ClassicsOnline Home » MALIPIERO, G.F.: Symphonies, Vol. 1 (Almeida) - Nos. 3 and 4 / Sinfonia del mare > Review List

MALIPIERO, G.F.: Symphonies, Vol. 1 (Almeida) - Nos. 3 and 4 / Sinfonia del mare

Composer(s):Malipiero, Gian Francesco
Artist(s) Almeida, Antonio de, Conductor • Moscow Symphony Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.570878
Label Naxos
Quality   320kbps
Album Price
USD 6.99


Gian Francesco Malipiero may be considered the most original and inventive of the generation of Italian composers born around 1880 (the so called “generazione dell’Ottanta”). This first Naxos issue of the cycle of 11 numbered and 6 unnumbered symphonies features the early Sea Symphony and two of the very best, the Third and Fourth, written during World War II. Inspired by the tolling bells of St Mark’s Cathedral to signify the German invasion of Italy in 1943, the remarkable Symphony No. 3 “delle campane” evokes, in the composer’s words, “from the lagoons, Venice all vibrating with bells… [becoming] a huge musical instrument”. At the heart of Symphony No. 4 “in memoriam” [Natalie Koussevitzky] lies the eloquent slow movement, surely the most beautiful of any Malipiero symphony.



Review By Robert R. Reilly,,January 2009

The Sinfonia del Mare is as beautiful an evocation of the sea as has ever been written, and it is all the more remarkable in that Malipiero wrote it unaware of Debussy's La Mer. The two numbered symphonies show Malipiero's magical ability to conjure Arcadian dreams in the world of sound, though the dream in No. 4 is a sad one, in memoriam for Natalie Koussevitzky. Malipiero was a unique genius with a very distinct style: If Debussy had been an Italian and had studied with Leos Janacek, he might have sounded something like this.

Review By David Denton, Naxos,July 2008

Taken from recordings first issued on the Marco Polo label, this is the initial release on Naxos of the seventeen symphonies of the 20th-century Italian composer, Gian Francesco Malipiero. Born in Venice in 1883, he was to spend most of his long life in that region, though in his youth he toured with his father, a pianist and conductor. A significant disagreement saw the sixteen-year-old boy taking refuge with his estranged mother, and it was then that he became a music student, leading to his life as a composer. In the period that followed he undertook the invaluable task of transcribing the long-forgotten Italian music of Monteverdi and Frescobaldi. Yet it was to be a premiere of Stravinsky’s Le Sacre du Printemps in 1913 that proved a watershed, and at the age of 30



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