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    Ondine

    Respighi: Roman Trilogy / Treviño, RAI National Symphony Orchestra

    CD · 1 disc

    $18.99
    Composer
    Ottorino Respighi
    Artist
    Orchestra Sinfonica Nazionale della Rai
    Released
    Sep 15, 2023

    After recordings of Beethoven’s complete symphonies; two Ravel albums; one Rautavaara album; and the award-winning album ‘Americascapes’; Robert Treviño now turns his focus on the symphonic poems by Ottorino Respighi (1879–1936).Together with the Orchestra Nazionale Sinfonica della RAI; Robert Treviño presents the composer’s famous Roman Trilogy; an exciting orchestral masterpiece culminating in the triumphant Pines of Rome.

    Respighi's fascination with the Eternal City is nowhere better expressed than in the three symphonic poems that make up the so-called Roman Trilogy. He had rarely taken on works of such proportions and his most recent large-scale orchestral work, the Sinfonia Drammatica, dating from 1914, still reveals the lasting influence of Brahms and Franck. But just one year later, he finally shook off the shackles of late 19th-century Romanticism, and offered a first glimpse of the remarkable use of color that would soon become a hallmark of his orchestral writing.

    REVIEW:

    Respighi’s three tone poems, collectively known as the “Roman Trilogy,” have been popular since their premieres, and there is no shortage of recordings. However, here is one that is worth consideration from a rising conductor and a major orchestra that is not recorded as often as it ought to be. This is absolutely infectious fun, and the performances are fully in the spirit of these evergreen favorites. Here is a release that will make one remember what it was they loved about this music in the first place.

    -- AllMusic,com (James Manheim)

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  • Respighi: Sinfonia Drammatica

    Respighi: Sinfonia Drammatica

    Ondine Jul 2026
    1 disc
    CD
    $18.99
  • RESPIGHI: Sinfonia drammatica

    RESPIGHI: Sinfonia drammatica

    Chandos Sep 1993
    1 disc
    CD
    $21.99
  • RESPIGHI: LA FIAMMA
    EUROARTS

    RESPIGHI: LA FIAMMA

    Blu-Ray · 1 disc

    $22.99
    Artist
    RIZZI, CARLO / ORCHESTER DER DEUTSCHEN OPER BERLIN
    Released
    Dec 05, 2025
    First performed in Rome in 1934, now ignited to spectacular effect in Berlin. The timeless, rarely performed drama about witch-hunts, power games between wife and husband, mother-in-law and daughter-in-law and prejudice is brought to life in a captivating way on the stage of the Deutsche Oper. Impressive singing and colossal tableaux accompany a story of intrigue, power struggles and an affair between stepmother and son in Ottorino Respighi's last great opera. Surrounded by political struggles, the characters become entangled in personal conflicts that mercilessly lead to catastrophe and end with a cruel outcome at the stake.
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  • RESPIGHI: LA FIAMMA

    RESPIGHI: LA FIAMMA

    EUROARTS Dec 2025
    1 disc
    Blu-Ray
    $22.99
    BIS

    Respighi: Orchestral Works / John Neschling

    SACD · 7 discs

    $79.99
    Composer
    Johann Sebastian Bach, Sergei Rachmaninoff, Ottorino Respighi
    Artist
    Anna Caterina Antonacci
    Released
    Nov 10, 2023

    This 7-SACD collection includes recordings made by Brazilian-born conductor John Neschling of the orchestral works of Ottorino Respighi, alongside Puccini the best-known Italian composer of the first half of the twentieth century. Widely praised by the press, including BBC Music Magazine, which described them as ‘the finest-ever survey of the composer’s orchestral output undertaken by a single conductor’, these recordings reveal Respighi’s extraordinary range.

