Wuppertal Symphony Orchestra / George Hanson
Ottorino Respighi (1879-1936) Metamorphoseon modi XII, Rossiniana, Burlesca, Passacaglia in C Minor by J.S. Bach
Respighi’s oeuvre often oscillates between lush orchestration and a keen sense of thematic development, a duality that is adeptly explored in this latest release featuring lesser-known orchestral works. The Wuppertal Symphony Orchestra, under the baton of George Hanson, delivers a commendable interpretation of Respighi’s intricate soundscapes, though certain performance choices yield mixed results.
Rossiniana (1925) serves as an intriguing entrée into the disc. This suite, influenced by the operatic idiom of Rossini, is characterized by its buoyant orchestration and melodic charm. While its opening lacks the immediate impact one might expect, the subsequent movements reveal a playful mastery of thematic material. The orchestration shines particularly in the second movement, where woodwinds intertwine with strings in a dance of dialogue that is reminiscent of the charm found in Respighi’s more celebrated Balletto Fantastique. Indeed, the Wuppertal Symphony’s execution here is commendable; the ensemble’s cohesiveness brings out the colors of the orchestration, allowing the piece to unfold with a buoyant yet thoughtful character. The work, while not as frequently performed as its ballet counterpart, deserves a revival given its intriguing structural development and melodic inventiveness.
Moving to Metamorphoseon modi XII, commissioned for the 50th anniversary of the Boston Symphony Orchestra, we encounter a work steeped in Gregorian chant influence. The solemn theme, followed by variations in each of the twelve church modes, challenges both the orchestra and the listener with its complex harmonic language and deep spiritual resonance. The performance by Hanson and the orchestra highlights the work’s sonorous qualities, though the final movement feels slightly underwhelming. The brass section, at times, lacks the requisite brilliance to punctuate the stirring finale, diminishing the overall impact of this otherwise ambitious work. As a point of comparison, Geoffrey Simon’s recording with the Philharmonia Orchestra on Chandos offers a more incisive interpretation, particularly in the brass lines, making it an essential alternative for those seeking a fuller realization of Respighi’s vision.
Burlesca (1906), a vivid scherzo, is another notable inclusion, capturing the impressionistic essence that would later permeate Respighi’s more famous works, such as Fountains of Rome. The Wuppertal Symphony navigates the piece’s rapid passages and coloristic demands with agility, showcasing Respighi’s penchant for orchestral brilliance. Despite the claim of it being a first recording—an assertion that does not hold up to scrutiny given earlier recordings by Adriano—it is nonetheless a delightful rendition that encapsulates the spirit of the piece.
Lastly, the Passacaglia in C Minor by J.S. Bach, as orchestrated by Respighi, represents an intriguing synthesis of baroque and modern sensibilities. Respighi’s orchestral treatment remains true to Bach’s original intent, yet infuses it with a rich tapestry of colors that breathe new life into the canonical work. The performance is marked by clarity, although some moments could benefit from a more dramatic interpretation. The lush orchestration, particularly in the strings, evokes the emotional depth of the original, yet the interpretation would resonate more powerfully with a heightened sense of urgency in the climactic moments.
The recording quality, produced under the MDG label, captures the orchestra’s sound with a natural warmth that enhances the listening experience. The balance among sections is generally effective, allowing the intricate interplay of voices to emerge without overshadowing the more delicate passages.
In summary, this disc serves as a valuable introduction to some of Respighi’s overlooked orchestral works, revealing layers of complexity and charm that are characteristic of his style. While the performances are laudable, and Hanson’s direction brings a thoughtful interpretation to the fore, it is the historical significance of these works that ultimately shines through. Each piece presented here offers a glimpse into Respighi’s broader compositional evolution, deserving of both study and performance in the concert hall. The recording stands as a commendable contribution to the Respighi discography, inviting listeners to explore the rich tapestry of his orchestral imagination.
