Utwory na płycie:

• Tk 1 Alexandre Tansman Symphony No 7 Lyrique (1944) Andante sostenuto Allegro con moto Andante cantabile
• Tk 2 Alexandre Tansman Symphony No 7 Lyrique (1944) Andante cantabile
• Tk 3 Alexandre Tansman Symphony No 7 Lyrique (1944) Scherzo Molto vivace
• Tk 4 Alexandre Tansman Symphony No 7 Lyrique (1944) Final Adagio Allegro deciso Meno mosso Più lento
• Tk 5 Alexandre Tansman Musique pour orchestre (Symphony No 8) (1948) Allegro con moto
• Tk 6 Alexandre Tansman Musique pour orchestre (Symphony No 8) (1948) Élégie pour orchestre À Franz André Lento
• Tk 7 Alexandre Tansman Musique pour orchestre (Symphony No 8) (1948) Scherzo Molto vivace Subito lento Tempo I Lento
• Tk 8 Alexandre Tansman Musique pour orchestre (Symphony No 8) (1948) Finale Andante sostenuto Allegro deciso
• Tk 9 Alexandre Tansman Symphony No 9 (1957 58) Allegro con moto Un poco più lento A tempo
• Tk 10 Alexandre Tansman Symphony No 9 (1957 58) Grave Più lento Tempo I
• Tk 11 Alexandre Tansman Symphony No 9 (1957 58) Molto vivace Perdendosi
• Tk 12 Alexandre Tansman Symphony No 9 (1957 58) Lento Allegro con moto molto risoluto

Symphony No 7, Symphony No 8, Symphony No 9

The nine symphonies of Polish-born Aleksander Tansman (1897–1986) span more than forty years, from the ? nal stages of the First World War to the late 1950s when he enjoyed widespread recognition as one of the most successful and proli? c composers of his generation. Articulating much of Tansman’s compositional development, the symphonies demonstrate an enduring commitment to a tonally based harmonic language within a traditional genre; they were written not only at a time, during the interwar years, when neoclassicism was the predominant trend, but also after World War II when composers who eschewed the exploration of postWebern serialism as the only viable way forwards for new music were considered oldfashioned by the more experimental avantgarde. Although his devotion to a supposed outmoded form may have contributed to the creeping artistic isolation that gradually took hold during the 1960s, Tansman was by no means the only composer of his time who found the symphony an attractive medium for musical exploration. Continuing a line of symphonic tradition extending from Roussel and Honegger to Milhaud and Jolivet, Tansman pursued an independent compositional path that built on tradition if not quite as much on innovation – a path that nevertheless has parallels in the work of Shostakovich and Dutilleux as well as in the music of his younger compatriots Lutosławski and Panufnik.