    His transcriptions of works from the baroque period bear witness to his great musical refinement and are an example of the way in which people dared to adapt to current tastes at the beginning of the 20th century. His original compositions, whether symphonic poems, ballets or symphonic works, often call for a large orchestra, sometimes with the addition of numerous percussion instruments, piano, organ and even, in Pines of Rome, a phonograph, present a synthesis of the musical traditions of his native Italy and contemporary romantic, impressionist and neo-classical trends while remaining resolutely closed to modernist developments and atonality. Respighi’s lavish sound palette and the spirit that fills his scores were to find an echo in Hollywood film music, and John Williams considers him to be one of his most important influences.

    Past praise of the previously released recordings included in this set:

    Respighi: The Birds; Ancient Airs & Dances

    These performances are uncommonly airy. Much of this music is suffused with an autumnal melancholy, and Neschling and his orchestra capture that very well.

    -- Fanfare

    Respighi: Metamorphoseon, etc.

    All of the performances here are expert, but conductor John Neschling deserves particular credit for keeping things movement purposefully forward in the first two long, and mostly slowish, movements of the Belkis suite. The same work’s vulgar (let’s not kid ourselves) concluding Danza orgiastica also sounds more musical than usual–less like a back-alley gang bang–but with no loss of energy. The Liège orchestra plays with great bravura, and BIS’s SACD sonics, typically, are just terrific. In short, a very worthy entry in this ongoing series.

    -- ClassicsToday.com

    Respighi: Roman Trilogy / Neschling, Sao Paulo Symphony

    The São Paulo Symphony Orchestra is a superb ensemble by any standards, and displays their virtuosity in the three Respighi symphonic poems.

    -- SA-CD.net

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  • Respighi: Orchestral Works / John Neschling

    Respighi: Orchestral Works / John Neschling

    BIS Nov 2023
    7 discs
    SACD
    $79.99
    BIS

    Respighi: Crepuscolo - Songs / Fallon, Bushakev

    SACD · 1 disc

    $10.99 $21.99 Save 50%
    Composer
    Ottorino Respighi
    Artist
    Timothy Fallon, Ammiel Bushakevitz
    Released
    Jun 03, 2022

    :"Crepuscolo" is the final song in Ottorino Respighi’s song cycle Deità silvane (‘woodland deities’), but as an album title it also stands for the twilight during the interwar years of everything that Respighi represented, as various trends such as atonality, spiky neoclassicism, and Italian futurism flourished. In reaction to these developments, Respighi in 1932 famously signed a manifesto calling for music with a ‘human content’ – in other words, a continuation of Romanticism. His songs certainly live up to this: as Elsa Respighi, the composer’s wife, once said, it was to his songs that he ‘entrusts his heart’s hidden secrets, when he lets his soul sing freely.’ From L’ultima ebbrezza, composed when Respighi was only 17 years old, to the Four Scottish Songs from 1924, the songs recorded here attest to the variety of his musical interests, influences and styles, and are at turns lyrically operatic, expressionist, impressionist or symbolist. Respighi’s love of the Renaissance is also manifest in the Cinque canti all’antica, settings of poets including Boccaccio.

    Timothy Fallon and Ammiel Bushakevitz have previously released a Liszt recital described as ‘superb’ in Gramophone. They have now devised a varied program which takes in three complete groups as well as a selection of individual songs, including Respighi’s most popular songs (Nebbie, Stornellatrice) as well as less well known ones.

    REVIEWS:

    With every new exposure to Respighi’s vocal music – whether opera or song – I find that his much better-known orchestral works fade in significance, especially with this new cross section of the composer’s songs...this newcomer makes a great case for a single-disc collection thanks to a smart sense of musical variety in the sequencing plus the passionate, elegant performances by lyric tenor Timothy Fallon and his longtime collaborator, pianist Ammiel Bushakevitz.

    Fallon is no newcomer...but maintains a youthful sensibility that takes the poems at face value, never looking outside of them, aided by a warm, Italianate tone that lends itself to the musical simplicity of the Scottish folk songs as well as the operatic histrionics of ‘Stornellatrice’ (‘Balladeer’)...Bushakevitz’s sonority and sense of comprehension suggest the lilac-scented, silk-upholstered parlours seen in Luchino Visconti movies, but make such a good case for the more distilled piano versions that, at least for the moment, you wouldn’t want to hear the music any other way.

