These two symphonies from Lithuania are interesting, entertaining works. Balakauskas is one of those composers who writes according to a strict system, the details of...

These two symphonies from Lithuania are interesting, entertaining works. Balakauskas is one of those composers who writes according to a strict system, the details of which are less important than what he makes of it expressively--and the answer to that question is: quite a bit. The Fourth Symphony is an austere piece, scored mostly for strings with restrained use of the rest of the orchestra. Its three movements are each based on a different kind of scale: 8, 11, and 10 notes respectively, and as you might expect, the central movement is the most chromatic since its scale has the largest number of notes. The work opens with a gorgeous passage for strings and harp, and the moment when the harp figurations pass to solo timpani and other instruments begin to enter is especially marvelous. The second movement has an atmosphere tinged with jazz, while the finale pulsates gently within a rich, slightly exotic harmonic ambience. It's really very attractive.

The Fifth Symphony is far more aggressive in mood though no less approachable, particularly as the entire work is based on just a few easily identifiable thematic elements announced at the outset. The jazz element is stronger here, particularly in the quick second and fourth movements. "Big-band-like outbursts" is how the notes describe these sections. Now I haven't heard any Lithuanian jazz, and I'm not sure that I want to, but Balakauskas' notion of jazz recalls the 1920s works of Milhaud and Les Six, with perhaps a touch of Gershwin tossed in, though the harmony is more dissonant and the rhythm more hyperactively syncopated. That finale is really exciting, whatever the final word on the influence issue.

As you might expect, the Lithuanian National Symphony Orchestra plays well under conductor Juozas Domarkas, with only one exception. The middle movement of Symphony No. 4 needs more rhythmic sharpness and spring to its syncopations, and as rendered here it sounds just a bit under its ideal tempo. I could be wrong of course; presumably the composer stood by to give his approval, but you can listen and draw your own conclusions. This is an enjoyable disc, and worth a listen at such a reasonable price. Naxos already has recorded another work of Balakauskas, his Requiem, which is worth hearing too. Clearly he's a composer to keep an ear on.

--David Hurwitz, ClassicsToday.com