This is quite an interesting find! Bendix was a sort of linking point between the romanticism of Gade and the overt progression of Carl Nielsen but his beautiful style makes for some memorable listening. These are works crafted in a sort of Glazunov-like manner, nothing out-of-the-ordinary but tuneful and likeable nonetheless. The first disc pairs the Second, entitled: 'Sounds of Summer from South Russia' and the Fourth, a relatively late work composed in 1906. The former is full of bubbly effervescent music, a real potboiler with a wonderfully expansive opening movement and a thrilling Finale, it is indeed Molto vivace. I was not so comfortable with the Fourth, at times it seems as if Bendix does not fully comprehend where he is going, perhaps due to the new order so overwhelming his traditional instincts. I would single out the deeply pensive Adagio non troppo for some wonderful tunes and that is not a patch on the whirling Allegro animato, which opens the symphony in rumbustious fashion. On the whole, the Second is a fair starting point to approaching Bendix's symphonies.

The second disc pairs the First and Third, both impressive works and very descriptive indeed. The First is entitled 'Mountain Climbing', one cannot but think that Rued Langaard plagiarized this title for his own First Symphony. This is a finely crafted work full of longing and contains some memorable themes especially in the twelve-minute Overture. The Marcia solenenne has one imagining a moonlight procession on a far-off Tibetan mountain whilst the dashing Allegro animato makes for a fine conclusion. The accompanying Third is perhaps the best of the works on disc. It rather reminded me of Schumann's 'Rhenish' with its unbuttoned orchestral virtuosity and definitive mastery especially in the 'Multicoloured Pictures' movement. The outer movements are longer especially the Finale, thirteen minutes of orchestral fantasy that eclipses Gade quite imperiously!

Performances by the Omskk Philharmonic are cultured and well drilled if ultimately not so inspiring. But it is indeed interesting to hear the qualities of these ensembles in such rare repertoire; the whole release is indeed welcome in more ways than one. Danacord's recording is exquisitely clear with an almost brilliant touch to it although the strings are slightly too bright. Exemplary notes are accompanied by a scathing attack by Danacord owner Jesper Buhl on the musical establishment. He is only too right and one applauds his courage at ploughing a lone furrow in this repertoire. Still, the results are there for all to see and I recommend this issue wholeheartedly.

Reviewer

Gerald Fenech

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