    -- Gramophone

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  • Respighi: Crepuscolo - Songs / Fallon, Bushakev
    Sale

    Respighi: Crepuscolo - Songs / Fallon, Bushakev

    BIS Jun 2022
    1 disc
    SACD
    $21.99 $10.99Save 50%
    Chandos

    Violin Sonatas: Strauss, Respighi / Little, Lane

    CD · 1 disc

    $10.99 $21.99 Save 50%
    Composer
    RESPIGHI STRAUSS, R.
    Artist
    Little, Lane
    Released
    Nov 13, 2012

    R. STRAUSS Violin Sonata, Op. 18. RESPIGHI Violin Sonata in b. Six Pieces: Melodia; Valse caressante; Serenata • Tasmin Little (vn); Piers Lane (pn) • CHANDOS 10749 (65:50)

    Violinist Tasmin Little has amassed a very respectable discography on a number of different labels, though of late, she seems to have settled in as one of Chandos’s house artists. Her recent recording of Delius’s Violin Concerto received an urgent recommendation from me in 35:4, so I really looked forward to receiving her latest release of these two late romantic sonatas.


    On the surface, Richard Strauss and Respighi may not seem to have a lot in common, but their respective violin sonatas have been paired on disc before, notably by Kyung-Wha Chung and Krystian Zimerman for Deutsche Grammophon and by Frank Almond and William Wolfram for Avie. Strauss composed his sonata in 1887 at the age of 23. It’s an inspired outpouring of youth hardly recognizable as music by the composer that Strauss would become. Respighi’s B-Minor Sonata—an earlier sonata in D Minor dates from the composer’s teens—was written in 1917, exactly 30 years later than Strauss’s sonata, by a more mature composer of 38.


    Strauss’s sonata will no doubt be permanently associated with Heifetz, not because he championed it and twice recorded it, but because of his callous and stubborn determination to perform the piece in 1953 before an Israeli audience that still considered Strauss a Nazi collaborator and whose emotions were still raw from the Holocaust. That little stunt nearly cost Heifetz his career when an assailant attacked him outside his hotel, striking his right arm with an iron bar. While I don’t condone the death threats and violence against him, I understand the intensity of feelings that were aroused. Heifetz had no one to blame but himself for his own arrogance and intractable insensitivity. He canceled his last concert and departed Israel post haste, not to return there again until 1970.


    The shame of it all is that Strauss’s sonata was written half a century before Hitler rose to power, and the piece is a passionate and deeply touching reflection of the late 19th-century German musical culture in which Strauss came of age. Unsurprisingly, Liszt and Wagner, both recently dead, appear as frequent ghosts throughout the sonata’s pages, but another guest one meets, less frequently perhaps but still very much alive when Strauss wrote the piece, is Brahms.


    Respighi is not an easy composer to categorize. Some see him, as they see Strauss, Puccini, Rachmaninoff, and Sibelius as manifestations of a resistant strain of late romanticism that persisted well into the 20th century, while others have referred to Respighi as an Impressionist. I think one could support either view. There’s no question but that Respighi’s sonata is the more modern of the two works on the disc, at least in terms of its approach to harmony and tonality, but it remains an essentially romantic work in its gestural language—i.e., in its sweeping vistas and appeal to the emotions, both public and private.


