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SGAMBATI, G.: Symphony No. 1 / Cola di Rienzo (Rome Symphony, La Vecchia)

Composer(s):Sgambati, Giovanni
Artist(s) La Vecchia, Francesco, Conductor • Rome Symphony Orchestra
Period(s) Romantic
Genre Classical Music
Category Orchestral
Catalogue 8.573007
Label Naxos
Quality   320kbps
 
 
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8.573007
 


Giovanni Sgambati was one of the most important figures in the Renaissance of Italian instrumental music that began in the latter half of the nineteenth century. Wagner arranged the publication of his first chamber works, calling him ‘a true, great and original talent’. Sgambati’s blending of Italianate lyricism and German rigour led to large-scale works of real historical significance. His overture Cola di Rienzo exemplifies his richness of characterisation while the First Symphony is a major statement of breadth and intensity, admired by Grieg and Saint-Saëns, and often conducted by Toscanini.


   




Review By Zan Furtwangler,Audiophile Audition,July 2013

Conductor La Vecchia leads with passion and vigor. His orchestra is professional-sounding and responsive to his direction.

The sound on this recording is very good…The program notes in English and Italian are excellent…these two works by Sgambati are certainly worth hearing. © 2013 Audiophile Audition Read complete review



Review By Rémy Louis,Diapason,


8.573007_Diapason_fr.pdf


Review By David Hurwitz,ClassicsToday.com,January 2013

Containing five movements arranged in a perfect “arch” form…there’s nothing that sounds quite like it in the entire 19th century literature. The scoring, for standard forces plus two harps, piccolo, but no extra percussion or other exotica, is pellucidly clear and “alive”…the outer movements really move; they have no dead spots and no single movement outstays its welcome.

Sample…the gorgeous melody from the second movement (Andante mesto) for strings…and harps. Here is true Italian lyricism in a symphonic context—just lovely.

more....


Review By David Hurwitz,ClassicsToday.com,January 2013

Containing five movements arranged in a perfect “arch” form…there’s nothing that sounds quite like it in the entire 19th century literature. The scoring, for standard forces plus two harps, piccolo, but no extra percussion or other exotica, is pellucidly clear and “alive”…the outer movements really move; they have no dead spots and no single movement outstays its welcome.

Sample…the gorgeous melody from the second movement (Andante mesto) for strings…and harps. Here is true Italian lyricism in a symphonic context—just lovely.

more....







 

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