Alfredo CASELLA (1883-1947)
Orchestral Works - Vol. 3
Italia, Op. 11 (1909) [19:39]
Introduzione, Corale e Marcia, Op. 57 (1931/35) [7:41]
Sinfonia (Symphony No. 3), Op. 63 (1939/40) [41:55]
BBC Philharmonic Orchestra/Gianandrea Noseda
rec. 28 June 2012 (Op. 11), 6-7 November 2012 (Opp. 11, 63), MediaCity, Salford,
UK
CHANDOS CHAN 10768 [69:37]
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
Symphonymakes 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
Noseda’s makes a splendid case for this marvellous Symphony.
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