8.570880 Bk Malipiero 4/29/09 11:06 AM Page 5

8.570880 bk Malipiero 4/29/09 11:06 AM Page 5

within a minor ninth, while the piccolo squeals far memorable as the best symphonies of his prime. but also to the prominence, in the first two movements capricious interaction with other, sometimes unusually above them, answered by a muted trumpet. In some However, they both contain numerous points of and occasionally in the other two, of a concertante chosen timbres (e.g. that of the celesta) helps to give ways such wilfully “grotesque” textures hark back to interest. In the first movement of the Eighth Symphony group consisting of an oboe, a cor anglais and a Malipiero’s unassuming little symphonic swansong its Gian Francesco the provocative pungencies of some much earlier Malipiero largely abandons even those relatively free, bassoon. The composer described these as “the three distinctive flavour. Malipiero compositions, such as the little Grottesco of discursive thematic processes which had been characteristic instruments that create the bagpipe-like 1918, or the first and third operas in the extraordinary prominent in most of his earlier symphonies: the sonority [determinano il suono della cornamusa]”; their © 1994 John C. G. Waterhouse MALIPIERO triptych L’Orfeide (1918-22); yet they also have a movement is almost without long-term motivic bearing on the composer’s subsequent development in recurrences, the only exception being the failing and the 1950s and 1960s, as a comparison with the later rising minor seventh which the cor anglais plays at the symphonies on the present disc quickly reveals. All in outset and which returns repeatedly (on various all, this first movement’s startlingly subversive instruments and at various speeds and pitches) as the Symphonies Nos. 5, 6, 8 & 11 material and colour scheme make it too easy to starting-point for phrases that are otherwise flexibly overlook its structural affinities with Malipiero’s other unpredictable. Antonio de Almeida symphonies of the 1940s. (It hardly need be said that, Yet as a whole the Eighth Symphony is by no Moscow Symphony Orchestra here as in those works, there is little thematic or tonal means as athematic as its first movement might lead Antonio de Almeida enjoyed a distinguished career as a conductor, having appeared with the Chicago, “argument” on traditional, quasi-German lines.) one to expect. The second movement – a thrustingly Philadelphia and San Francisco orchestras in America, the Berlin Philharmonic, and the London and Royal Antonio de Almeida In the second movement, however, Malipiero mischievous scherzo with a notably bumptious Philharmonic Orchestras. He was responsible for a number of award-winning recordings, including the major shows clear signs of reverting to an idiom much closer trumpet part (mostly muted) – shows clear signs of orchestral works of Joaquín Turina and a recording of original unedited overtures and ballet music by Offenbach, to that of his previous symphonies. The initial bitonal reverting towards the structural methods of the earlier a composer on whom he was acknowledged to be a leading authority. His work on behalf of French music brought conflict between a bassoon melody and sustained symphonies, though hardly towards their style. All in him, among other distinctions, the award of the Légion d’honneur. Born in France, Antonio de Almeida studied chords on the pianos does, it is true, maintain the all this is arguably the best movement, terse, snappy with Paul Hindemith at Yale University and begam his career as a conductor with the Oporto Symphony Orchestra tension for a while; but there then ensues an extended and colourful. After it, however, instead of the two in Portugal, later making his London début at the invitation of Sir Thomas Beecham with the Royal Philharmonic stretch of music much of which is as charmingly further short movements that would have been normal Orchestra. For Marco Polo he recorded works by Glazunov, Malipiero, Sauguet and Tournemire. Antonio de relaxed as (for example) the beautiful second in the earlier symphonies, there follows a finale in Almeida died in Pittsburgh in 1997 aged 69. movement of the Third Symphony (1944-5), which variable tempo which is much longer than the other likewise features an important piano part (though in two movements put together – thus making nonsense that case for only one piano). Listeners must decide of the work’s subtitle Symphonia brevis, for this is by Moscow Symphony Orchestra for themselves how far this disarmingly idyllic music no means Malipiero’s shortest symphony. In his seems convincingly to “belong” to the same work as attempt to hold this finale’s sprawling length together, The Moscow Symphony Orchestra, one of Russia’s leading orchestras, was established in 1989 as the first the first movement’s eruptive outbursts. In any case, the composer reverts even