C took me into a music shop and I found this recording. I was familiar with the track "Primăvara" and saw many posters of Tudor Gheorghe, but I did not know about this Symphony. Of course I made a purchase. My car has a CD player that is anxiously awaiting a disc.

The spring of Tudor Gheorghe is one of the most thrilling phenomenon's of our musical age, so rich in extreme experiences, from exploring new sonorous dimensions to continuous search of distinct sounds specific to his unique style so difficult to characterize and to define by some pattern, because unfortunately, not even the music has escaped the closed systems and boundaries.

The general acoustics of the concert is marked by the characteristic of live records With a large number of performers, by the personal conception of the sound producers, each play having its own sonorous specific, depending on the lyrics, on the score of the orchestra, of the chorus and the interpreter, on the emotional charge and on the artistic unique interpretation of Tudor Gheorghe.

The order of the plays in the show is not at all accidental; the evolution of the concert combines poems of diverse poets and dispositions going from melancholy, religiosity—in Lumina lina (Sweet light) and even to irrepressible energy as in Salcamii (The Acacias) or Note de primavara (Spring notes). The concert begins with Antiprimavara (Antispring) which is characterized by a double nature of essence; the pessimism of the verses finding its balance in the expression unreserved, with pre classical accents of the instrumentation, a paradox becoming possible by music.

With the second play, Primavara mea (My spring) we enter in a different register—the sense is much more definite, the instrumentation being punctuated only by the intervention of the flute and the melody of the horn—spring is presenting itself.

A special moment is the piece Lumina lina (Sweet light) with a deep religious source—the enlarged second of the theme reminding the Byzantine songs—which invites at a short moment of meditation. The instrumentation is inspired, the chorus having an important role in creating the atmosphere and it gets—in the end an important role, the soloist. The accompaniment is also diverse, and it varies in the case of the harp as well as in the case of the string instruments, from arpeggios in legato to rhythmic moments in pizzicato.

The folk character of the next play Mugur, mugurel is obvious. The simple, natural instrumentation hasn’t lost its beauty of traditional song. The cadence in the end brightens up the atmosphere and prepares the next plays, which although are marked by an emotional evolution, correspond to the general atmosphere of happiness and brightness of the concert.

The natural of the melody in Dorul calator has its completion in the orchestral variant that creates a melodic style of pure Romanian expression, by a rhythmic accompaniment, without useless artifices assured by strings.

It is remarkable how in Spring rhapsodies Tudor Gheorghe presents in accord with the original, the descriptive character of the verses of George Toparceanu. The descriptive allusions are also found in the orchestral accompaniment full of fantasy where we notice the solo interventions of the harp and the permanent dialogue between voice and the winds.

The roses valse (Valsul rozelor) fits perfectly in the atmosphere of the show, its supple theme full of poetry and candor preserving and even increasing the freshness in the orchestral variant proposed by Marius Hristescu.

An important moment in the show is Autumn, a play that brings a contrast of mentality, enriching the gallery of images of the show. We are very impressed by the austerity off the style with pre classical influences. The orchestral introduction starts by a descendant theme treated in a counterpoint manner first heard in the grave register of the cello, followed by the rest of the winds. Also inspired: the countermelody first exposed by the oboe, and in the last stanza by the first violin, the intervention of the horn in the refrain whose timbre completes the atmosphere of the whole.

In Dona Clara, the tango proves to be full of resources, for Tudor Gheorghe, the play is new, full of freshness, the sonorous diversity is untied to the emotional substance of lyrics. The fine humor finds its correspondent in the vivid orchestration, spontaneous, with a strong Spanish character.

Many thanks to Alina for the translation from the original Romanian.