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Giuseppe MARTUCCI
(1856-1909)
Symphony No.1 in D minor Op.75 (1895) [40:10]
Giga Op.61, No.3 (1883) [4:09]
Canzonetta Op.65, No.2 (1884) [3:30]
Andante Op.69, No.2 (1888) [12:22]*
Notturno Op.70, No.1 (1891) [9:29]
Andrea Noferini (cello)*
Orchestra Sinfonica di Roma/Francesco La Vecchia
rec. 16 October 2007, and March and April 2008, Auditorium Conciliazione-Orchestra
Sinfonica di Roma Studios. NAXOS 8.570929 [69:38]
Giuseppe MARTUCCI
(1856-1909)
Symphony No.2 in F major Op.81 (1904) [45:02]
Theme and variations Op.58 (1882 arr.1905) [14:25]*
Gavotta Op.55, No.2 (1884) [4:13]
Tarantella Op.44, No.6 (1880) [6:05]
Lya De Barberiis (piano)*
Orchestra Sinfonica di Roma/Francesco La Vecchia
rec. 16 October 2007, and March and April 2008, Auditorium Conciliazione-Orchestra
Sinfonica di Roma Studios. NAXOS 8.570930 [69:44]
In a neatly attractive collection, Giuseppe Martucci's orchestral
music is now represented by four CDs from Naxos, these of the
two symphonies, and another two which cover the two piano concertos
- a nice way to mark yet another composer's 2009 centenary,
although these discs are in for the long haul and not promoted
as such. All of these discs are filled with attractive bonuses,
and the extra pieces on the two disc reviewed here are almost
all arrangements of piano pieces. Martucci's career began
as a pianist and composer, although he was later highly influential
as a conductor, numbering the Italian première of Wagner's
Tristan und Isolde in 1888 among his achievements. Martucci's
championing of Wagner is one of the clues to his personality
as a symphonic composer, although the towering influence of
Brahms is the most immediately apparent when encountering these
pieces for the first time. Further stylistic influences include
Schumann and Tchaikovsky, but it would be unfair to sum up either
of these symphonies merely in terms of a second-hand musical
language. With no great symphonic tradition in Italy it is hardly
surprising that a composer of this period would look to northern
Europe for examples, and it is more of a credit than a criticism
that Martucci managed to create such powerful pieces out of
essentially foreign ingredients. Toscanini himself was a champion
of Martucci, often conducting both symphonies and the B-flat
minor piano concerto, and I can indeed imagine the fiery maestro
responding with verve to Martucci's direct and succulently
romantic musical language.
Martucci spent six years writing his Symphony No.1, and
the work's scale and seriousness of ambition is clear from
the outset. The first movement is dominated by a forceful and
energetic opening theme which contrasts widely with the more
contemplative nature of the second theme - and the movement
ends in an atmosphere of tranquillity. Thus introduced, the
second movement opens with a sweetly nostalgic cello solo over
a restrained orchestral accompaniment. This movement's slow
development and subtly moulded forms is taken over by a more
playful Allegretto third movement whose measured pace
is given a lighter orchestration in the opening. This develops
into material of a stronger, more heroic character, but the
general mood is one of geniality. The final movement opens with
a flash of thunder and some moody development, before the truly
blazing main theme breaks through - resolute and heroic, melody
rising triumphantly against a descending bass.
The shorter works on this first disc are all arrangements, but
work extremely well as orchestral pieces. The Giga is
a light bonbon, with playful strings and punctuating winds and
brass. The Canzonetta is more reflective, opening with
low Tchaikovskian clarinets for the opening theme, tripping
on and alternating with a contrasting second theme in the strings.
The Andante Op.69 no.2 is arranged from one of Martucci's
later chamber pieces for cello and piano, and the relation between
soloist and orchestra provides a welcome contrast from purely
orchestral textures. Andrea Noferini's playing wears its
heart a little too much on its sleeve for my liking, laying
on a permanent air of misery like Droopy the Dog. This is an
elegiac piece however, and builds a fine arching structure every
bit as powerful as something by Bruch or Elgar - if you can
overlook the somewhat misplaced sounding pizzicati just before
the halfway mark. Intonation is also an issue in some places
in the performance of this piece. The most significant of these
extra works is the gorgeous Notturno Op.70 No.1, whose
‘sustained mood of rapt introspection' has something
of the Sigfried Idyll about it, and is also somewhat
reminiscent of Mahler's Adagietto from the 5th
Symphony.
