Noseda and the BBC Philharmonic have reached the third volume in their
survey of Casella’s orchestral works. Former chief conductor,
now its conductor laureate, he knows the BBC Phil inside out and his
earlier recordings in the series: volumes one (
CHAN
10605) and two (
CHAN
10712) have been highly impressive contributions to the Casella
catalogue.
The feature work on this release is the
Sinfonia or
Symphony
No. 3. I was at the Bridgewater Hall, Manchester concert in November
2012 when Noseda conducted this work just a few days before taking the
orchestra into the recording studio to make this recording. My impressions
now are virtually the same as those at the concert with Casella’s
red-blooded late-Romanticism faithfully captured. Taking just over forty
minutes to perform, this four-movement work is scored for a large orchestra
including five percussionists, together with a thirteen-strong brass
section. A product of the early years of the Second World War, this
calamitous period in world history must have borne down on Casella’s
writing. Making a strong emotional impact, the symphony is predominantly
affirmative in character but it comes as no surprise that the music
is variegated with shadowy and disturbing undercurrents. Various sources
relate similarities between this work to the music of Mahler; however,
I was persistently hearing Shostakovich, especially his
Fifth Symphony,
which was written a couple of years earlier, in 1937. I could also hear
the influence of Casella’s fellow countryman and close contemporary,
Respighi and also suggestions of Hindemith. Right from the very first
pages it was clear that everyone relishes both this music and the opportunity
of recording this impressive score. Under a firm grip in the
Andante
one could easily imagine a Shostakovich-like picture of wintry, barren
landscapes laid to waste. At times there were episodes that felt meltingly
beautiful even if an undertow of desolation was never far away. In the
mocking, often grotesque
Scherzo a forceful militaristic character
of terror and fury is fused with a cool, stark beauty. Noseda showed
his mettle in the
Finale, contrasting angry martial music with
amiable episodes of calm that could easily have depicted verdant countryside.
The forward momentum is marvellously sustained. All hell breaks loose
in the final section, which surges to a declamatory conclusion. On the
one hand it feels jubilant and on the other uncomfortably ferocious.
Like the Bridgewater concert, passions were never allowed to dwindle
in a performance that packs quite a punch.
Casella was passionately patriotic and his early Symphonic Rhapsody
Italia from 1909 is typical capturing a wide spectrum of the
sights and sounds of his country and employing Sicilian and Neapolitan
folk melodies. A substantial score lasting nearly twenty minutes this
recording indexes it into four tracks. The opening section is generally
ebullient and extremely forceful followed by a contrasting episode for
cor anglais and tolling bell. I also enjoyed the section featuring
a deeply expressive part for clarinet. Infused with unruly merriment
the final section features the Luigi Denza tune to the ever-popular
Neapolitan song
Funiculì, Funiculà .
Composed in 1931/35, the
Introduzione, Corale e Marcia, Op. 57
is presented here in three short sections. It seems that the score is
receiving its first recording. For a combination of woodwind, brass,
timpani, percussion, piano and double basses the work owes a debt to
Stravinsky’s neo-classical style. Opening with a furious outburst
the writing maintains a strong martial feel. Overall I was reminded
of a war film score in the manner of Ron Goodwin or Dmitri Tiomkin.
A central episode of relative calm with a sense of expectancy is followed
by a brass-dominated, upbeat and rhythmic conclusion.
The BBC Philharmonic is an outstanding orchestra who maintain excellent
form throughout. Their playing of these multicoloured works is ideal.
I love the way they can easily generate thrusting intensity then seamlessly
shift to episodes of tender serenity. Noseda’s stunning interpretation
of the Symphony
makes a splendid case for this marvellous work
that deserves to be a regular feature on concert programmes. Beautiful
played and recorded at the MediaCity studios this Chandos release has
considerable clarity with plenty of atmosphere.
Michael Cookson
