Gounod may be thought
                  of as something of a one-hit-wonder. For fans of orchestral
                  music, that hit is Funeral March for a Marionette. For
                  opera fans, it is Faust; OK, real opera fans
                  will likely know his other operas as well. But Gounod the symphonist
                  is likely to be a new experience, as it was for me.
                
                 
                
                
                Gounod wrote two
                  symphonies. However, those expecting French symphonies,
                  or French-sounding symphonies - whatever that means,
                  exactly - are likely to be disappointed. His early education
                  took him to Italy and Germany, and later in life he spent much
                  of his time in England, so it’s not surprising that he’s not
                  tied to mid-century France. It may be more surprising that
                  he is tied to turn-of-century Vienna. His first symphony
                  sounds very much like late Mozart. It is full of charm and
                  grace, with particularly attractive woodwind writing. This
                  mood is only slightly broken by a funeral march at the beginning
                  of the second movement that only hints at those in Beethoven’s
                  third and seventh symphonies. Gounod’s second is very much
                  like the first two symphonies of Beethoven. It begins with
                  a declamatory theme that sounds heavy with portent, insistently
                  unfolded through the first movement. The mood of the rest of
                  the symphony might be described as “gently jaunty,” particularly
                  the third-movement scherzo. 
 
                
                Patrick Gallois
                  is best known as a flutist, a role he has recently filled in
                  a number of recordings for Naxos, such as the complete flute
                  concerti of C.P.E. Bach. However, life on the podium is
                  not new to him; he has also conducted early Haydn symphonies,
                  again on Naxos. Such references point out his sympathy for
                  the classical idiom, which he brings out to good effect in
                  Gounod’s works. The Sinfonia Finlandia Jyväskylä do not have
                  a rich enough sound for (say) Debussy, but in these works they
                  have admirable rhythmic snap and clarity of texture. 
 
                
                If you are willing
                  to set aside expectations of the Romanticism of Gounod’s contemporaries
                  and students, and enjoy his anachronistic late-Classicism,
                  this is an admirable recording for getting to know these relatively
                  unknown symphonies. 
 
                
                  Brian Burtt