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Bartók, Enescu, Kodály, Martinů

Borusan Istanbul Philharmonic, Carlo Tenan

Bartók, Enescu, Kodály, Martinů
These musicians capture the rhapsodic flow [of the Martinů] right from the opening of the threemovement work. The orchestral detail, sitting somewhere between impressionism and pointillism,...

Bartók, Enescu, Kodály, Martinů

Borusan Istanbul Philharmonic, Carlo Tenan

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These musicians capture the rhapsodic flow [of the Martinů] right from the opening of the threemovement work. The orchestral detail, sitting somewhere between impressionism and pointillism,...

About

A programme of vibrant eastern European orchestral music from the celebrated Borusan Istanbul Phiharmonic Orchestra and their new chief conductor, Carlo Tenan. Bartok and Kodaly, close friends and musical collaborators, did much to explore and preserve traditional Hungarian music, in much the same way as did Vaughan Williams and Holst recording and preserving folk song in Great Britain at the same time. The folk music of Hungary shines through in the Dance Suite and Dances of Galanta. Martinu’s radiant Frescoes of Piero della Francesca was inspired not by folk music, but by the composer’s visit to Arezzo to see the famous 15th century frescoes ‘The History of the True Cross’ in the Basilica of San Francesco. The popular folk music inspired Romanian Rhapsody No.1 by Enescu rounds off this colourful journey through eastern Europe, with a detour to Tuscany in the company of a Czech master.

Contents and tracklist

I. Moderato
Track length3:34
II. Allegro molto
Track length2:29
III. Allegro vivace
Track length3:11
IV. Molto tranquillo
Track length2:53
V. Comodo
Track length0:56
VI. Finale: Allegro
Track length4:22
I. Andante poco moderato
Track length8:15
II. Adagio
Track length6:01
III. Poco Allegro
Track length5:34

Awards and reviews

September 2025

These musicians capture the rhapsodic flow [of the Martinů] right from the opening of the threemovement work. The orchestral detail, sitting somewhere between impressionism and pointillism, is clearer than on some recordings yet still evokes the work's overall ecstatic atmosphere.
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