    The last time I reviewed a recording of Strauss’s violin sonata was in 32:3. That Atma CD also contained violin and piano works by Elgar and Ravel in performances by Jonathan Crow and Paul Stewart which I called “a desideratum of indescribably beautiful music matched by indescribably beautiful playing.” Pardon the pun, but Tasmin Little brings more than a little of Crow’s eloquent and elegant playing to the Strauss, but I would also have to say that in some of the sonata’s more technically taxing passages, she can sound ever so slightly flustered; and while the notes never actually get away from her, one senses she’s making an effort to stay on top of them. Next to Crow’s Strauss, another performance I’ve long liked is that by Dmitri Sitkovetsky on Virgin Classics. He has the technical chops to pull it off smoothly, but I don’t find him quite as emotionally engaged as either Crow or Little. Whatever the reason, Respighi’s sonata seems to suit Little a little better, both technically and temperamentally. Her performance of the piece is lithe and fully responsive to the score’s rapidly shifting moods and colors. In my opinion, it easily outclasses Tanja Becker-Bender on Hyperion, whose reading I find somewhat flighty and rudderless.


    Overall, this has to be rated a very fine effort, and not just by Little, but also by Piers Lane who partners her most excellently on the piano, and by Chandos, which provides its usual deep and vivid sound. This may not be the absolute best Strauss out there, but it’s definitely among the very best of the Respighis, and the extra three encores from Respighi’s Six Pieces for Violin and Piano make for a most enriching program. Easily recommended.

    FANFARE: Jerry Dubins

    -----------

    Chandos have prided themselves on having a deep and long-term available back catalogue. Though distantly separated in time the present CD can be seen as an adjunct to two of the grand Chandos series of the 1980s and 1990s. The first was the Respighi orchestral music edition built around the Edward Downes BBCPO symphonies and concertos but supplemented by earlier discs conducted by Geoffrey Simon - still truly splendid - and later ones from Hickox and Noseda. The Downes and Simon discs would shine anew if issued in a box or boxes. The second comprised the half dozen discs they issued in the 1980s golden days of Järvi conducting the then SNO in the major orchestral works of Richard Strauss.

    These two violin and piano works have previously appeared - although separately - on Chandos. There were in fact two CDs of the Strauss Sonata – one from Lydia Mordkovitch and the other from Sasha Rozhdestvensky. It comes as no surprise that the Respighi was also recorded by Mordkovitch. She contributed so much to the label that I have every reason to expect that, one of these days, there will be a complete Mordkovitch Chandos Edition. It’s certainly deserved – at least as much as a Takako Nishizaki edition for Naxos.

    Little and Lane’s Strauss Sonata is flooded with melodic light and surges and muses with all the eruptive and serenading romance of the same composer’s Don Juan. Both Tasmin Little and Piers Lane are obviously up for it and flatter the 1887 Strauss with a most inward reading which makes it appear a greater work than perhaps it is. The stormy romance of the outer movements of the 1917 Respighi Sonata is emphasised by the utterly peaceful and romantically centred Sargasso calm of the Andante second movement. It stands head and shoulders above the other sonata movements on this disc, masterfully treading that febrile line between poetry and self-conscious sentimentality. Both Little and Lane have every right to be proud of their achievement here. Speaking of that mood we have three movements from the salon-destined and designed Sei Pezzi. I lament that the other three Kreislerian movements were not included – there was space. A puzzling and regretted omission.

    With thanks to Chandos for commissioning a liner-note from the inspired Jessica Duchen. Such a fine writer and one whose Korngold book (Phaidon Press) has been unjustly eclipsed by the ‘major definitive biography’. The Duchen is much more than a valid alternative. Indeed, Korngold is a far from irrelevant comparison in the company of the two composers so nobly represented on this disc.

    – Rob Barnett, MusicWeb International
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  • Violin Sonatas: Strauss, Respighi / Little, Lane
    Sale

    Violin Sonatas: Strauss, Respighi / Little, Lane

    Chandos Nov 2012
    1 disc
    CD
    $21.99 $10.99Save 50%
  • Respighi: Symphonic Poems / Bátiz, Royal Philharmonic
    Sale

