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Mascagni In Concert [Luciano Ganci, Gianandrea Noseda] [Chandos: CHAN 10789]


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Mascagni In Concert [Luciano Ganci, Gianandrea Noseda] [Chandos: CHAN 10789] + Bloch: Symphony In C Sharp Minor [Dalia Atlas, London Symphony Orchestra] [Naxos: 8573241]
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Product details


1. Lapoteosi della cicogna - Filarmonica '900 del Teatro Regio Turino
2. Visione lirica - Filarmonica '900 del Teatro Regio Turino
3. Danza esotica - Filarmonica '900 del Teatro Regio Turino
4. Padre nostro - Federico Giarbella/Filarmonica '900 del Teatro Regio Turino
5. Ave Maria - Luciano Ganci/Filarmonica '900 del Teatro Regio Turino
6. La gavotta delle bambole - Luciano Ganci/Filarmonica '900 del Teatro Regio Turino
7. Mein erster Walzer - Sergey Galaktionov/Filarmonica '900 del Teatro Regio...
8. Incidental music to The Eternal City - Luciano Ganci/Filarmonica '900 del Teatro Regio Turino

Product Description

Product Description

The Italian composer Pietro Mascagni was best known for his output in the operatic genre. However, that is not to say that he did not diversify into other genres. On this disc, which is part of our ongoing series of Italian music, a selection of his works for the concert hall receives idiomatic performances by Gianandrea Noseda and the Filarmonica '900 del Teatro Regio Torino, with the tenor Luciano Ganci.

Mascagni devoted his earliest efforts at composition to sacred works. His Padre nostro won first prize at the Esposizione Musicale di Milano in 1881, and was praised in the Livorno press for being truly melodic and singer-friendly'. Years later, in 1894, Mascagni capitalised on the outstanding success of his operatic masterpiece Cavalleria rusticana by adapting the famous Intermezzo as Ave Maria, thus adding yet another gem to his output of sacred music.

The symphonic work Danza esotica was intended for the fairly large orchestra of the Philharmonic Society that he had founded in the town of Cerignola, Puglia. It received its premiere performance by the composer himself in March 1891. While still in Puglia, Mascagni wrote a waltz for string quartet. Mein erster Walzer is modelled along the lines of a Viennese waltz, but featuring rather bucolic melodic turns, and imbued with a feeling of the open air.

Concerning La gavotta delle bambole, Mascagni wrote: I have completed this little piece, which really is a tiny little piece, but I believe it has turned out to be a charming little thing that could meet with popular success.' The following year, in 1901, the composer wrote incidental music for the first production, in London, of The Eternal City, set in Rome during the last years of the century. This was a time when Italy was wracked by strong political and socio-economic tension. But in spite of the nature of the play itself, which is brimming with intrigue and conspiracy theories, Mascagni in his incidental music chose to concentrate solely on a more romantic approach, by depicting the love between the two protagonists.

Visione lirica is one of Mascagni's much later works. This small-scale symphonic poem of 1921 is written on the lines of Liszt and Richard Strauss, and inspired by the statue of St Teresa, carved by Bernini and situated in the church of Santa Maria della Vittoria in Rome. The work combines moments of ecstasy with an undertone of meditation and chastity. The last addition by Mascagni to his orchestral uvre was L'apoteosi della cicogna, written for inclusion in the ballet Fiori del Brabante (premiered in February 1930) and characterised by great subtlety of orchestration, the presence of Debussy-like episodes, and Tristanesque harmonies.

Review

For an insight into Mascagni away from the operatic stage, this is a diverting album, enticingly played. --IRR, Oct'13

Some agreeable spick-and-span playing from Turin Orchestra under Gianandrea Noseda's sympathetic baton and Chandos's unobtrusively natural sound grace an anthology that Mascagni diehards will want to hear. --Gramophone, Oct'13

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Amazon.com: 1 review
8 of 8 people found the following review helpful
A Mascagni Non-Event 23 Oct 2013
By AndrewCF - Published on Amazon.com
Format: Audio CD Verified Purchase
What a disappointment! In giving this opportunity to explore the orchestral music of one of opera’s finest composers, Chandos has provided a non-event. There is nothing on this disc that screams out for rediscovery or new appreciation. The two most memorable works on this disc, the Visione lirica and the lovely Serenade, clock in at 4 minutes and 3 minutes respectively. There are no tone poems a la Liszt or Richard Strauss. The longest work on this disc, a suite of incidental music from an obscure English play, The Eternal City, sounds like music written for a silent film; indeed, the music is so sentimental, it makes Martucci sound like a progressive composer. The Ave Maria just provides the text to the Intermezzo from “Cav” with which everyone is familiar. The Mein erster Walzer is incredibly cornball; Strauss and Glazunov have nothing to worry about – and to make matters worse, the Torino orchestra struggles to keep in unison at times (a poor decision to use this take by the engineer). Of course, you get first rate Chandos sound, classic Italianate singing from Luciano Ganci (listen to his struggle with the English lyrics of the Serenade) and sensitive conducting by Noseda, but to what end? Don’t spend the money for this one – it will not enhance your library.
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