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CHAN 9681 Front.qxd 26/10/07 12:42 pm Page 1 Chan 9681 CHANDOS NINO ROTA Two Piano Concertos premiere recordings Nino Rota Massimo Palumbo piano Massimo Palumbo & Marco Boni I Virtuosi Italiani Marco Boni CHAN 9681 BOOK.qxd 26/10/07 12:43 pm Page 2 Rota: Two Piano Concertos One of the very few sources available of The enfant prodige, who at the age of Nino Rota is the affectionate portrait made by twelve composed and directed the Oratorio Nino Rota (1911–1979) his own mother, Ernesta Rota Rinaldi, from L’infanzia di San Giovanni Battista (The 1944. Childhood of St John the Baptist) for soloists, Piano Concerto 37:09 In the summer of 1927 Toscanini, at the time chorus and orchestra, grew up to become a in E minor . e-Moll . mi mineur already a friend of my father, [Giovanni Rinaldi, a unique personality of the Italian twentieth 1 I Allegro tranquillo 16:29 good composer of piano music] and cautiously century – a century whose musical trends Rota 2 II Andante sostenuto 10:53 concerned for Nino’s musical future, supported knew intimately from his enlightened 3 III Allegro 9:41 and directed his application for a bursary to education and his innate optimism, but did not Philadelphia’s Curtis Institute [which, in fact, he thoroughly accept. There were some who saw eventually received]. Toscanini was a strenuous him to be somewhat ‘out of step’ (F. D’Amico) Piano Concerto 27:11 opponent of avant-garde music and of its because his music had no connection . in C major C-Dur ut majeur greatest exponent, Alfredo Casella. He feared that whatever with contemporary composition and 4 I Allegro cantabile 10:25 a cerebral and arid education might have a its language, and yet this allowed his music to 5 II Arietta con variazioni 8:13 deleterious influence on Nino. Actually he was be conceived free from any theoretical 6 III Allegro 8:29 mistaken, as Nino was always a stubbornly proposition, totally absolved from any contrary fellow, inclined to make a fool of his conceptual constriction and therefore an TT 64:29 teachers by producing, for instance, Casella-styled immediate and spontaneous expression of his music whilst under the guidance of Pizzetti [from thoughts. Massimo Palumbo piano 1925 to 1926], and music reminiscent of His style was of the nineteenth century: I Virtuosi Italiani Malipiero whilst studying with Casella [until he melodic and entirely devoid of harmonic gained his diploma in Rome in 1929]. Later he complications. Rota looked upon his own Marco Boni found his own idiom, leaving behind the North century’s music as an intelligent spectator – and traveling to Apulia, away from small cliqués just as he looked upon Stravinsky’s and parochialism. compositions, a friend, especially in Rota’s He was later appointed director of the Bari youth. Therefore his music is always aware of Conservatory, where he remained for more the listener’s needs and is not afraid to be than twenty years. tuneful or melodic: above all it is not afraid of 2 3 CHAN 9681 BOOK.qxd 26/10/07 12:43 pm Page 4 the ‘similarities’ its simplicity may reveal. He mean that his technique is simple or even fantastic world of Rota’s art. We could say a feast of colour, where two lyrically told the critic Lorenzo Arruga that he was elementary. If we concentrate on any of his that it is somewhat ‘cinematographic’, but this contrasting themes fight for prevalence, the absolutely convinced that plagiarism in music works we notice that they are certainly direct would make the usual misrepresentation first skipping and innocently frivolous, the does not exist. It is music material at our disposal; and immediately gratifying, but also, behind concerning the uniqueness of his music, which second majestic and expansive (calmo if someone uses it, it becomes his, the new those tuneful melodies so pleasing to the is complete in itself whatever its context. Thus cantabile) with the piano embroidering the author need only to be grateful to the old one. human ear, there hides the supreme wisdom of the piano sings delicately, leaning the long most attractive arabesques upon them. Whatever ‘similarities’ his music may reveal, it a craft which is deep-seated and deeply felt, and melancholic theme on limpid spreads of The Concerto in C major is mysterious and is definitely Rota in style and development, keenly aware – despite its appearance – of the feathery triplets with touches of colour from old-fashioned, once more charged with that witness his music for La dolce vita (1960), problems of the twentieth century. the orchestra. The orchestra then becomes poetic simplicity which is Rota’s trademark. Otto e mezzo (1963), The Godfather (1971), Guido Agosti writes: determined, heavy, as if to awake the listener The piano