Gian Francesco MALIPIERO (1883-1973)
The Symphonies-Vol. 4
Symphony No. 7 “delle canzoni” (1948) [23:29]
Sinfonia in un tempo (1950)) [27:07]
Sinfonia per Antigenda (1962) [17:55]
Moscow Symphony Orchestra/Antonio de Almeida
rec. May and June 1993, Mosfilm Studio, Moscow. DDD
Previously released as Marco Polo 8.223604
NAXOS 8.570881 [68:41]
Naxos reach the fourth volume in their reissue of the symphonies of Gian Francesco
Malipiero, originally released on Marco Polo.
Malipiero wrote seventeen works titled ‘sinfonia’ and while he
showed little interest in the formal and tonal structure of the standard symphony
or in development or variation, these works cohere due to stylistic consistency
and motoric energy. His style also relies heavily, at least in the earlier
works, on song and diatonicism. Later, his music become much more craggy and
dissonant, as can be heard on this disc.
Malipiero began his symphony No. 7 a few years after completing his monumental
edition of the works of Monteverdi. On the surface the symphony adheres more
closely to the standard format than most of the composer’s works. The
first movement begins genially, followed by a pastoral section. This alternates
with a slightly more dissonant section before the opening material returns
followed by an abrupt end. The second movement has a noble first theme, which
alternates with a Gregorian chant-like episode. This is music of great eloquence.
The scherzo is quite serious, but less distinguished than the first two movements.
The final lento is also somber, with much use of solo strings. Eventually the
mood becomes wistful - with excellent use of woodwinds. As the movement proceeds
to its end these moods coalesce with evocations of music from the earlier movements,
before an intense coda. Malipiero admitted that the title was really an afterthought.
Written two years after the Symphony No.7 the Sinfonia in un tempo appears
to be a major structural departure - a one movement symphonic poem. But actually
the four movements of a regular symphony are there under the surface. What
is new is that the work includes many sections of chromaticism and dissonance-features
that would come increasingly to dominate the symphonies from this point. The
first movement is quite introverted, but with the opening material appearing
more and more frenzied on each appearance especially in the woodwinds. The
slow section has an impressive use of strings and sounds more like the earlier
Malipiero, with many noble moments, but the threatening dissonances are never
far away. The scherzo is a pretty traditional one, though a little slow and
with a disturbing trio. The last section has reminiscences of the three previous
sections as well as some beautiful pastoral music based on the opening theme.
This leads to the end of the piece.
Antigenda was a Theban piffaro player who represented for Malipiero
the importance of writing for oneself and not for the populace. This short
symphony was written a good deal after the other two. The opening movement
is very craggy with the piccolo prominent and supported by striding basses,
which alternate with brass chords and a trumpet line above. One is reminded
a little of Havergal Brian, another iconoclast. By contrast the lento starts
with a long string line, again accompanied by brass. This becomes increasingly
tragic before giving way to more animated music from the piccolo and woodwinds.
The scherzo is another contrast, becoming steadily more dissonant, but with
a piccolo interlude. The last movement is also a lento, starting with a noble
theme on woodwinds, which alternates with appearances by the piccolo before
the woodwinds end the symphony.
Antonio de Almeida made the Malipiero symphonies his own by his great efforts
for this composer and it is difficult to imagine purchasing other versions
- not that there are so many. The early 1990s sound on these discs is still
serviceable, although somewhat colorless. However, the Moscow Symphony Orchestra
deserves praise especially for their wind playing, very important in Malipiero
and for their ability to produce an idiomatic Italian sound. Overall, a fine
selection.
William Kreindler
see also review by Gary
Higginson