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CASELLA, A.: Symphony No. 3 / Elegia eroica (Rome Symphony, Le Vecchia)

Composer(s):Casella, Alfredo
Artist(s) La Vecchia, Francesco, Conductor • Rome Symphony Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.572415
Label Naxos
Quality   320kbps
Album Price
USD 6.99


The revelatory Naxos Casella series continues with two powerful works that grew from the tragedy of two World Wars. Searingly dissonant and ‘profoundly human’, the Elegia eroica (‘Heroic Elegy’) is Casella’s memorial to Italian soldiers killed in World War I. His Third Symphony, a commission for the fiftieth birthday of the Chicago Symphony Orchestra, assimilates the influences and experiences of a lifetime into an exhilaratingly melodic, emotionally wide-ranging and truly organic whole. This third disc in the series completes the world première recording of all three Casella symphonies. Francesco La Vecchia and the Orchestra Sinfonica di Roma ‘have Casella in their bloodstream’ (MusicWeb International).


Review By Riccardo Risaliti,Musica,December 2011


Review By Juan Manuel Viana,Scherzo,November 2011


Review By Rob Cowan ,Gramophone,September 2011

Casella’s Third contains echoes of the 20th century’s symphonic greats


Review By William Dart,The New Zealand Herald,August 2011

There is a real symphonic argument pursued over its four movements and, from La Vecchia’s forceful baton work, one imagines him as a man who enjoys a lively discussion over chianti.

Individual touches include an Andante molto moderato that, despite some cool woodwind colourings, is Italianate in its lyricism, and a Scherzo as sardonic as Shostakovich at his most barbed.

The disc is completed with Casella’s 1916 Elegia eroic…a shattering score, balancing tender lament with a fury not afraid of shrillness to make its point.

Review By Joshua Meggitt,Cyclic Defrost,June 2011

Italian proto-modernist Alberto Cassella is known for his problematic political stance during Italy’s Fascist period, including the dedication of an opera to the Duce, but almost all Italian composers towed the line and used the regime for opportunistic ends. Casella remained a strong supporter of new music however, more easily done under Mussolini than Hitler admittedly, but admirable nonetheless. The two works presented here date from between the Wars, those bookends of European Fascism, and show Casella’s original artistic involvement in these tumultuous times.



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