This
disc is a conflation of music from two Marco Polo discs
from the 1990s (see
review).
It might also be called the Respighi Armenian album since
both
La Primavera and the
Quattro Liricche have
texts by Armenian poets. Even
The Magic Pot has
an Armenian Dance. But its prime importance is that the
two vocal works are both among the composer’s most interesting
and at the same time least typical.
The
Magic Pot is one of several pastiche-ballets that Respighi wrote for Diaghilev,
usually orchestrating already existing music by other
composers. In this case there are ten numbers, one each
by Gretchaninoff, Arensky, Pachulsky, Rubinstein and
Rebikov. Five are by Respighi himself and they blend
well with the Slavic numbers. The scenario for the ballet
has been lost. While enjoyable I must say that this has
never been one of my favorite pieces by Respighi. On
the other hand I do find Adriano’s rendition a bit more
exciting than that of Noseda on Chandos (see
review).
Far
more interesting are the
Four Songs on Armenian Popular
Poetry. Three of the texts are by the writer Constant
Zarian and the last by the hymn-writer Nerses Shenorhali.
They were written for Madama Respighi to sing in recitals
accompanied by the composer and indeed they recorded a
couple of them. Adriano added an instrumental accompaniment
with the permission of the composer’s wife. The original
version has also been recorded on Channel Classics (see
review).The first is sad, with a mixolydian mode underpinning
things while the second is slightly Mahlerian.
Io sono
la Madre is quite despairing, again with a modal influence.
The last is prayerful and demonstrates a sincerity one
does not always find in Respighi. All of them sound true
to their Armenian roots without in the least being artificial.
Even
better is the “Lyric Poem” for soloists, chorus and orchestra,
La
Primavera (Spring). This is in seven more or less continuous
sections, again to words by Zarian. Respighi wrote it while
courting his future wife. It is suffused with both passion
and original Armenian feeling; again, without artificiality.
The work begins with an incantation to Spring by The Praying
One (baritone), which has an orchestral prelude that outdoes
even the “Roman” tone poems. The Praying One, accompanied
by the other voices continues to summon nature in the second
section, which has an excellent use of the male chorus.
This is contrasted in the third section by the music of
The Young Man, at first mysterious, then passionate as
he remembers his feelings when beholding the maiden Sirvard.
Perhaps the best section is the fourth in which the young
and old men sing of their contrasting feelings when contemplating
spring. The opening of the fifth section, for the young
women, has some very interesting part-writing and leads
into the music for Sirvard, with fascinating writing for
the several keyboard instruments. The sixth section is
the inevitable meeting of The Young Man and Sirvard, leading
to a love-duet. The last section is a general “Hymn to
Spring” that must be one of the composer’s more accomplished
creations. In all, a work that should be among Respighi’s
best known.
As
mentioned above Adriano’s version of
The Magic Pot is
more exciting than the competition, although the recording
is older. In the
Quattro liriche Šlepovská is very
good and the ensemble backs her up well, although the sound
is slightly dead. In
La Primavera Richard Haan really
stands out. Dvorský is also good, but I found Valásková somewhat
pallid. The sound for individual instruments is good, but
sometimes the ensemble is not all it could be. However,
this is the only recording available of this major work
and that should be the primary consideration.
William Kreindler