Welcome to ‘Dodd’s Discoveries’, a review series from NativeDSD Senior Music Reviewer Bill Dodd. This series focuses on Bill’s latest selections, with new reviews regularly. And the best part… the albums featured in the most current review will be available at a reduced price! Click the button below to see all of Dodd’s Discoveries and to find the current album(s) on sale.
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This one, with Hannu Lintu conducting the Tampere Philharmonic, goes back a bit in the Native catalog. But that makes it even more of a “discovery!” It’s got some big surprises, especially if you love Mahler.
If you know George Enescu (1881–1955) at all, it’s probably because of his two very popular Romanian Rhapsodies. But he was a serious composer. His many works included three numbered symphonies and, decades later, the Chamber Symphony. This beautifully recorded album features the Second Symphony, first performed in 1915, and the 1954 Chamber Symphony.
It’s Symphony No. 2 that I want to talk about.
At the start, I can’t help but think of Strauss. For the first minute or two, I wouldn’t be surprised to see Don Juan stride into the picture. But then there’s a surprise: Enescu starts to sound a lot like Mahler — a huge orchestra, massed strings and brass, and sudden shifts from chamber-like transparency to full orchestral weight. It’s not that Enescu is copying Mahler, but rather that he’s created wandering, unsettled harmonies, long, searching melodic lines, and a sense of emotional ambiguity.
And then the third movement shows up with its combination of strong rhythms and dance-like qualities. And did you hear those snide trombones go by?
Mahler’s symphonies often move between triumph and anxiety — clarity and chaos. Enescu’s final movement of the Second does as well, but always in his own way.
Bottom line: This is not imitation Mahler. But if you like Mahler, this is strong, involving symphonic art that will surprise you. And the recording quality is superb.
For a bit more Enescu, and some others from his time in Paris, check out:
