CHAN 10388 10388 37 CCHANHAN 1103880388 BBooklet.inddooklet.indd 336-376-37 22/10/06/10/06 113:57:253:57:25 Ottorino Respighi (1879 –1936) 1 Burlesca, P 59 (1906) 7:30 for Orchestra Andante – Allegretto – Andante – Allegretto vivace Mary Evans Picture Library Preludio, corale e fuga, P 30 (1901) 17: 03 for Orchestra 2 Preludio. Lento – Presto – 3:01 3 Corale. Lento – Lento assai – 5:26 4 Fuga. Allegro – Meno mosso – Tempo I – Molto sostenuto – Presto – Più mosso – Largamente – Lento assai 8:35 Rossiniana, P 148 (1925) 23:04 Suite for Orchestra from Les Riens by Gioachino Rossini (1792 –1868) Free transcription by Ottorino Respighi 5 I Capri e Taormina (Barcarola e Siciliana). Allegretto – Andantino – Allegretto 5:42 6 II Lamento. Andantino maestoso 8:00 7 III Intermezzo. Allegretto moderato – Poco più mosso – Tempo I 2:01 8 IV Tarantella ‘puro sangue’ (con passaggio della Processione). Allegro vivacissimo – Andante religioso – Tempo I 7:09 Ottorino Respighi 3 CCHANHAN 1103880388 BBooklet.inddooklet.indd 22-3-3 22/10/06/10/06 113:57:163:57:16 Ottorino Respighi (1879 –1936) 1 Burlesca, P 59 (1906) 7:30 for Orchestra Andante – Allegretto – Andante – Allegretto vivace Mary Evans Picture Library Preludio, corale e fuga, P 30 (1901) 17: 03 for Orchestra 2 Preludio. Lento – Presto – 3:01 3 Corale. Lento – Lento assai – 5:26 4 Fuga. Allegro – Meno mosso – Tempo I – Molto sostenuto – Presto – Più mosso – Largamente – Lento assai 8:35 Rossiniana, P 148 (1925) 23:04 Suite for Orchestra from Les Riens by Gioachino Rossini (1792 –1868) Free transcription by Ottorino Respighi 5 I Capri e Taormina (Barcarola e Siciliana). Allegretto – Andantino – Allegretto 5:42 6 II Lamento. Andantino maestoso 8:00 7 III Intermezzo. Allegretto moderato – Poco più mosso – Tempo I 2:01 8 IV Tarantella ‘puro sangue’ (con passaggio della Processione). Allegro vivacissimo – Andante religioso – Tempo I 7:09 Ottorino Respighi 3 CCHANHAN 1103880388 BBooklet.inddooklet.indd 22-3-3 22/10/06/10/06 113:57:163:57:16 Five Études-tableaux, P 160 (1930) 24:58 Respighi: Rossiniana and other works from Études-tableaux, Opp. 33 and 39 by Sergey Vasil’yevich Rachmaninov (1873 –1943) Orchestrated by Ottorino Respighi Ottorino Respighi is best known, and further from the truth. His opus ranges from sometimes unjustly typecast, for his three delicate songs, quartets, quintets, preludes 9 1 La Mer et les mouettes (Op. 39 No. 2) 8:56 effulgent and spectacularly orchestrated and sonatas in various styles, and works for in A minor • in a-Moll • en la mineur Roman tone poems – Fontane di Roma piano and organ, to ballet music, concerti, Lento assai – Poco più vivo – Tempo I – Più vivo – (Fountains of Rome), Pini di Roma (Pines of operas, and even an ambitious Sinfonia Tempo I – Poco più vivo – Tempo I Rome) and Feste romane (Roman Festivals). drammatica. The Chandos recording of three 10 2 La Foire (Op. 33 No. 4) 1:46 It became fashionable, particularly after 1945 relatively early chamber works (CHAN 9962) in E fl at major • in Es-Dur • en mi bémol majeur and well into the 1960s, to patronise or admirably demonstrates his talent for writing Allegro con fuoco belittle his music, to dub him a pasticheur, an on a smaller scale and for chamber-sized admittedly brilliant arranger and transcriber of forces. His admiration for composers as 11 3 Marche funèbre (Op. 39 No. 7) 7:27 the works of other composers, but essentially utterly different as Bach and Rossini testifi es in C minor • in c-Moll • en ut mineur a musical chameleon lacking a distinctive idiom to his remarkable musical eclecticism. Lento (lugubre) – Poco meno mosso of his own. A brilliant violin and viola player, a far more 12 4 Le Chaperon rouge et le loup (Op. 39 No. 6) 2:54 This charge is given superfi cial weight than competent pianist and harpist, a pupil of in A minor • in a-Moll • en la mineur by the large number of works by other Rimsky-Korsakov, professor of composition at Allegro – Poco meno mosso – Più mosso – Presto – composers which Respighi did transcribe. the Santa Cecilia Academy in Rome (he was Tempo I These include a stunning orchestration of to marry Elsa Olivieri Sangiacomo, one of his Bach’s Passacaglia and Fugue in C minor, pupils), shy yet with a reputation as a ladies’ 13 5 Marche (Op. 39 No. 9) 3:35 BWV 582 (performed to great acclaim at man, fl uent and widely read in some eleven in D major • in D-Dur • en ré majeur the BBC Proms in 2000) and arrangements languages, Respighi possessed a truly protean Allegro moderato. Tempo di marcia – Poco meno mosso and transcriptions of pieces by Monteverdi, personality. The most lionised Italian composer (senza espressione ma sempre alla marcia) Vivaldi, Tartini, Vitali, Frescobaldi and Rossini. of his generation, championed by