Mario PILATI (1903-1938)
Slovak Radio Symphony Orchestra / Adriano
MARCO POLO 8.225156 [61.05]
Concerto for Orchestra (1931-2), Three Pieces for Orchestra (1929), Suite for Strings and Piano (1925), By the Cradle (Ninna-Nanna) (1938)
In the realm of early 20th-century Italian music, Mario Pilati emerges as a fascinating yet often overlooked figure. This recent release from Marco Polo, conducted by the enigmatic Adriano, presents a compelling case for Pilati’s artistry through a selection of his orchestral works. The disc invites listeners to navigate the intricate landscapes Pilati crafted during his brief but prolific career, revealing a composer who, while perhaps not a household name, exhibits a depth of invention and emotional resonance that merits closer examination.
The Concerto for Orchestra, composed between 1931 and 1932, serves as the centerpiece of this collection. From its grand opening Prelude, we are struck by a blend of neo-classical form and baroque influences, reminiscent of the works of Bartók and Lutoslawski, yet distinctly filtered through Pilati’s unique voice. Adriano’s interpretation here is vital, with the Slovak Radio Symphony Orchestra delivering a robust performance that captures both the work’s rhythmic vitality and its lyrical subtleties. Notably, the second movement, marked E minor, showcases Pilati’s penchant for lush harmonic language, intertwining piano and strings in a manner that evokes the elegance of early 20th-century French music.
However, it is worth noting that the piano’s role can at times feel somewhat displaced within the orchestral texture, evoking the sound of a theater orchestra striving for seriousness, as mentioned in the program notes. This perception may detract from the overall impact of the movement, as the piano passages, while rich in ornamentation, occasionally struggle to find their footing amidst the orchestral fabric. The cyclical return of themes, a hallmark of Pilati’s compositional style, is effectively realized in the closing movement, where the thematic material from the Prelude resurfaces, providing a satisfying structural cohesion.
Following the Concerto, the Three Pieces for Orchestra, comprised of a Minuetto, Habanera, and Furlana, offers a delightful contrast. These dances are vividly orchestrated, showcasing Pilati’s flair for color and texture. The influence of Ravel is palpable, particularly in the Habanera, which echoes the sensuousness of Ravel’s La Valse, while the Furlana’s opening taps into a more playful, percussive energy. Adriano’s interpretation brings out the charm of these pieces, allowing their rhythmic intricacies to shine through with clarity and precision.
The Suite for Strings and Piano, written in 1925, reflects a strong neo-classical idiom, with the piano again taking a prominent role. The Sarabande and Minuet here are particularly noteworthy for their lyrical grace and structural integrity. While some may find the piano’s dominance slightly overwhelming, it is this very characteristic that highlights Pilati’s intent to merge chamber-like intimacy with orchestral richness. The recording captures these nuances well, although there are moments where the string sections, particularly in the Concerto, seem to falter slightly under the work’s demands.
Finally, the disc concludes with By the Cradle, a poignant Berceuse composed during Pilati’s final days. Scored for a delicate ensemble of wind instruments, celesta, harp, and strings, this piece encapsulates the essence of longing and farewell. It is a touching testament to Pilati’s artistry, offering a serene contrast to the more vigorous earlier works.
The engineering quality of this recording is commendable, with a clear balance that allows the various instrumental colors to emerge distinctly without overshadowing one another. The Slovak Radio Symphony Orchestra, under Adriano’s guidance, presents a performance that is both committed and insightful, making a strong case for Pilati’s music in the wider canon of Italian 20th-century composition.
In conclusion, this release provides a valuable opportunity to explore the world of Mario Pilati, a composer whose vision, though truncated, reveals a rich tapestry of influences and ideas. While it may not decisively elevate him to the pantheon of greats, it certainly showcases a talent deserving of further exploration. For those intrigued by the intersections of neo-classicism and early modernism in Italian music, this disc is undoubtedly worth the investment, offering a glimpse into a creative mind that, under different circumstances, could have flourished more prominently in the annals of classical music history.
