GOUNOD Symphonies Nos 1 & 2 (Tortelier)
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-François Gounod
Genre:
Orchestral
Label: Chandos
Magazine Review Date: 06/2019
Media Format: Super Audio CD
Media Runtime: 62
Mastering:
DDD
Catalogue Number: CHSA5231
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 1 |
Charles-François Gounod, Composer
Charles-François Gounod, Composer Iceland Symphony Orchestra Yan Pascal Tortelier, Conductor |
Symphony No. 2 |
Charles-François Gounod, Composer
Charles-François Gounod, Composer Iceland Symphony Orchestra Yan Pascal Tortelier, Conductor |
Author: Mark Pullinger
Judging by the relaxed cover photograph in front of Reykjavík’s Harpa concert hall, Yan Pascal Tortelier is settled at the helm of the Iceland Symphony Orchestra. Its chief conductor since 2016, he brings wit and charm to this delightful pair of works.
The First Symphony was composed in 1854 55, although Gounod drew on a work written in Rome a decade earlier as the opening movement. It is carefree and sunny in style and it’s no surprise that it inspired Bizet, who arranged it for piano duet, to write his own Symphony in C. Haydn is a definite influence – breezy spirits, the ‘wrong key’ for the start of the second half of the Minuet, the Trio with its musette-like drone – but there’s Mendelssohn too, who encouraged Gounod, telling him not to bother with opera! There’s a spring in Tortelier’s step with the Icelanders, a sappy bounce to the opening Allegro molto. The Allegretto moderato trips along and the Scherzo has bucolic weight. There’s a vitality about the ISO’s finale which is even more winning than the ASMF’s account, especially given the excellent Harpa acoustics. The strings are alert and light and the woodwinds attack Gounod’s melodious writing with élan.
If Haydn is the influence on the First, it is Beethoven who looms large over the Second, more serious in tone with dramatic changes in dynamics and heavy sforzando markings. The Adagio introduction, in brooding E flat major, is Gounod’s ‘Eroica’ moment, although the Frenchman cannot really bristle with anger to the same extent. Tortelier scores over Marriner here by observing exposition repeats and the Icelanders tackle it with relish. The aching string tone in the Larghetto is wonderful and the woodwinds propel the Scherzo along joyously. There’s no Beethovenian Sturm und Drang for the finale, just Gallic joie de vivre, which makes one regret that Gounod never returned to the symphonic form again.
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