none other TT 73:04 In the case of Tartini (Pastorale) and Vitali than Arturo Toscanini, Serge Koussevitzky and (Ciacona), Respighi did not merely transcribe, Fritz Reiner, Respighi is enjoying a musical BBC Philharmonic he manifestly improved on the original. rehabilitation that, long overdue, is now Respighi is still sometimes stigmatised as unstoppable. Yuri Torchinsky leader a composer fl ashily addicted to roof-raising The four works recorded on this CD Gianandrea Noseda scores for vast orchestra. Nothing could be bear witness to the many-faceted genius of 4 5 CCHANHAN 1103880388 BBooklet.inddooklet.indd 44-5-5 22/10/06/10/06 113:57:173:57:17 Five Études-tableaux, P 160 (1930) 24:58 Respighi: Rossiniana and other works from Études-tableaux, Opp. 33 and 39 by Sergey Vasil’yevich Rachmaninov (1873 –1943) Orchestrated by Ottorino Respighi Ottorino Respighi is best known, and further from the truth. His opus ranges from sometimes unjustly typecast, for his three delicate songs, quartets, quintets, preludes 9 1 La Mer et les mouettes (Op. 39 No. 2) 8:56 effulgent and spectacularly orchestrated and sonatas in various styles, and works for in A minor • in a-Moll • en la mineur Roman tone poems – Fontane di Roma piano and organ, to ballet music, concerti, Lento assai – Poco più vivo – Tempo I – Più vivo – (Fountains of Rome), Pini di Roma (Pines of operas, and even an ambitious Sinfonia Tempo I – Poco più vivo – Tempo I Rome) and Feste romane (Roman Festivals). drammatica. The Chandos recording of three 10 2 La Foire (Op. 33 No. 4) 1:46 It became fashionable, particularly after 1945 relatively early chamber works (CHAN 9962) in E fl at major • in Es-Dur • en mi bémol majeur and well into the 1960s, to patronise or admirably demonstrates his talent for writing Allegro con fuoco belittle his music, to dub him a pasticheur, an on a smaller scale and for chamber-sized admittedly brilliant arranger and transcriber of forces. His admiration for composers as 11 3 Marche funèbre (Op. 39 No. 7) 7:27 the works of other composers, but essentially utterly different as Bach and Rossini testifi es in C minor • in c-Moll • en ut mineur a musical chameleon lacking a distinctive idiom to his remarkable musical eclecticism. Lento (lugubre) – Poco meno mosso of his own. A brilliant violin and viola player, a far more 12 4 Le Chaperon rouge et le loup (Op. 39 No. 6) 2:54 This charge is given superfi cial weight than competent pianist and harpist, a pupil of in A minor • in a-Moll • en la mineur by the large number of works by other Rimsky-Korsakov, professor of composition at Allegro – Poco meno mosso – Più mosso – Presto – composers which Respighi did transcribe. the Santa Cecilia Academy in Rome (he was Tempo I These include a stunning orchestration of to marry Elsa Olivieri Sangiacomo, one of his Bach’s Passacaglia and Fugue in C minor, pupils), shy yet with a reputation as a ladies’ 13 5 Marche (Op. 39 No. 9) 3:35 BWV 582 (performed to great acclaim at man, fl uent and widely read in some eleven in D major • in D-Dur • en ré majeur the BBC Proms in 2000) and arrangements languages, Respighi possessed a truly protean Allegro moderato. Tempo di marcia – Poco meno mosso and transcriptions of pieces by Monteverdi, personality. The most lionised Italian composer (senza espressione ma sempre alla marcia) Vivaldi, Tartini, Vitali, Frescobaldi and Rossini. of his generation, championed by none other TT 73:04 In the case of Tartini (Pastorale) and Vitali than Arturo Toscanini, Serge Koussevitzky and (Ciacona), Respighi did not merely transcribe, Fritz Reiner, Respighi is enjoying a musical BBC Philharmonic he manifestly improved on the original. rehabilitation that, long overdue, is now Respighi is still sometimes stigmatised as unstoppable. Yuri Torchinsky leader a composer fl ashily addicted to roof-raising The four works recorded on this CD Gianandrea Noseda scores for vast orchestra. Nothing could be bear witness to the many-faceted genius of 4 5 CCHANHAN 1103880388 BBooklet.inddooklet.indd 44-5-5 22/10/06/10/06 113:57:173:57:17 Respighi – a seemingly effortless melodist seventeenth-century Italian monody, and important to me’. The score of Preludio, chorale theme ever-present. There follows and, even at a very early stage, a composer the Italian instrumental baroque, allied to corale e fuga was composed under Rimsky- a complex fugue, with a magical dialogue who was not afraid to go beyond the musical the ‘modern’ infl uences of Brahms, Rimsky- Korsakov’s supervision. Critics have tended between strings and chattering woodwind conventions of his age and his chosen Korsakov, and Richard Strauss. As Respighi to overstress Rimsky-Korsakov’s infl uence as the chorale phrase is given the full fi nal compositional medium.