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Rota: Symphony No. 3; Divertimento Concertante; Concerto Soiree - Noseda, Filarmonica ’900 Del Teatro Regio, Turin (2011)

Posted By: peotuvave

Date: 22 Apr 2014 04:43:23

Nino Rota is today best known as a composer of film music – and he probably always will be, or for at least as long as classics such as Fellini’s La Strada, La dolce vita and 8 1/2, Visconti’s The Leopard, and Coppola’s The Godfather remain in circulation. It is all too easy to forget Rota’s sizeable contributions to the concert hall and the theatre, but he also composed dozens of piano pieces, all kinds of chamber and orchestral music, numerous choral works, and no fewer than eleven operas and five ballets.

The concert music by Rota on this recording is every bit as tuneful and entertaining as his many film scores.

All the works are idiomatically performed by largely Italian forces: the Filarmonica '900 del Teatro Regio, Turin, is conducted by Gianandrea Noseda. Rota’s first two symphonies, both of which originated in the late 1930s (recorded on CHAN10546), are direct descendants of the romantic tradition. Composed in 1956 – 57, Symphony No. 3 (recorded here) is generally less serious in content, and written in a lighter and essentially neoclassical style.

The CD also includes Rota’s Divertimento concertante for double-bass and orchestra, with the Italian double-bass player Davide Botto as soloist. This work was originally written for the Italian virtuoso Franco Petracchi, and offers in the first movement a reminder of the instrument’s extraordinarily wide pitch range as it covers nearly four octaves. Rota then takes us on a journey, in which the hero, the double-bass, performs a cheerful burlesque march in the second movement, before taking on a more lyrical role in the third movement. The finale opens with a sprightly tune that inspires the double-bass to challenge the woodwind in agility, but also in terms of high-pitched brilliance.

The Concerto soirée is in a category of its own. It is best described as a piano concerto written in the spirit of Rossini’s Soirées musicales, in which new and exclusive Chandos artist, Barry Douglas, as soloist is required not to perform virtuoso feats in a romantic grand manner, but rather to amuse himself and the orchestra with a variety of sociable ideas. The result is a work which is lively and light-hearted.

Barry Douglas recently joined Chandos as an exclusive artist, and this is his first recording on the label. Since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition in Moscow, he has established a major international career. He is the Artistic Director of Camerata Ireland, and the Clandeboye Festival and Castletown Concerts in Ireland – and as a soloist, he regularly performs with such orchestras as the Orchestre philharmonique de Radio France, Duisburger Philharmoniker, Rundfunk-Sinfonieorchester Berlin, Ulster Orchestra, and the London, City of Birmingham, Cincinnati, Singapore, BBC, Baltimore, and Atlanta symphony orchestras.

Composer: Nino Rota
Performer: Barry Douglas, Davide Botto
Conductor: Gianandrea Noseda
Orchestra/Ensemble: Filarmonica ’900 Del Teatro Regio Turin

Reviews: Nino Rota’s quirky, eccentric Concerto soirée was written shortly after his film score for La dolce vita. Unsurprisingly the music is reminiscent of Rota’s comedy film scores. In fact the music of the concluding Can-can was used later in the film 8½. Gerald Larner, who contributes the notes to this album succinctly describes it as “a piano concerto written in the spirit of Rossini’s Soirée musicales”. Clearly this is not a Late-Romantic Concerto played in the grand manner but an informal playful work constructed as if it were almost an extemporisation. The opening movement marked, Valser-Fantasia is a waltz with Chopinesque figuration but lampooned by the orchestra. The central Romanza meanders introspectively with some Arabian-style woodwinds before the piano turns skittish; it’s all as if some sad clown is wandering across the musical landscape. A slapstick Quadrille follows and the music here reminds one of the insouciance of Poulenc. The Can-can taken at the gallop concludes this entertaining romp. Rota presents his interpreters challenges of sudden changes of mood, harmonic twists and rhythms all of which are surmounted with enthusiastic dexterity by Barry Douglas and the orchestra.

The quirky mood of the Concerto soirée is sustained, in the main, in Rota’s Divertimento concertante for double-bass and orchestra. Rota makes full expressive use of the instrument’s wide range covering nearly four octaves with harmonics extending its upper range even further. The opening movement is capricious in character now solemn, now asinine. The clowning continues into a comedic march that is the second movement with the soloist pompously trying to impose some sort of dignity on the surrounding chaos. The more serious central Andante has a calming influence with the double-bass in a more lyrical mood; the central section is reminiscent of a Tchaikovsky ballet. The concluding movement is back in sprightly, quirkiness again with a tussle between soloist and taunting woodwind.

Rota’s brief Third Symphony is less serious than its two predecessors (see review). Its lighter character is set in a neo-classical style. The opening Allegro is a brisk ‘open-air’ frolic. Written in the mid-1950s it is again reminiscent of film music although in this first movement one might detect a hint of Hitchcock in sardonic mood as well as broader hints of Italian film humour. The Adagio is altogether more serious and treads a rather darker path in personal introspection - possibly alluding to a personal loss? There is stormy passion and a depth of feeling here we have not encountered so far in this sunlit album. The third movement scherzo is cast in neo-classical style and lilts happily along to a lovely poignant Trio melody. A Vivace con spirito finale rounds off this symphony in comic style once more.

Tracklisting:

1. Symphony no 3 in C major by Nino Rota
Conductor: Gianandrea Noseda
Orchestra/Ensemble: Filarmonica ’900 Del Teatro Regio Turin
Period: 20th Century
Written: 1956-1957; Italy

2. Concerto Soirée for Piano by Nino Rota
Performer: Barry Douglas (Piano)
Conductor: Gianandrea Noseda
Orchestra/Ensemble: Filarmonica ’900 Del Teatro Regio Turin
Period: 20th Century
Written: 1961; Italy

3. Divertimento concertante by Nino Rota
Performer: Davide Botto (Double Bass)
Conductor: Gianandrea Noseda
Orchestra/Ensemble: Filarmonica ’900 Del Teatro Regio Turin
Period: 20th Century
Written: Italy

EAC

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Nino Rota / Rota : Symphony No. 3 and other works

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