more decisively to thematic independent orchestra in the country. During the following years the orchestra not only survived in the period of harmonic toughenings do in due course intermittently methods than he did in the scherzo. Yet the economic difficulties, but strengthened its position and became one of the top orchestras in Russia. Since the early return, both in this movement and in its cheerfully movement’s very real qualities (like those of the first 1990s it has been a regular participant in the Moscow musical seasons. The orchestra plays annually about twenty percussive successor. But the slow, radiant conclusion movement) tend, even so, to be colouristic rather than concerts in Moscow’s two best concert halls, the Great Hall of the Moscow Conservatory and the Tchaikovsky to the last movement is far more serene and relaxed in motivic in nature. Concert Hall, and has its own subscription series. The repertoire includes both traditional and less-known classical tone than the symphony’s beginning might have led The same is true, by and large, of Malipiero’s very music, as well as compositions by contemporary composers. Apart from its educational work and its extensive one to expect. last symphony, the Eleventh – which is really, of concert programmes the orchestra has been widely recognised for its outstanding recordings, with over a hundred If the Fifth Symphony shows Malipiero weighing course, the seventeenth if one takes into account the since 1994, principally for Naxos and Marco Polo. For this work the Moscow Symphony Orchestra has received his relatively gentle style of the 1940s against the six unnumbered symphonies. Although pervaded, like several international awards including the CD of the Month by the American magazine CD Review, the prestigious more chromatic and acrid idiom to which he was most of his later music, by a somewhat prickly French Diapason d’Or and the Chairman’s Choice in the Cannes Classical Awards. The Economist voted the increasingly to turn, in subsequent decades, the Eighth chromaticism, this minuscule four-movement work, orchestra’s recording of film music by Bernard Herrmann (Naxos 8.570186) one of the ten best records of the year. and Eleventh Symphonies (1964 and 1969) both lasting a total of less than twelve minutes, is basically The orchestra has also recorded music tracks for several Hollywood films. Since 1991 frequent tours have taken belong unequivocally to his final period. Given the a game of contrasted timbres and textures. The subtitle the orchestra to most European countries, Hong Kong, Japan, Korea and the United States. The orchestra has also composer’s age, it was hardly to be expected that “delle cornamuse” (of the bagpipes) refers not only to been a regular participant in international music festivals in Germany, Austria and Cyprus. The chief conductor these works would be as unfailingly vital and the intermittent use of more or less drone-like ostinati, and artistic director of the orchestra is Vladimir Ziva. 8.570880 5 8.570880 6 8.570880 bk Malipiero 4/29/09 11:06 AM Page 2

Gian Francesco Malipiero (1883 - 1973): Symphonies invites comparisons with the composer’s eight fine, tough dissonances in its last five bars. The second No. 6 “degli archi” (1947) • No. 5 “concertante in eco” (1947) ebulliently inventive quartets rather than with his movement, on the other hand, is gently meditative No. 8 “Symphonia brevis" (1964) • No. 11 "delle cornamuse" (1969) other symphonies (which all use fuller orchestral throughout – as indivisible and freely constructed as Gian Francesco Malipiero (1883 - 1973) forces). Nevertheless the simple fact that the piece is the first, and with a notably eloquent initial melody. The Symphonies • 3 For too long the vividly original music of Gian further symphonies, either with or without numbers. By in four separate movements, whose tempi follow the This melody recurs not only later in the same Francesco Malipiero has suffered almost total neglect the time he resumed the practice of using the word overall pattern fast, slow, fast, variable, is a feature movement but also in the slow parts of the relatively outside his native Italy. Even his own countrymen have sinfonia in his titles (first for the unnumbered Sinfonia shared with most Malipiero symphonies from the long finale, in which fast and slow sections alternate, Symphony No. 6 “degli archi” 22:40 done shamefully little to keep his best works in per Antigenida of 1962 and then for the confusingly so- Second onwards, whereas his quartets tend to eschew freely and perhaps rather loosely. Yet, whatever circulation, despite the continuing enthusiasm of a called Eighth Symphony of 1964) he had passed his such clear subdivisions in favour of a free-ranging reservations one may have about this finale, the 1 Allegro 3:58 devoted band of admirers who have included such eightieth birthday and his