The rediscovery of Eastern European repertoires from the first half of the 20th century continues to yield treasures, and here is a new set. Romanian composer
George Enescu remains mostly known for his Romanian Rhapsodies (2) for orchestra, but between the world wars he was known, respected, and followed all over Europe, by
Ravel among others.
Enescu's little-heard piano music has been recorded in toto by
Luiza Borac, but those wanting a single disc at the attractive Naxos price would do well to pick up this selection of diverse works recorded by the young Romanian American
Matei Varga.
Enescu's models were the French impressionists, but his voice is unique, with a dedication to sheer knotty complexity that was alien to French music. The Choral from the Pièces Impromptues, Op. 18, makes a good place to start: it develops a large structure in an unbroken arc from the chorale-like material stated at the beginning. The same sense of the long line is present in the first movement of the Piano Sonata No. 1, Op. 24/1, composed in 1924; its tempo indication, Allegro molto moderato e grave, gives an idea of its constantly shifting harmonies and tempi. It's an extraordinary piece that copies no school, constantly surprises the listener, and yet seems to hang ineluctably together. The Suite No. 2 in D major, Op. 10, partakes of the neo-Baroque strain present in the music of
Debussy and
Ravel, but again is entirely different in effect, with dense harmonic complications enveloping the stately Sarabande and Pavane. The folk strain in
Enescu's music is only hinted at (in the sonata's last two movements), but it is well known from elsewhere, and this fine recording, with a pianist fully on top of the rather punishing and never showy virtuosity required by
Enescu's music, is likely to whet the listener's attention for more of it. With top-notch engineering from New York's Patrych Sound Studios, this is a standout among Naxos' discs seeking the revival of lost national repertories.