Martucci's Symphony No.2 took another significant
chunk of the composer's career, seeing a gestation period
of about 5 years before completion. Again, the avuncular figure
of Brahms gazes down, sprinkling influential dust on many aspects
of upon this piece, but again the forceful nature of the music
immediately dismisses any ideas one might have of this being
in any way a pale imitation. Indeed, there are some dissonances
in the first movement which seem to anticipate Sibelius, and
while the horns and strings enjoy much of that rich German romantic
texture, there are some little woodwind figures which seem to
leap straight out of something altogether more Czechoslovakian.
There are more fingerprints from elsewhere, with the string
ostinati and other aspects of the first movement having a distinctly
Brucknerian quality. A short horn solo introduces the second
movement Scherzo, which as the title would lead one to
expect has a lighter quality, full of quirky running string
figures and lively commentary from the winds. The emotional
core of the symphony is in the eloquently expressive Adagio,
ma non troppo, which takes only a minute to build from a
low thematic statement to the peak of its first musical paragraph.
This is almost a thirteen minute musical landscape however,
and Martucci throws in plenty of contrast, from a low string
sequence which has a similar mood to Richard Strauss's Metamorphosen,
to an extended build-up and a massive climax with strings and
blazing brass at full tilt, ending with another rather magical
soft and restrained final section and coda. The suspicion that
British composers may have had their influence on Martucci -
supported by his conducting of Stanford's Irish Symphony
and others - is to my ears audible in the opening of the
final Allegro, which is full of quirky bristling moustaches
and jaunty top hats. This is confident symphonic writing, with
lively counterpoint and plenty of virtuoso orchestrational strutting.
There is one remarkable moment in which everything seems to
collapse, out of which the themes re-emerge ever more triumphantly.
This is all great fun, but fits hand in glove with the tenor
of the rest of the symphony, providing a release filled with
noble sentiments and sparkling dexterity from all involved.
Moving on to the ‘fillers', the Tema con variazioni
is Martucci's only other work for piano and orchestra
aside from the two piano concertos, and even then it is an arrangement,
originally for piano solo - subsequently revised more than once
and including a version for two pianos. The theme itself is
not particularly memorable nor are the variations equally distinguished,
with plenty of facile ‘plink-plink' pianism going
on in some. There are however some fascinating moments in this
piece, with plenty of dialogue between soloist and orchestra
and some intriguing orchestral textures. Martucci goes for the
‘big tune' in the Adagio variation, but this
ends up sounding more like a parody than a major achievement.
Lya De Barberiis' playing is not helped by a rather clangy
treble in the instrument used, but is anyway competent rather
than inspirational. The Gavotta is another transcription
from a solo piano piece, having plenty of pastoral offbeat rhythmic
charm rather than a direct dance character. More exciting is
the final track, the Tarantella which, orchestrated in
1908 was Martucci's last transcription. ‘Rowdiness,
verging on aggression' is how Richard Whitehouse describes
it, and there is indeed plenty of wildness in the ride - for
players and listener alike.
If you are looking for these two symphonies on one disc, then
there is an attractive
coupling to be had from the BIS label, although this review
refers to a pair of releases from ASV which would still seem
to be available and apparently preferable in terms of performance.
These new recordings from Naxos are both of a very high standard
in any context, and made even more attractive by being at budget
price. There are one or two moments where internal intonation
might have been a trifle more accurate, in the more dense passages
and cello lines of the finale to the Symphony No.1 for
instance, but the overriding impression is that of stylish professionalism
in the entirety of the orchestral sound, as well as in numerous
lovely orchestral solos throughout both discs. The soloists
in the shorter pieces are less fun, but all of the works receive
fine enough performances for repeated listening. The acoustic
of the Auditorium Conciliazione is big and resonant, but there
is no loss of detail in the recording, and the richly relaxed
spread of instruments is on to which you can listen for a long
time with no sense of fatigue. Good booklet note from Richard
Whitehouse top off another set of remarkably fine recordings
from the Naxos stable, so, snap up these at two for the price
of probably-less-than-one and rejuvenate your romantic orchestral
section with resounding resonances.
Dominy Clements
Note: The four ASV/D'Avalos CDs of the Martucci symphonies
and piano concertos have been reissued in a 4 CD Brilliant Classics
all-Martucci box. It's to be had at super-budget price on
Brilliant 93439. Ed.
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