musical language had succession of contrasted episodes that usually follow symphony as a whole compellingly embodies that 2 Piuttosto lento 6:34 important younger composers as Luigi Dallapiccola meanwhile become far more acerbic and angular than it each other without a break. euphoric rejoicing in string sonorities for their own 3 Allegro vivo 2:52 (1904 - 75), Bruno Maderna (1920 - 73) and Sylvano had usually been in the 1940s. Consequently the Eighth In the Sixth Symphony’s original version sake which is an attractive recurrent feature of 4 Bussotti (born 1931). Undeniably the quality of and Eleventh Symphonies, recorded on the present disc, (recorded here) widespread use is made, especially in Malipiero’s best instrumental music. Lento ma non troppo - Allegro - Lento - Allegro - Molto triste 9:16 Malipiero’s huge, many-sided output is variable, and sound (on the whole) very different from the Fifth and the outer movements, of concertante interactions Although it was completed two months before the his weaker works have tended to undermine the Sixth – although the Fifth, as we shall see, contains between the full string body and various groupings of Sixth, the Fifth Symphony is a considerably more Symphony No. 5 “concertante in eco” 16:36 demand for his better ones. Yet the sum total of his striking premonitions of stylistic changes to come. solo strings. The composer even suggested that the adventurous piece, both in its orchestration and in its 5 Allegro agitato ma moderatamente 3:48 achievement is more than enough to justify regarding It may be wondered why Malipiero suddenly began work “could perhaps seem like a Concerto Grosso if harmonic language. On and off at least, it is him as the most important Italian composer of his again to number his symphonies from 1964 onwards, its structure did not show the same characteristics as Malipiero’s boldest symphony of the 1940s, although 6 Lento 5:43 generation, even if the skilful, highly-coloured having ceased to do so after the Seventh Symphony of the other symphonies”. One is reminded that in the disparities of style between one movement and 7 Allegro vivace ma ritmato 2:25 eclecticism of his near-contemporary Ottorino 1948. Judging from his own characteristically self-same year when this symphony was written, another – and even (sometimes) within single 8 Lento ma non troppo - Mosso (agitato) - Ritenuto (quasi funebre) 4:40 Respighi (1879 - 1936) has won much greater whimsical statements, it would seem that his reluctance Malipiero – who was also a diligent if at times movements – give the work a somewhat transitional international acclaim. to number the three intervening symphonies arose idiosyncratic musicologist – became president of the air. Like the Sixth Symphony, the Fifth too is in four The four symphonies brought together on the mainly from a superstitious “desire not to pass the Istituto Italiano Antonio Vivaldi when it began to movements, which again follow the overall tempo Symphony No. 8 “Symphonia brevis” 22:36 present disc belong to two very different phases in fateful number seven”: one is reminded of Mahler’s publish the great eighteenth-century composer’s sequence fast, slow, fast, variable. The scoring, 9 Piuttosto lento - Un poco più mosso 5:07 Malipiero’s exceptionally long career. The Fifth famous fear of passing the number nine. However, complete surviving instrumental music. Malipiero however, could hardly be more different: in keeping 0 Allegro 2:44 Symphony and the Sixth were both composed in 1947, unlike Mahler’s, Malipiero’s fears proved sufficiently himself edited several volumes of the series, just as he with the symphony’s subtitle “concertante in eco”, in the midst of a richly productive period when most of unfounded to allow him eventually to complete four had previously edited what remains the only collected there are prominent parts for two pianos, which at ! Non troppo lento - Più mosso - Allegramente - Tranquillo - Mosso - Lento - his best works of the kind were written: no fewer than more numbered symphonies, after the three cautiously edition of all the extant music of Monteverdi. times come near to transforming the work into a Meno lento, non trascinare - Più mosso, gaio - Meno mosso - Agitato seven of his seventeen compositions that have the unnumbered ones. What seems in due course to have The Sixth Symphony’s two fast movements are double concerto in all but name. The rest of the Lento (quasi funebre) 14:45 Italian word sinfonia in their titles date from the years conquered his resistance to such “fateful” numbering short and compact, containing a wealth of motivic orchestra, though of hardly more than classical 1944-51, which saw the births not only of Symphonies was his completion (in 1963-4) of an explicitly so- material without being readily divisible into sections. dimensions, nevertheless features prominent parts for 3 to 