Symphony No.1 Concerto for St
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This first of four recordings of Alfredo Casella' orchestral music couples his first and last purely orchestral works. Completed the day before his 23rd birthday, the Symphony No. 1, which here receives it world premiere recording, exudes a self-confid
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For the finale, Casella allows the Germans take over. In the introduction, the fanfares of Mahler's "Resurrection" Symphony are not far away. In the body of the movement proper, Brucknerian sequences, unisons and brass chorales alternate with passages reminiscent of Brahms and Strauss, leading to a serene ending.
The Concerto is startling different. Although the manner is "neo-baroque," the overstuffed textures are late romantic--it sounds a great deal like the machine-age music of Honneger. Here, the quartal harmony of Hindemith and the rhythmic violence of Stravinsky amalgamate in a blast furnace, whilst effigies of the Brandenburg Concerti menacingly lumber past on conveyor belts. Somehow, I was reminded of the vague unease of Giorgio di Chirico's metaphysical paintings.
This CD is part of a four-disc series devoted to Casella's orchestral works, which includes his three symphonies. (The very Mahlerian No.2 is on Casella: Symphony No. 2 - A notte alta for Piano and Orchestra.) Francesco LaVecchia and the Orchestra Sinfonica di Roma are reliable guides in this unfamiliar territory, performing with the stylistic adaptability necessary for such a chameleon-like composer, confident technique, and obvious relish.
Both works are conspicuously derivative, but Casella wears his disguses with assurance. Recommended for the adventurous--the symphony just might appeal to lovers of Russian futurists and late romantics.
La Vecchia is an important conductor from Italy, a country acquainted much more with opera than with symphony, despite strong exceptions as Respighi.
This Casella First has Wagnerian harmonies, Brucknerian contrasts and Mahlerian tunes, a multicolored precious stone.
We have to recall Sibelius and R. Strauss , whose romanticism lasted until 1950. There is nothing wrong with neo-romantic composers mantaining ecletic influences.
Casella s First, without vulgarity, displays 3 movements.The second one opens with a very tuneful "anthem" which is also used on Symphony 2 less movingly. At the finale, te "First" brings a new Wagnerian hymn melody, followed by return of former "anthem" in solemn mood.
I know many single symphonies and I own complete cycles by Haydn, Mozart, Ries, Beethoven, Schubert, Schumann, Dvorak, Brahms, Bruckner, Tchaikovsky, Sibelius, Mahler, V-Williams, Shostakovitch, Scriabin, Prokofiev, Simpson, Bax,Nielsen, Toch, Rautavaara, Wellesz, Schnittke.
When we review here Beethoven or Mozart, we judge interpretation. When there is a rare work, we have to herald both the conductor and the piece itself.
I must confess the discovery of an unknown symphony has never risen my feelings like this one did.
PORTUGUES: A Segunda e Terceira de Casella são interessantes, mas nao notáveis como a Primeira. O Concerto para Cordas faz um bom extra. La Vecchia mostra-se um importante regente da Itália, país relacionado mais á ópera que à sinfonia, apesar de fortes exceções como Respighi. A Primeira de Casella tem harmonias wagnerianas, contrastes brucknerianos e melodias mahlerianas, uma multicor pedra preciosa.
Precisamos lembrar Sibelius e R.Strauss, cujo romantismo durou até 1950. Nada há de errado com Casella no. 1, que, sem vulgaridade, mostra 3 movimentos. O segundo abre com um hino melodioso que também é usado, menos tocante, na Segunda Sinfonia. Ao final, a Primeira traz nova e wagneriana melodia em forma de hino, seguida pelo retorno do hino anterior em espírito solene.
Conheço muitas sinfonias avulsas e possuo os ciclos completos de Haydn, Mozart, Ries, Beethoven, Schubert, Schumann, Brahms, Dvorák, Brahms, Bruckner, Tchaikovsky,Nielsen, Sibelius, Mahler, V-Williams, Scriabin, Prokofiev, Shostakovitch, Simpson,Bax, Toch, Rautavaara, Wellesz, Schnittke...
Quando nós aqui tratamos de Beethoven ou Mozart, julgaremos as interpretações. Mas ,quando estamos diante de uma obra rara, julgamos tanto o regente como a própria peça.
Devo confessar que nunca a descoberta de uma sinfonia desconhecida ergueu meus sentimentos como esta aqui.
Flavio Jose Morsch
Santa Cruz do Sul Brazil