    Respighi: Symphonic Poems / Bátiz, Royal Philharmonic

    Naxos Jan 1992
    1 disc
    CD
    $19.99 $13.99Save 30%
    MDG

    Respighi: Orchestral Works

    SACD · 1 disc

    $24.99
    Composer
    Ottorino Respighi
    Artist
    Wuppertal Symphony Orchestra
    Released
    Mar 29, 2024
    There is no better place to show off the magic and colours of Ottorino Respighi's sound world than in one of Europe's most beautiful concert halls with world-famous acoustics: The Historische Stadthalle Wuppertal. The Wuppertal Symphony Orchestra, conducted by George Hanson, plays rarely heard works by the Italian instrumentation magician, including the mighty "Metamorphoseon" and a suite on themes by Rossini, as well as Bach's titanic C minor Passacaglia in a breathtaking orchestration and - as a veritable premiere recording - a short "Burlesca" from the composer's early works.
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  • Respighi: Orchestral Works

    Respighi: Orchestral Works

    MDG Mar 2024
    1 disc
    SACD
    $24.99
  • Respighi: Maria Egiziaca
    Dynamic

    Respighi: Maria Egiziaca

    Blu-Ray · 1 disc

    $36.99
    Composer
    Ottorino Respighi, Claudio Guastalla
    Artist
    Pier Luigi Pizzi, Francesca Dotto, Simone Alberghini, Vincenzo Costanzo, Michele Galbiati, Luigi Mor
    Released
    Jan 31, 2025
    Ottorino Respighi's 'mystery in three episodes', Maria egiziaca, started out as a concert triptych. It's intensely dramatic and at times symphonic qualities give it a character somewhere between an oratorio and an opera. Based on the life of Saint Mary of Egypt, the archaic story of Maria egiziaca revolves around faith seen through it's various characters, with Maria's journey from prostitution to sainthood conveyed as an expressive and eloquently immediate musical fresco. This Teatro La Fenice production of Respighi's profoundly moving and deeply sensuous stage work was critically acclaimed.
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  • Respighi: Maria Egiziaca

    Respighi: Maria Egiziaca

    Dynamic Jan 2025
    1 disc
    Blu-Ray
    $36.99
  • Respighi: Maria Egiziaca
    Dynamic

    Respighi: Maria Egiziaca

    DVD · 1 disc

    $36.99
    Composer
    Ottorino Respighi, Claudio Guastalla
    Artist
    Pier Luigi Pizzi, Francesca Dotto, Simone Alberghini, Vincenzo Costanzo, Michele Galbiati, Luigi Mor
    Released
    Jan 31, 2025
    Ottorino Respighi's 'mystery in three episodes', Maria egiziaca, started out as a concert triptych. It's intensely dramatic and at times symphonic qualities give it a character somewhere between an oratorio and an opera. Based on the life of Saint Mary of Egypt, the archaic story of Maria egiziaca revolves around faith seen through it's various characters, with Maria's journey from prostitution to sainthood conveyed as an expressive and eloquently immediate musical fresco. This Teatro La Fenice production of Respighi's profoundly moving and deeply sensuous stage work was critically acclaimed.
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  • Respighi: Maria Egiziaca

    Respighi: Maria Egiziaca

    Dynamic Jan 2025
    1 disc
    DVD
    $36.99
  • Szymanowski, Hindemith & Respighi: Violin Sonatas

    Szymanowski, Hindemith & Respighi: Violin Sonatas

    CAvi-music Mar 2014
    1 disc
    CD
    $19.99
    Leaf Music

    Respighi & Puccini: String Quartets

    CD · 1 disc

    $18.99
    Composer
    RESPIGHI PUCCINI
    Artist
    Sally Dibblee
    Released
    Aug 18, 2017
    For close to two decades the Saint John String Quartet has captivated the hearts of listeners with their concerts, radio and television appearances and popular recordings. Their list of successes includes an ECMA for “Best Classical Recording” and in 1995 they presented the first chamber music concert on the World Wide Web Internet. The Quartet’s active concertizing schedule finds them touring Canada, the USA, and abroad to Japan, China, and Hong Kong. The group can often be heard on CBC Radio and on two other albums entitled Hidden Treasures and Saint John String Quartet. Acclaimed by critics for her floating, high pianissimos, soprano Sally Dibblee enjoys success in opera houses and concert halls throughout North America. A New Brunswick resident, Sally continues to perform in Maritime summer music festivals and is frequently heard on the CBC.
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  • Respighi & Puccini: String Quartets

