Anon. Italiana
Antal Dorati; Philharmonia Hungarica Lyrics

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Classical Music/ /Reference Recording

1y↑2

Ottorino Respighi (1879-1936) Ancient Dances and Airs for Lute by Antal Doráti / Resmastered
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Suite No. 3 for Strings (Ancient Dances and Airs for Lute)
00:00 I. Italiana
03:39 II. Arie di corte (h) Andante cantabile
05:49 III. Siciliana
08:54 IV. Passacaglia

Complete Remastered edition (Respighi: Ancient Dances and Airs for Lute by Antal Doráti) available on: Qobuz (Hi-Res 24/96), Apple Music, Amazon Music, Tidal, Deezer, Spotify, Youtube Music...: https://www.youtube.com/watch?v=vbqg0KnyvyI&list=OLAK5uy_nyz49vjPPnUHQ6x9Gl3mkOSRZ2n5dix3k

Philharmonia Hungarica
Conductor: Antal Doráti
Recorded in 1958
New mastering in 2023 by AB for CMRR
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Eugene Bruck: For more than a century now, Italian composers have been divided into two groups: those who wrote operas and those who did not. The reason for this is not so much the vast outpouring of opera but the very small amount of significant orchestral music produced by Italians. The one outstanding Italian name in orchestral music is that of Ottorino Respighi, who was born in Bologna in 1879 and died in Rome in 1936. Respighi was extremely well equipped for his singular role, for he studied composition with Rimsky-Korsakov and Max Bruch and was strongly influenced by the works of Richard Strauss. In addition, he was both an aesthetician and an antiquarian scholar, so that his output fell into two categories—original compositions, and the editing and arranging of 17th- and 18th-century music for modern publication and performance (none of his nine operas is performed in this country). His original works included *The Pines of Rome, *The Fountains of Rome, Roman Festivals, and *Brazilian Impressions, all very popular in the concert hall and on records. His editorial work began in 1908, with editions of Monteverdi and Vitali, and continued until 1935, when he helped transcribe and publish Marcello's cantata Didone.

A step beyond musicology were his various arrangements of old music, such as the three suites performed by Antal Doráti, for here Respighi had to translate into modern musical language the blending of elegance, liveliness, delicacy, and repose that characterized the late Renaissance and early Baroque periods. That he succeeded so admirably can be attributed to his own sumptuous style of orchestration and his knowledge and respect for the past, plus the conviction that there was a definable continuity in the history of Italian music. He wrote: "The Italian genius is for melody and clarity. Today there is noticeable a return to the less sophisticated music of the past—in harmony to the church modes and in form to the suites of dances." The increment from this philosophy, as far as Respighi's music is concerned, has been the survival of some lovely melodies from the past and our enjoyment of them in settings that are both authentic and part of our own time.

SUITE NO. 3, FOR STRINGS
1. Anonymous (c. 1600): Italiana. A simple, popular song of the time, marked Andantino and set in 3/4 time by Respighi.
2. Jean-Baptiste Besard: Arie di Corte. This is a ballet based on "Airs of the Court." It opens with an Andante cantabile ("It is sad to be in love with you"); then an Allegretto ("Farewell forever, shepherdess"); Vivace ("Lovely eyes that see clearly"); Lento con grande espressione ("The Skiff of Love"); Allegro vivace ("What divinity touches my soul"); Vivacissimo ("If it is for my innocence that you love me").
3. Anonymous (c. 1600): Siciliana. A gentle dancing song of pastoral character, deriving from Sicily.
4. Lodovico Roncalli (Seventeenth century): Passacaglia. From a collection of pieces for Spanish guitar published in 1692. Literally a "passing in the street," a passacaglia denotes an old Spanish dance in triple time. In its classical form, it is a group of continuous variations built on a recurring bass theme.

Respighi: Pines of Rome, Fountains of Rome by Fritz Reiner
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Classical Music/ /Reference Recording

1y↑5

Eugene Bruck: For more than a century now, Italian composers have been divided into two groups: those who wrote operas and those who did not. The reason for this is not so much the vast outpouring of opera but the very small amount of significant orchestral music produced by Italians. The one outstanding Italian name in orchestral music is that of Ottorino Respighi, who was born in Bologna in 1879 and died in Rome in 1936. Respighi was extremely well equipped for his singular role, for he studied composition with Rimsky-Korsakov and Max Bruch and was strongly influenced by the works of Richard Strauss. In addition, he was both an aesthetician and an antiquarian scholar, so that his output fell into two categories—original compositions, and the editing and arranging of 17th- and 18th-century music for modern publication and performance (none of his nine operas is performed in this country). His original works included *The Pines of Rome, *The Fountains of Rome, Roman Festivals, and *Brazilian Impressions, all very popular in the concert hall and on records. His editorial work began in 1908, with editions of Monteverdi and Vitali, and continued until 1935, when he helped transcribe and publish Marcello's cantata Didone.

A step beyond musicology were his various arrangements of old music, such as the three suites performed by Antal Doráti, for here Respighi had to translate into modern musical language the blending of elegance, liveliness, delicacy, and repose that characterized the late Renaissance and early Baroque periods. That he succeeded so admirably can be attributed to his own sumptuous style of orchestration and his knowledge and respect for the past, plus the conviction that there was a definable continuity in the history of Italian music. He wrote: "The Italian genius is for melody and clarity. Today there is noticeable a return to the less sophisticated music of the past—in harmony to the church modes and in form to the suites of dances." The increment from this philosophy, as far as Respighi's music is concerned, has been the survival of some lovely melodies from the past and our enjoyment of them in settings that are both authentic and part of our own time.

SUITE NO. 3, FOR STRINGS
1. Anonymous (c. 1600): Italiana. A simple, popular song of the time, marked Andantino and set in 3/4 time by Respighi.
2. Jean-Baptiste Besard: Arie di Corte. This is a ballet based on "Airs of the Court." It opens with an Andante cantabile ("It is sad to be in love with you"); then an Allegretto ("Farewell forever, shepherdess"); Vivace ("Lovely eyes that see clearly"); Lento con grande espressione ("The Skiff of Love"); Allegro vivace ("What divinity touches my soul"); Vivacissimo ("If it is for my innocence that you love me").
3. Anonymous (c. 1600): Siciliana. A gentle dancing song of pastoral character, deriving from Sicily.
4. Lodovico Roncalli (Seventeenth century): Passacaglia. From a collection of pieces for Spanish guitar published in 1692. Literally a "passing in the street," a passacaglia denotes an old Spanish dance in triple time. In its classical form, it is a group of continuous variations built on a recurring bass theme.

🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) https://www.patreon.com/cmrr // https://en.tipeee.com/cmrr

jesus tovar

1y↑3

Apenas he descubierto estas Antiguas Danzas y Arias para Laúd de Respighi y debo decir que me encantan (y a mi Mamá también les gusta), excelente compositor italiano de piezas sinfónicas, es hermoso cómo un compositor replica un estilo musical de una época antes que naciera, me agrada el uso de instrumentos cómo el laúd y el clavecín, suena muy barroco aunque con un toque romántico, gracias, debo decir que esta música me ayuda a estudiar también👍😊