously varied yet cohesive movement, containing a complex web of motives, beautifully scored with sophistication and ingenuity (it calls for thirteen separate violin parts during its course!), and one that demands and repays repeated listening.The remaining pieces on the disc, if perhaps not as substantial or sophisticated, are hardly less enjoyable. 'Trenmor' - a symphonic poem after Ossian - is a colourful, fifteen-minute essay in Lisztian procedures clothed sumptuously in post-Wagnerian orchestral garb; it makes telling use of the horns in evoking its mythical atmosphere and also an enhanced percussion section. Despite Biarent's large orchestral palette, the work is testament to his talent for scoring and there are some delectable textures throughout, particularly in the later sections of the piece, which depict the eponymous hero's first experience of love. The scoring is also perhaps the most impressive aspect of the 'Two Sonnets for cello and orchestra' (the poems that inspired them are printed in the accompanying booklet, with both English and German translations of the original French text): the second, "Floridium Mare", especially impressed me with its flickering cello part and shifting orchestral accompaniment. As with the second volume of Biarent's symphonic works - which is still available: Biarent: Contes d'Orient / Poeme Heroique / Rhapsodie Wallonne - the performances and sound quality are all one could ask for. The soundscape provided by Cypres is warm and natural, and realises perfectly both the rich sonorities of his orchestral manner as well as his more delicate instrumental writing. I don't know whether Cypres intend to re-release this excellent disc - they should certainly consider doing so as it seems to have garnered universally positive reviews, both professional and amateur (like my own). In the meantime, if you can find a reasonably-priced copy via Marketplace sellers you should snap if up. Very warmly recommended.
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5.0 out of 5 stars (1 customer review) 2 of 2 people found the following review helpful:
5.0 out of 5 stars
Marvelous music in splendid performances,
By G.D. - Published on Amazon.com
This review is from: Symphonic Works (Audio CD)
I was bowled over by the disc of his cello sonata and piano quintet, but this disc of orchestral works proves once and for all that there is no way around it: the Belgian composer Adolphe Biarent (1871-1916) is a major discovery and a composer whose negligence is utterly unjustified. Fortunately the music has received several very good recordings over the last couple of years, and hopefully more will follow. Biarent's style is late romantic, strongly inspired by d'Indy, Chausson, Rimsky-Korakov and the Russian orientalists, perhaps by Franck and Tchaikovsky, but it does not usually come across as eclectic, for Biarent was definitely able to synthesize his influences into a coherent, personal voice.
Trenmor is a splendidly scored, effective and atmospheric symphonic poem with a strong sense of the fantastic, richly melodic and constantly surging forward with flair and power; a really enjoyable encounter. The symphony, however, is a masterpiece. In four movements, it's material suggests a longer work than its 28 minutes, but Biarent keeps the reins tight, never allowing any idea to outstay its welcome no matter how marvelous it is (and there are lots of marvelous ideas). The first movement is ominously rather than overtly darkly dramatic, imaginatively scored, inventively developed, and utterly absorbing. The adagio is a short, memorable and gorgeously romantic pastoral and the magically delicate, eiderdown scherzo a marvel of kaleidoscopic colors and details (throughout its modest 3:13 duration). The finale is the longest movement, and the most Wagnerian, imposingly dark and full of shadows and tremors - like a gothic cathedral lavishly adorned with gargoyles. In many ways the symphony comes across as a masterly and apt summary of the best of romanticism at its twilight, especially romanticism of the magic fairy-tale variety. The two Sonnets for cello and orchestra are not mere fillers but evocatively atmospheric masterpieces, most memorable in their employment of trembling, soaring cello lines raising above glittering, opulent textures (especially in the ghostly, almost otherworldly Floridum mare, where the cello line creates quiet wisps of smoke over darkly oceanic depths); truly wonderful, poetic creations that one hopes will be discovered by cellists everywhere. The performances are fortunately superb, vividly colorful and with all the drama and atmosphere the music calls for, and the sound quality is good. An urgently recommended release. |
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