ClassicsOnline Home » MARTUCCI, G.: Orchestral Music (Complete), Vol. 2 (Rome Symphony, La Vecchia) - Symphony No. 2 / Theme and Variations / Tarantella / Gavotta > Review List

MARTUCCI, G.: Orchestral Music (Complete), Vol. 2 (Rome Symphony, La Vecchia) - Symphony No. 2 / Theme and Variations / Tarantella / Gavotta

Composer(s):Martucci, Giuseppe
Artist(s) La Vecchia, Francesco, Conductor • Rome Symphony OrchestraDe Barberiis, Lya, piano
Period(s) Romantic
Genre Classical Music
Category ConcertosOrchestral
Catalogue 8.570930
Label Naxos
Quality   320kbps

Described by Gian Francesco Malipiero as “the beginning of the rebirth of non-operatic Italian music”, Martucci’s Second Symphony is his masterpiece. Drawing on his abiding love of Brahms and Schumann, and initially championed by Toscanini, this attractive work has sadly become a rarity on the concert platform. The remaining pieces, all originally for piano and predating the symphony, highlight different facets of this fascinating composer whose personal style, while recalling those of many others from Beethoven to Bax, is nonetheless distinctive and rewarding in its own right. Martucci’s Symphony No. 1 is available on 8.570929.


Review By Robert R. Reilly,,May 2009

Martucci’s Second Symphony combines Sibelius’s majestic symphonic sweep with Italian lyricism in a wonderfully stirring first movement. Later movements sometimes sound like Elgar, with his sweetness and nobility of expression. I am not sure how these influences infiltrated Italy at that time (1904), but it is no wonder that Toscanini championed this piece.

Review By David Denton, Naxos,March 2009

Last month I welcomed the first of Giuseppe Martucci’s two symphonies [Naxos 8.570929], and there was a time when he was regarded as a major contributor to 19th century Italian music. You will find a composer biography in my March review, so let me only add that his Second Symphony was completed in 1904 and came almost ten years after the composition of the Brahms inspired First Symphony. In pointing out that he had become more cosmopolitan, the sleeve note writer gets carried away, claiming Martucci was ‘recalling those of many others from Beethoven to Bax’ rather overlooking the fact Bax was a college student at the time. My ears detect little change in his style, this being



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