Gian Francesco MALIPIERO (1883-1973)
The Symphonies - Volume 4
Symphony No. 7 Sinfonia della Canzona (1948) [23.39] ;
Sinfonia in un tempo (1950) [27.07]
Sinfonia per Antigenida (1962) [17.55]
Moscow Symphony Orchestra/Antonio de Almeida
rec. Mosfilm Studio, Moscow, May-June 1993
NAXOS 8.570881 [68.41]
This series of symphonic works by Malipiero originally became available on
the Marco Polo label between 1993 and 1995. It includes not only the numbered
symphonies but also the sinfonias as here and as on volume 1 with the Sinfonia
del mare (which
I reviewed in 2008) and on volume 2 with the wonderful Sinfonie del
silenzio e della morte.
The Seventh Symphony was, for several years, the last of the numbered
symphonies it being followed by the three Sinfonias of which two can be heard
here. I will say immediately that I really like this work. There is for much
of its time a carefree, out-of-doors feel to it that might remind you a little
of neo-Stravinsky or of the excitement of a Martinů Allegro. I say this
despite the dodgy moments of tuning in the upper woodwind and in the horns
especially in the first two movements. Obviously the Moscow Orchestra had to
get through a great deal of material in the all too brief recording sessions.
The symphony falls into four movements. A brief opener in respect of which
John C.G. Waterhouse provides an explanation in his fascinating booklet notes.
There he describes how it defies the usual sonata-form process. There’s
a moving slow movement, a quick-silver and fun Scherzo and then a heartrending
and lengthy Lento. The latter completely changes the mood of the work to end
thoughtfully and almost tragically. Incidentally the subtitle “della
Canzona” simply means ‘of songs’ and is probably not to be
taken too seriously.
What would have been the Eighth Symphony, if Malipiero had not been so superstitious,
is the single movement Sinfonia in un tempo. And that
tempo is Andante. However this is somewhat misleading as there are changes
of speed and mood, indeed even a short scherzo-like section. The work is allocated
only one track and plays without a break but there are four thinly veiled continuously
played sections. It is in many ways a beautiful work but on the whole I felt
was too long and generally uninspired, even rambling. That said, its grindingly
dissonant final bars bring the work to a surprising and possibly slightly disturbing
conclusion. It is the best played of the three works here but, as above, there
are several insecure moments in the horns and sometimes among the woodwind
and upper strings.
The Sinfonia per Antigenida is variously described as ‘inscrutable’, ‘forbidding’ and
reflecting the composer’s now bitter (he was now over 80) and “disillusioned
attitude towards the world”. These are John C.G. Waterhouse’s words
- he knew the composer. Its four brief, cursory movements are polyphonic and
angst-ridden. Waterhouse writes about its “angular lines” which “interweave”.
He says that when “performed badly and uncomprehendingly this work can
seem totally devoid in content”. This performance however achieves “a
real if esoteric power”. I am not so keen on the Moscow Symphony Orchestra’s
efforts myself. The intonation in the violins in places is poor and the balance
badly judged, Neither am I particularly happy with the low-powered recording.
But as we will probably never hear the work in another performance one must
be grateful.
The inspiration for Sinfonia per Antigenida was the piffaro playing
of a pupil of the ancient Theban Antigendo. On receiving no plaudits for his
work the pupil was greeted by his teacher with the words “take no notice
... it is enough that you should please me and the muses”. Obviously
Malipiero saw himself in this anecdote. But it’s worth also considering
that the composer was simply reacting to the musical style so prevalent in
the early 1960s especially in Italy, a style which perhaps did not quite suit
him.
I find myself wondering how I would feel if the Malipiero symphonies were played
in a well prepared performance by a top orchestra. I am quite drawn to the
music but can’t quite get involved. In any event, there is another volume
to come. Then, no doubt, Naxos will box the whole lot together and there will
be further reviews offering an overall view on this website. If you intend
to purchase some Malipiero then I wouldn’t start here. Perhaps try the
generally well played volume 1 first, to lower yourself gently into his quite
individual sound-world.
Gary Higginson