The other day I was writing about my recording of two works by Giuseppe Martucci, and mentioned a fill-up by Ottorino Respighi. Today I want to discuss that work, and a couple of others by Respighi which are all of a similar type -- and not nearly as well known as his trilogy of symphonic poems about Rome.
The first of those tone poems (and Respighi's first big success as a composer), The Fountains of Rome, is big in every way -- big orchestra, big, bold sounds, vividly coloured tone painting. The same is even more true of its later successors, The Pines of Rome and Roman Festivals. So it will come as a surprise to many to hear that just 2 years after writing The Fountains, Respighi produced a genuine masterpiece of a very different stamp: Il Tramonto ("The Sunset").
The poem by Shelley (set in an Italian translation) seems to cry out for a passionate, ripely Romantic setting for voice and large orchestra, perhaps in the manner of Richard Strauss -- or of those Roman tone poems. Yet Respighi's way is different. The music does not shirk passionate utterance, but uses it sparingly. In its place we have a masterpiece of delicate colour and gentle sound, the melodic line rising and falling, turning in unexpected directions, yet always with great beauty and lyricism. The orchestration is for strings alone (or string quartet plus double bass), and Respighi coaxes a masterly array of textures from this limited palette.
Again, as in the Martucci pieces discussed previously, Carol Madalin sings with translucent tone, and Alfredo Bonavera leads the English Chamber Orchestra in a beautifully-shaped accompaniment. The Hyperion digital sound is perfectly attuned to this music.
The other pieces I want to discuss come from a Decca recording made in 1978 with the London Chamber Orchestra conducted by Laszlo Heltay.
The first, Deita silvane ("Forest Gods") is cut from very much the same cloth as Il Tramonto. It's a cycle of seven poems inspired by classical mythology, all about fauns and nymphs and the world of nature. The poems are set for soprano solo and chamber orchestra, and share the characteristics and strengths of the Shelley setting. Nor is this surprising when we realize that Deita silvane was composed less than a year before Il Tramonto.
The record continues with a fine performance of Trittico botticelliano. This is a suite of three tone poems for chamber orchestra, inspired by three famous Botticelli paintings found in the Uffizi gallery in Florence. The three pictures in order are Spring, The Adoration of the Magi, and The Birth of Venus. Again, Respighi's mastery of orchestral colouring is demonstrated as clearly with this smaller ensemble as with the large orchestra he used in the Roman trilogy. The Adoration of the Magi makes effective use of a well-known tune, the haunting mediaeval plainsong hymn, Veni, Veni Emmanuel.
Finally, we come to the Lauda per la Nativita del Signore. This 25-minute cantata for chorus, three soloists, and chamber orchestra has been described as "a large Christmas carol", and that's a very appropriate description! The simple beauty of the melodies and harmonies chimes well with the mediaeval poem which depicts the shepherds first being amazed by the angelic glory, and then worshipping at the manger. The three soloists (Jill Gomez, Meriel Dickinson, and Robert Tear) all sing with appropriately understated style, and the chorus and chamber orchestra are equally effective. Especially moving is Mary's lullaby, a duet for soprano and a single pastoral oboe.
In the re-release which I have, these Respighi works come coupled with a very fine performance of Rossini's magnificent Petite Messe Solennelle, in its original version for 16 singers, two pianos and harmonium. This set is a bargain of bargains if you can find it!
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