Nino
Rota never made any distinction between his concert music and
his music for films. Each was of equal importance and, to his
mind, deserved equal dedication. This valuable album shows an
inter-relationship between the two genres. Rota’s music for Fellini’s
film La Strada (1954) became the source for the music for
the 1966 ballet of the same name and music from Rota’s Sinfonia
sopra una canzone d’amore (Symphony on a love song) were used
in two films: The Legend of the Glass Mountain (1949) and
Il Gattopardo (The Leopard) (1962).
Conti
and his Palermo players give a vital and powerful performance
of the La Strada ballet suite arranged in seven movements
that are entitled as per the header above (it would have been
helpful to English monoglots if Chandos had given us an English
translation). The story of La Strada concerns Gelsomina
(Giuiletta Masina in the film) a simple-minded waif who is sold
into virtual slavery as assistant to Zampanò (Anthony Quinn
in the film), a Brutish travelling strong man. Abused and misused,
she unwittingly exacts a terrible revenge as her quiet reproachfulness
comes to haunt the strong man to the end of his days. The music
spans many genres: colourfully brash and breezy circus music with
the brass suggesting not only the buffoonery of the clowns but
also the ferocity of the beasts; grotesque material and wild music
for Zampanò’s brutality that recalls the Stravinsky of
The Rites of Spring; vibrant jazz blues and a jokey Rumba.
But most memorable is Gelsomina’s celebrated mournful trumpet
theme which is also given to the violin in a most tender rendition.
Another highlight is the lovely shimmering sylvan nocturne that
is the Intermezzo.
Rota’s
Sinfonia sopra una canzone d’amore was written in piano
score only in 1947 but not performed in its definitive form until
17 June 1972. He used some of the material heard in the opening
movement and at the close of the Finale for the British film The
Glass Mountain. Directed by Henry Cass, this was a typical
story of its period. about an RAF officer and aspiring composer
who is shot down in the Italian Dolomites and nursed by a local
girl with whom he falls in love –’trouble is, he has a wife back
home so the inevitable emotional tussle ensues. The music from
the film featured the great Italian baritone Tito Gobbi and its
main theme, the ‘Legend of the Glass Mountain’ became exceedingly
popular at the time. It is this music, albeit a little more tentative
without the exaggerated romantic bravura of version for the film
that is heard in the Sinfonia. But it is with the third and fourth
movement that some of Nino Rota’s most glorious music is heard
– music that as soon as Visconti, the renowned Italian director,
heard it insisted that it be included in Il Gattopardo a
story of a proud 19th century Sicilian aristocrat
(Burt Lancaster) facing the upheavals of Garibaldi’s raid and
its aftermath during the struggle to unite Italy. The third movement,
marked Andante sostenuto has the film’s gorgeous noble,
romantic theme while the Finale. Allegro impetuoso has
that turbulent music, music that is a whirlwind of passion. It
is interesting to note how this passionate music segues into The
‘Glass Mountain’ theme in the closing pages of this Finale.
The
programme ends with two waltzes from Il Gattopardo: Valzer
Verdi (an unpublished, at the time, waltz by Verdi) and Rota’s
lovely lilting romantic Valzer del commiato both featured
in the sumptuous climactic ballroom scene.
A
wonderful album of Nino Rota’s music straddling the worlds of
the concert hall, the ballet stage and the silver screen.
Ian
Lace
Orchestra Sinfonica del Teatro
Massimo di PalermoMarzio Conti