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Casella: Orchestral Music, Vol. 3
 
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Casella: Orchestral Music, Vol. 3

4 Jun 2013 | Format: MP3

7.49 (VAT included if applicable)
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Song Title
Time
Popularity  
1
5:23
2
3:08
3
3:53
4
7:23
5
2:32
6
2:04
7
3:12
8
10:03
9
12:15
10
7:22
11
12:15


Product details

  • Original Release Date: 4 Jun 2013
  • Label: Chandos
  • Copyright: (C) 2013 Chandos
  • Total Length: 1:09:30
  • Genres:
  • ASIN: B00D3C2AAA
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 49,579 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews

Format: Audio CD Verified Purchase
We do not see many CDs issued of Italian Orchestral music, but here is one that is certainly worth the price of the CD. Interesting works and very well recorded by the BBC Philarmonic.
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1 of 2 people found the following review helpful By Mr. A. R. Boyes TOP 500 REVIEWER on 11 Oct 2013
Format: Audio CD Verified Purchase
These are bountiful times for the recording of Alfredo Casella's music: about time too; largely neglected since his death, in part due to his sympathy for Mussolini's regime. Arguably he was the greatest Italian composer of his time with a far more impressive body of work, waiting to be discovered, than Respighi.

Now his music is being rediscovered and we even have the luxury of choice between recordings of his finest works. Chandos have been releasing recordings of his Symphonies and other orchestral work at the same time as Naxos. You might want to choose one or the other but both bring different facets worth getting to know. To put it very crudely and make a sweeping generalisation; La Vecchia on Naxos produces weighty interpretations that bring out the disparate stylistic influences whilst Noseda on Chandos tends to be more spritely and coherent, benefitting too from the excellent Chandos sound engineering.

The main work here is arguably Casella's greatest symphony, the Third and my sweeping generalisation is relevant here. The symphony is a summation of his development and its reference points and influences are many. By this stage of his career, Casella, who had passed through several musical styles, had settled on a generally neo-classical/baroque style that in part reflected his research into early Italian music and his wish to keep up with musical fashion. It reflected too the strong influences of Prokofiev, Shostakovich, Stravinsky, Hindemith and, perhaps most surprisingly, Mahler. Indeed for all his stylistic changes Mahler was musical love of his life. The marching theme of the finale here is quoted directly from his Resurrection Symphony. It also appears as a meltingly yearning lyrical theme in the slow movement and the finale.
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