Enescu: Symphonie concertante in B flat minor for Cello & Orchestra, Op. 8

“The lush lyricism and engaging virtuosity of the idiomatic solo writing is graced by a quite superb soloist of whom I hope we shall be hearing much more” Classic FM Magazine

“Heart-warming lyrical melodies, as well as characteristically resourceful orchestration, abound in the Dohnányi Konzertstück… Gerhardt's warmly recorded performance lays claim to being the most convincing of all… Eugen d'Albert also pursues the stylistic path of Brahms in his C major Cello Concerto. Once again, Gerhardt acquits himself admirably, making light work of the technical hurdles... Enescu's inexplicably neglected Symphonie Concertante is projected with the utmost conviction by Gerhardt and Kalmar and provides a fitting climax to a totally absorbing release.” BBC Music Magazine, September 2005 *****

“This lively companion-set to the multi-layered symphonies (reviewed in July) balances the Romaniana for which Enescu was famous with a very individual neo-classicism. Drily-recorded but dedicated accounts.” BBC Music Magazine, October 2005

“Enescu's three suites stand in relation to the symphonies rather as Tchaikovsky's suites relate to his symphonic works. The First opens with a striking prelude for strings in unison which in turn gives way to a gorgeous Menuet lent. The more formal Second Suite (which falls between the First and Second Symphonies) is based on Baroque models, while the relatively 'late' Third Suite, named Villageoise (it dates from 1938), overflows with invention, whether imitations of birdsong and children at play, or exquisite tonepainting of nature by day and night. Foster also offers us the early, 23-minute Symphonie concertante for cello and orchestra, his soloist Franco Maggio-Ormezowski unfolding its generous stream of melody with a warm, fluid tone.
Lawrence Foster's performances of these fascinating if occasionally over-effusive works provided a fitting tribute for the 50th anniversary of Enescu's death (1955). Do give this music a try. It combines the freshness of Dvorák with the earthand- spirit daring of Bartók; and while not quite on a level with either, it comes pretty damned close.” Gramophone Classical Music Guide, 2010