The works of Hector Berlioz have in good justice been reputed to occasion most spectacular renderings, as the French romantic was a creator of inexhaustible fantasy and multiple resources. The title Symphonie fantastique on a bill could spell either a risk or a professional ambition that may work as a boomerang. But Horia Andreescu is past the period of taking chances, his only problem now being how to produce a personal, convincing and original version. Seemingly following Berlioz' own wishes, Horia Andreescu decided for a less "fantastic" and more passionate, dynamic, and agitated rendition. I detected his intentions most clearly in the waltz section entitled "A ball" where the smallest trace of corny romanticism was removed entirely in favor of an incandescent, vigorous feast. The most beautiful moment of Symphonie fantastique was, perhaps paradoxically, the Scene campetre, a haven of peace and reverie, with a very fluent execution. Thanks to the masterful performance of the percussionists (in the celebrated part of The Storm,) it became the most artistically accomplished. The public, naturally, delighted in the Marche vers le supplice since the 4 trumpets (admirably animated by Iancu Vaduva), together with the other brass winds in a mood of extreme sonorous homogeneity, lent all the attributes of technical bravura to the spectacular Berlioz moment. Sure, more rehearsals would have been welcome. This because Horia Andreescu does not give too much rein to the orchestra players but keeps an eye on them at each measure of the score where he wants to underline an accord, a melodic line, a theme, or an unsuspected nuance.I experienced the same feeling of instability at the beginning of Concerto No. 1 for piano and orchestra in E minor op. 11 by Chopin when Valentin Gheorghiu made contact with the ensemble only after the Allegro Maestoso. The maximally tensional moment of the delicate score by Chopin was the famous Larghetto. There Valentin Gheorghiu was at his finest, and the total soloist-conductor-orchestra communion occurred flawlessly, saving the piece from a standard execution. Meridian, Bucharest 2, no. 212, February 26, 1993
by Viorel Cosma (b. 1927)