    Respighi & Puccini: String Quartets

    Leaf Music Aug 2017
    1 disc
    CD
    $18.99
  • RESPIGHI: PINES OF ROME; ROMAN FESTIVALS FOUNTAINS
    DEUTSCHE GRAMMOPHON

    RESPIGHI: PINES OF ROME; ROMAN FESTIVALS FOUNTAINS

    Vinyl · 2 discs

    $59.06
    Artist
    OZAWA, SEIJI / BOSTON SYMPHONY ORCHESTRA
    Released
    Mar 13, 2026
    Seiji Ozawa / Boston Symphony Orchestra - Respighi: Pines of Rome; Roman Festivals; Fountains of Rome [180g 2 LP] No contemporary Italian was as successful an instrumental composer in the concert hall in the period after World War I as Ottorino Respighi with his four-movement symphonic poems, 'Fountains of Rome' (1917), 'Pines of Rome' (1924) and 'Feste Romane' (1929). In these works, programme music experienced a magnificent revival. When this Boston Symphony recording was made on 8-track analog in 1977, the nightingale's song was not recorded during the orchestral sessions but added in from an additional tape when the 2-track master was mixed a few weeks later in Hanover. That additional tape is no longer in the archives. So, in preparing this new release for DG's Original Source Series, producer Rainer Maillard decided to use one of Hampe's original recordings (as chosen by Respighi himself), playing the 1910 shellac disc (matrix no. 7438r) on an acoustic gramophone in the Emil Berliner Studios' echo chamber and mixing it in (in real time) while cutting. 2-LP set, 180g vinyl.
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  • RESPIGHI: PINES OF ROME; ROMAN FESTIVALS FOUNTAINS

    RESPIGHI: PINES OF ROME; ROMAN FESTIVALS FOUNTAINS

    DEUTSCHE GRAMMOPHON Mar 2026
    2 discs
    Vinyl
    $59.06
  • RESPIGHI: VIOLIN CONCERTOS & SUITE
    ALTO

    RESPIGHI: VIOLIN CONCERTOS & SUITE

    CD · 1 disc

    $11.01
    Composer
    Respighi
    Artist
    Andrea Cappellatti
    Released
    Oct 06, 2023
    Cappelletti and Bamert's coupling is salutary in what little remains to apologize for in Respighi's music when played with real opulence and virtuosity. The fact is that the Concerto belies it's name: both have shrewdly perceived that Respighi's use of modality enables him to explore both early music and folklore... The lushness sounds much more natural in the context of a late-romantic violin concerto, with a big and bold performance of rich and dramatic gesture. Cappelletti, a striking and accomplished soloist, makes the most of the finale's punch and vigour, but also of the musing beauty of the slow movement. I now prefer this (version)... "romantic warmth is also a feature of Barra's Poema (suite), Respighi in neo-baroque lush harmonies with a baroque-size orchestra" (Gramophone)
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  • RESPIGHI: VIOLIN CONCERTOS & SUITE

    RESPIGHI: VIOLIN CONCERTOS & SUITE

    ALTO Oct 2023
    1 disc
    CD
    $11.01
    PENTATONE

    Respighi: Songs / Bostridge, Giorgini

    CD · 1 disc

    $19.99
    Composer
    RESPIGHI, OTTORINO
    Artist
    Bostridge, Giorgini
    Released
    Sep 03, 2021

    After their acclaimed recording of Schubert’s Die schöne Müllerin, Ian Bostridge and Saskia Giorgini present a program of rarely-recorded songs by Ottorino Respighi. This selection of songs demonstrates Respighi’s stylistic versatility and broad literary inspiration, from settings of Ada Negri’s compact verses to florid, Symbolist d’Annunzio poems as well as folk melodies, including Scottish songs. Respighi’s Liriche unveil a fascinating, little-known Italian branch of musical Impressionism. What binds them together is a longing for a past still so close, but at the same time inevitably gone. Ian Bostridge is one of the most celebrated tenors and lied interpreters of his generation. His PENTATONE recording of Schubert’s Winterreise (2019) was crowned with the ICMA Vocal Music Award 2020. He continues his congenial collaboration with pianist Saskia Giorgini on PENTATONE.

