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MALIPIERO, G.F.: Symphonies, Vol. 2 (Almeida) - Nos. 1 and 2 / Sinfonie del silenzio e de la morte

Composer(s):Malipiero, Gian Francesco
Artist(s) Almeida, Antonio de, Conductor • Moscow Symphony Orchestra
Period(s) 20th Century
Genre Classical Music
Category Orchestral
Catalogue 8.570879
Label Naxos
Quality   320kbps

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 second Naxos issue of the cycle of 11 numbered and 6 unnumbered symphonies features the largest and most ambitious of the early “symphonies”, the turbulent and at times macabre Symphonies of Silence and Death. At the heart of Symphony No. 1, in Four Movements like the Four Seasons, is the autumnal third, rich in radiantly melancholy sonorities. Symphony No. 2 “elegiaca” is notable for the plaintive beauty of its two slow movements, especially the exquisite closing pages of the second, which also conclude the work.


Review By Robert R. Reilly,,May 2009

…magic strikes again in the Naxos release of Vol. 2 of his complete Symphonies, offering Nos. 1 and 2 and the Sinfonie del silenzio e della morte. The second movement of the Sinfonie will place you in a languid Arcadian reverie in which Malipiero seems to suspend time. The First Symphony, a “four seasons” piece, begins in the same vein. Symphony No. 2 is beautifully valedictory. This is musical beguilement and enchantment at the genius level. Only Naxos has this magic potion.

Review By David Denton, Naxos,May 2009

The seventeen symphonies of the 20th century composer, Gian Francesco Malipiero, are sadly neglected, and this reissue from the Marco Polo label is much welcomed. It was at the première of Stravinsky’s Le Sacre du Printemps in 1913, that the thirty-year-old composer was encouraged to embark on a series of symphonic scores, though it was yet a further twenty years before he felt confident to describe a work as his first symphony. At the time Italy saw him as a modernist, but in reality he was a tonal composer following in the footsteps of Respighi’s tone poems. To that date he had given his works a descriptive title, as we hear in the Sinfonie del silenzio e della morte, a work written in the most exotic late-romantic mode, the grim



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