Nino Rota: Symphony No. 3, Concerto Festivo, Le Molière imaginaire – Ballet Suite
Norrköping Symphony Orchestra; Ole Kristian Ruud, Hannu Koivula
BIS CD 1070
Total Time: 60:00
Recorded: Norrköping, May 1998 & August 1999
Nino Rota (1911-1979) remains a pivotal figure in the landscape of 20th-century music, particularly noted for his prolific contributions to film scores. Yet, as the current BIS recording of his Symphony No. 3, Concerto Festivo, and Le Molière imaginaire suite demonstrates, his concert works possess an equally compelling narrative. This collection not only illuminates Rota’s orchestral innovation but also encapsulates his unique blend of playfulness and poignancy.
Rota’s Symphony No. 3, composed between 1956 and 1957, reveals a distinct Prokofiev influence, particularly in its energetic opening movement, which evokes a sense of urban vivacity reminiscent of John Ireland’s A London Overture. The Norrköping Symphony Orchestra, under the baton of Ole Kristian Ruud, delivers a spirited interpretation, with the brisk tempo and buoyant strings effectively conjuring the bustling atmosphere of a cityscape. This light-heartedness, however, gives way to a more introspective second movement, where oscillating woodwinds introduce a haunting elegy punctuated by poignant brass calls. The transition from levity to somber reflection showcases Rota’s mastery of thematic contrast, effectively capturing the dualities of existence.
The final movement is a particularly striking display of Rota’s penchant for the grotesque, capturing the essence of commedia dell’arte. The orchestral textures here are layered with buffoonery, and Ruud ensures that the ensemble provides a cohesive yet vibrant tapestry of sound. One might note the way the strings dart about with frenetic energy, while the brass delivers a sardonic commentary, a hallmark of Rota’s theatricality. This deft juxtaposition of grotesque and humorous elements is reminiscent of Rota’s work for Federico Fellini, where similar musical gestures evoke both whimsy and depth.
In his Concerto Festivo, premiered in Rome in 1962, Rota’s homage to Mussorgsky and Ravel is palpable. The piece’s rapid, picaresque themes contrast sharply with the introspective Elegia, where the brass emerge as mournful protagonists. Here, the Norrköping musicians shine, particularly in the woodwinds’ intricate passages during the Cabaletta movement, where the quirky rhythms are executed with both precision and flair. The interplay between sections is deftly managed, and Ruud’s direction maintains a vibrant momentum throughout. The finale, marked by skittish energy, leaves the listener with a sense of exhilaration, a fitting conclusion to this celebratory work.
The highlight of this recording is undoubtedly the suite from Le Molière imaginaire, a ballet-comedy that showcases Rota’s gift for melody and color. Choreographed by Maurice Béjart, the suite, which distills the joyous elements of the original score, is executed with infectious vitality. The orchestral palette is rich, and the Norrköping musicians revel in the music’s buoyant character. Rota’s ability to imbue the orchestration with a sense of playfulness, while also layering it with emotional depth, is particularly evident in this suite. The elegance of the strings and the playful dialogue between sections exemplify Rota’s orchestral prowess.
In terms of recording quality, BIS has delivered a production that captures the vividness of the orchestral sound, allowing the listener to appreciate the intricate textures and dynamic contrasts inherent in Rota’s writing. The engineering balances clarity with warmth, ensuring that both the lush string passages and the incisive brass statements are rendered with clarity.
Historically, these works stand as a testament to Rota’s dual identity as a composer of both concert and film music. While his film scores are often overshadowed by their cinematic contexts, the concert works reveal a composer deeply engaged with the orchestral tradition, capable of weaving intricate narratives through sound. Rota’s ability to traverse the realms of humor and melancholy invites listeners to explore the full spectrum of human experience, a testament to his artistry.
In conclusion, this recording of Rota’s Symphony No. 3, Concerto Festivo, and Le Molière imaginaire suite is an exemplary showcase of his orchestral voice, performed with both stylistic fidelity and interpretative vigor. The Norrköping Symphony Orchestra, under Ruud and Koivula’s direction, captures the effervescent spirit of Rota’s music while navigating its emotional depths. This release not only enriches the listener’s understanding of Rota’s oeuvre but also stands as a compelling reminder of the composer’s significant contributions to the concert repertoire.