    REVIEW:

    How does the hackneyed phrase go, “Don’t yuck my yum”? So if you are into the somewhat terse, easy-listening-averse ways of Ottorino Respighi’s art songs, or simply want to discover the composer at the opposite end from the lush bombast of Pini di Roma, by all means, the Ian Bostridge recording (with Saskia Giorgini as accompanist) on Pentatone is a find: Rare morsels, carefully selected, very artfully and meticulously done, with perhaps just a hair too much of studied artistry, on the label where major-label artists go to record what’s dear to their hearts after they’ve run out of Schubert.

    Bostridge is ever free of bluster but also does not appear to be as prone to hyper-enunciating as he sometimes does in German, or pecking at select phrases like a hen with an appetite. There’s a bit of 20th-century French mélodie in several of Respighi’s songs, not limited to the three included here that are set to French poetry: In the pointillism of “Egle” for example, or in the lulling lyricism of “Crepuscolo” (both part of Deità silvane). The brittle fragility of Quattro Liriche’s “La naiade” is impressive; the selections “O falce di luna” and “Notte” from Sei Liriche P90 and P97, respectively, listened to with relaxed care and giving them some time, begin to blossom like a budding flower cut and placed in a glass on the window sill.

    The four Scottish songs are neat, especially for anyone who cares about the Haydn (or the lesser Beethoven) versions of these, and how they are similar (or different) in flavor and interpretation–although Bostridge really goes for the Scottish like the Alexander Brother Highland Lads with a touch of Groundskeeper Willie (from The Simpsons). A niche recommendation of the first order.

    -- ClassicsToday.com (Jens F. Laurson)

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  • Respighi: Songs / Bostridge, Giorgini

    Respighi: Songs / Bostridge, Giorgini

    PENTATONE Sep 2021
    1 disc
    CD
    $19.99
  • RESPIGHI ANCIENT AIRS & DANCES

    RESPIGHI ANCIENT AIRS & DANCES

    ALTO Aug 2013
    1 disc
    CD
    $11.01
    Toccata

    Respighi: Complete Piano Music, Vol. 1

    CD · 1 disc

    $20.99
    Composer
    RESPIGHI, OTTORINO
    Artist
    Giovanna Gatto
    Released
    Aug 02, 2019
    Respighi's orchestral works are some of the most popular in the mainstream repertoire. His output of piano music, by contrast, is as good as unknown, and this new Toccata Classics series will be the first ever to present it all: original works and transcriptions alike, for solo piano, piano four hands and two pianos. This first instalment crowns his earliest keyboard compositions with the magisterial Three Preludes on Gregorian Melodies, miniature Lisztian tone-poems presented with Busonian grandeur.
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  • Respighi: Complete Piano Music, Vol. 1

    Respighi: Complete Piano Music, Vol. 1

    Toccata Aug 2019
    1 disc
    CD
    $20.99
    Chandos

    Respighi: Orchestral Music / Noseda, BBC PO

    CD · 1 disc

    $21.99
    Composer
    RESPIGHI, OTTORINO
    Artist
    Noseda
    Released
    Nov 01, 2006


    RESPIGHI Burlesca. Preludio, corale e fuga. Rossiniana. RACHMANINOFF (Orch. Respighi) 5 Études-tableaux • Gianandrea Noseda, cond; BBC PO • CHANDOS 10388 (73:04)


    When I played an RAI recording of Respighi’s puppet opera La bella dormente nel bosco on a radio program in Dallas about 30 years ago, we received several enthusiastic calls—none more so than that of an individual who liked the work immensely and had been, until then, unaware that the composer had ever written anything other than a few tone poems and the three Ancient Airs and Dances suites. An extreme case, perhaps, but matters have improved since then for Respighi. There will never be any lack of musical fountains or pines about Rome for anyone to appreciate, but a lot more of the composer’s music has visibility now, and an attentive public. The Preludio, corale e fuga appears occasionally on concert programs, and I’m sure we’ll soon hear that the Burlesca is doing the same.