7 inclusive but also of the remarkable, intensely called Eighth String Quartet: as he put it, “the Eighth It is characteristic of this music’s winsomely piccolo and for various percussion instruments – the Symphony No. 11 “delle cornamuse” 11:59 expressive Sinfonia in un tempo (Symphony in One Quartet broke the spell of the number seven”, and once capricious methods that a brand new idea is latter being particularly insistent in the brief, dynamic @ Energico ma mosso, non troppo però 3:23 Movement, 1950) and the more relaxed, picturesquely the spell had been broken for his quartets without evil unexpectedly introduced almost three quarters of the third movement. # Lento 3:28 episodic Sinfonia dello zodiaco (1951). Neither of the consequences, he at last felt free to break it for his way through the first movement, after an exact reprise The first movement plunges us at once into a two last-mentioned symphonies was numbered by the symphonies too. of the first eight bars has seemed to announce the world of sound without exact precedents in earlier $ Gaio 2:34 composer; yet there are good reasons for regarding Of the four works recorded on the present disc, the beginning of a recapitulation. The terse, aggressive music by Malipiero or anyone else. The two pianos % Molto mosso ma marcando il tempo - Quasi lento - Molto mosso 2:34 them, even so, as part of his “legitimate” symphonic Sixth Symphony is probably the most approachable. third movement, unlike the first, makes no use of solo start on their own, playing strictly canonic, spikily output, and they are therefore recorded elsewhere in the Over the years, it has been the most widely played of instruments and instead reinforces the texture with angular lines that create truculent passing present series of discs, as are all Malipiero’s numbered all Malipiero’s symphonies, both in its original version rumbustious double and multiple stop effects. This dissonances. Before long a tensely expressive viola Moscow Symphony Orchestra and unnumbered symphonies, apart from the very early for string orchestra and in its subsequent arrangement movement, unlike its two predecessors, makes some melody starts to thread its way through the pianists’ Sinfonia degli eroi of 1905 which was unavailable at (made in 1953) for string quintet. short but uncompromising excursions out of the driving semiquavers. But the challenging Antonio de Almeida the time these recordings were made. The scoring for strings alone – reflected in the pervading neo-Vivaldian diatonicism into a pungent, aggressiveness continues: the pianos reinforce a bass Throughout 1952-61, however, Malipiero wrote no work’s straightforward subtitle “degli archi”– naturally gritty chromaticism, generating some conspicuously drum roll with clusters comprising all fourteen notes 8.570880 2 8.570880 3 4 8.570880 8.570880 bk Malipiero 4/29/09 11:06 AM Page 2

20 TH C E N T U R Y I T A 8.570878 8.570879 L I A N C L A S

S 8.555515 8.572013 I C S CMYK NAXOS NAXOS

This third volume of Malipiero’s symphonies features the most widely played of all his Symphonies, the strikingly original Sixth (for strings) from 1947. The adventurous, at times dissonant Fifth, with its concertante part for two pianos, juxtaposes chamber and orchestral textures. From the 1960s come the Eleventh (of the bagpipes), which features drone-like ostinati, and the colourfully scored Eighth (Short Symphony). Volumes 1 and 2 are available on Naxos 8.570878 and 8.570879. DDD MALIPIERO: MALIPIERO: Gian Francesco 8.570880 MALIPIERO Playing Time (1883 - 1973) 73:51 The Symphonies • 3 Symphony No. 6 “degli archi” 22:40 1 Allegro 3:58 2 Piuttosto lento 6:34 Symphonies Nos. 5, 6, 8 & 11 3 Allegro vivo 2:52 Symphonies Nos. 5, 6, 8 & 11 4 Lento ma non troppo - Allegro - Lento - Allegro - Molto triste 9:16 Symphony No. 5 “concertante in eco” 16:36 5 Allegro agitato ma moderatamente 3:48 6 Lento 5:43 7 Allegro vivace ma ritmato 2:25 8 Lento ma non troppo - Mosso (agitato) - Ritenuto (quasi funebre) 4:40 www.naxos.com Disc made in Canada. Printed and assembled USA. Booklet notes in English Naxos Rights International Ltd. Symphony No. 8 “Symphonia brevis” 22:36 9 Piuttosto lento - Un poco più mosso 5:07 1994 & 0 Allegro 2:44 ! Non troppo lento - Più mosso - Allegramente - Tranquillo - Mosso - Lento - Meno lento, non trascinare - Più mosso, gaio - Meno mosso - Agitato Lento (quasi funebre) 14:45 2009 Symphony No. 11 “delle cornamuse” 11:59 @ Energico ma mosso, non troppo però 3:23 # Lento 3:28 $ Gaio 2:34 % Molto mosso ma marcando il tempo - Quasi lento - Molto mosso 2:34 Moscow Symphony Orchestra Antonio de Almeida 8.570880 8.570880 Recorded at the Mosfilm Studio, Moscow, in February 1994 Producer: Edvard Shaknazarian • Engineer: Vitaly Ivanov • Music Notes: John Waterhouse Publisher: Universal Music Publishing Ricordi • Cover: Paolo Zeccara Previously released on Marco Polo 8.223696