quietly announces the opening of also his works for the theatre Napoli milionaria Nino Rota’s piano music is a very pure spring. from the reveries into which he has sunk. The the Allegro cantabile with an open chord of (1977), his church music Mysterium, (1962) Various virtues mingle within it: spontaneity, structure of the movement is defined with new C major which develops into the main theme and his orchestral and chamber works, such as crystalline transparence, an infallible balance and contrasting themes, opposing melodic of the movement: a classical figure of grace the Concerto-Soirée (1961). Following between all the elements of the composition. You ideas and effects of light and shade entrusted and warmth. A second theme is hinted at, but Castelnuovo-Tedesco’s criticism of Rota’s will never notice rhetoric complexities, violence, to the most poetic fantasy. The skilful and it carries little weight. Soon the virtuosic music (‘…not worth a brass farthing! A heaviness nor opaqueness, but will admire the eloquent development plays with the various character of the Concerto is revealed: the composer’s only duty is to write good music!’) transparency of every detail. Nino Rota had – not themes presented along the way and leads to piano part demands skilful playing; an after the performance of the composer’s opera as a hard-won achievement, but as a natural the free and imposing cadenza, where the exuberance that possibly recalls the piano Aladino e la lampada magica (Aladdin and the talent – an inborn, almost hellenic sense of form piano reigns absolute. The lyrical theme of the writing of the early Romantic period, loaded Magic Lamp, 1968), Rota stated in an and mysterious spirit of style. Andante sostenuto is both gentle and with still newly-discovered effects. Rota, interview: This observation is also well suited, in a wider passionate, conjuring up a world of emotions however, writes in a simple and unaffected Look, when they tell me that in my works I am sense, to the concerto form. Beside the coloured by the halting appoggiaturas of the way to entertain, capering and jesting with a only concerned with bringing a little bit of famous Concerto-Soirée of 1961, Rota had theme; the spirit’s deep and lyrical bow to complete mastery of the keyboard, producing nostalgia and a lot of good humour and written three further concertos for piano, human suffering. The central section, in dreamy and ethereal colours, until the cadenza optimism, I think that this is how I would like to including the Concerto in E minor (1960) and A major, is a startlingly bright and free from leads, with the orchestra, to the end of the be remembered: with a little bit of nostalgia, a lot the Concerto in C major unknown to official tears. Deliberately ‘dreamy’, its warmth is movement. The central Arietta con variazioni is of optimism and good humour. catalogues. announced by the orchestra, accompanied first also virtuosic, although this does not mar With the art of Rota it is advisable to The Concerto in E minor is undoubtedly by the flute, then the violin, and finally the Rota’s exquisite invention, which is ever consider the significance of these words. To one of Nino Rota’s masterpieces. The main piano (con fantasia). The main theme returns vigilant and proud of its natural eloquence. say that his music embraces the mind of the theme alone would suffice to raise it to the like a hidden remorse, but the movement ends The final Allegro is impressive, with a theme listener without requiring any particular effort status of masterpiece: a theme which opens with a stolen smile at the audience. A joyful which winks at the listener with its charming of understanding from him in return, does not the Allegro tranquillo to the dreamy and and sparkling Allegro concludes the Concerto: and insistent triplets. The inexhaustible piano 4 5 CHAN 9681 BOOK.qxd 26/10/07 12:43 pm Page 6 flies along, briefly surrendering to the melody, In addition to his active concert career, regular guest of many important European a number of prestigious recordings to his and for a moment seems to calm down, but it Massimo Palumbo has made a considerable orchestras and international festivals and has credit. is soon carried away by the temptation of the number of recordings and was awarded the cadenza to reach the triumphant conclusion of Italian critics’ National Recording Award for the finale. two consecutive years. When I am at the piano, and I look for inspiration for my music, it may be that I am, due to my own I Virtuosi Italiani was formed in 1988 with nature, happy. But, as a man, how can one be the aim of creating an internationally- happy amongst the unhappiness of others? This renowned chamber orchestra.

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