    The Preludio, corale e fuga was composed in 1900, when Respighi was taking lessons from Rimsky-Korsakov in St. Petersburg. The work was written under the older master’s supervision; and certainly his touch can be heard in some of the harmonic progressions, the characteristic use of the strings and winds (especially the flutes), and the transformation of themes. There’s much of Respighi already present, however, notably in the arresting brass chorale (before it is harmonized and enters an Eastern Orthodox church), and the fugue subject and its chromatic treatment. Above all, the scope of the work and its mix of rigor and fancy point to a young, ambitious composer of considerable promise.


    More consistently interesting is the Burlesca , a phantasmagoric piece despite its title, rather than something mock-serious like Strauss’s Burleske . The shape and harmonization of the Burlesca ’s main theme and the piece’s use of pedal points seem to point to Sibelius. As the work was composed in 1906, the possibility of influence cannot be set aside. Still, Sibelius wasn’t given to this kind of filigree work, and it is the subtlety, rather than the overt brilliance of the orchestration, as well as its suitability to the task, that impresses the most.


    Rossiniana is nowhere near as well known as La boutique fantasque , but the source is the same: Rossini’s large collection of incidental piano music, nearly all of it composed late in life. It appeared in 1925 and was a success at its premiere, but has been eclipsed through the years by a suite drawn from the ballet. By contrast, while Rossiniana still gets heard on occasion, that can’t be said of the Five études-tableaux . They began life as Rachmaninoff’s ops. 33 and 39 piano collections from 1911 and 1917, respectively. For whatever reason, the composer had no interest in orchestrating a selection of these, so it was left to Serge Koussevitzky to suggest Respighi as a likely candidate. Rachmaninoff agreed; and the results come surprisingly close, not merely in the romantic, fantastical and warlike passages, but in singling out the mordant thread that runs through both “La Foire” and “Le Chaperon rouge et le loup.”


    I find the value of these performances to be mixed. Noseda strives above all for clarity, which yields a harvest of welcome orchestral detail from this orchestrally brilliant composer. At times the conductor is too willing to sacrifice momentum and accent, as in the final “Marche” of the Five études-tableaux that frankly, falls flat; yet the concluding “Tarantella” of Rossiniana has all the brio one could desire. The “Marche funèbre” from the Five études-tableaux is colorful but prosaic—too fast and heavy in its tread; but nothing could be lighter or honed more delicately than the filigree work in the Burlesca . Throughout the program, individual soloists are too reticent, but Noseda coaxes a fat, beautiful Russian sound from his sections.


    The “Tarantella” to one side, there are certainly better versions of Rossiniana available, though many now fall into the category of historical. Dorati’s old recording with the Royal Philharmonic on Decca 444106 has been re-released under arrangement with ArkivMusic, and is well worth pursuing for its infectious high spirits. Good, too, is Janigro/Vienna SO (Vanguard 41), another vintage release, despite an orchestra that was never within striking distance of the BBC Philharmonic in matters of virtuosity. Dorati and Janigro knew how to bring this music to life. On the evidence of this album, Noseda is still learning.


    But in the Burlesca and Preludio, corale e fuga his only competition comes from a slapdash pair of performances featuring Adriano and the Slovak RSO in coarse sound (Naxos 8.557820). So if you want those works, and in excellent sound, too, this disc becomes self-recommending.


    FANFARE: Barry Brenesal
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