Composer: Ottorino Respighi
Works: The Fountains of Rome, The Pines of Rome, Roman Festivals
Performers: Oregon Symphony Orchestra, James DePreist (conductor)
Recording: 9-10 January 2001 (Fountains, Pines), 28-29 May 1987 (Festivals), Arlene Schnitzer Auditorium, Portland, Oregon
Label: Delos DE 3287
Ottorino Respighi, a composer whose vibrant musical palette often evokes the splendor of Rome, stands as a significant figure in the early 20th-century orchestral repertoire. His Roman Trilogy—comprising The Fountains of Rome, The Pines of Rome, and Roman Festivals—serves as a captivating homage to the city’s rich cultural tapestry. Each of these three symphonic poems is steeped in historical and geographical significance, reflecting Respighi’s adeptness in marrying evocative orchestral colors with vivid imagery. The works not only showcase his fascination with the past but also reveal a harmonic sophistication that resonates with the influences of his teachers and contemporaries.
The Oregon Symphony Orchestra under the direction of James DePreist delivers a performance that aptly captures the essence of Respighi’s intentions. The recording of The Fountains of Rome opens with an ethereal quality that emphasizes the delicate interweaving of instrumental timbres. The subtlety with which the strings introduce the first fountain sets a tranquil tone, allowing the brass and woodwinds to emerge organically, enhancing the impressionistic soundscape. DePreist’s interpretative choices lean towards refinement, favoring a gentle ebb and flow that complements the music’s elusive nature. The rich sonority of the orchestra is particularly commendable, as it allows for a nuanced exploration of the work’s quieter moments, which can often be overlooked in less sensitive interpretations.
Transitioning to The Pines of Rome, the orchestra’s dynamic range becomes more pronounced. The four movements showcase Respighi’s imaginative scope, from the somber atmosphere of “Pines near a Catacomb” to the grandiose “Pines of the Appian Way.” In the latter, DePreist effectively builds tension, leading to a climactic outburst that is both thrilling and well-balanced. The careful pacing and articulation of the brass section, particularly in the climactic moments, highlight the distinct character of each movement while maintaining a cohesive narrative thread throughout. The recording quality here is particularly striking, with Delos engineers capturing a vivid soundstage that allows the listener to fully appreciate the orchestral textures.
Roman Festivals, recorded in 1987, presents a different challenge. While it may not possess the same level of sonic clarity as the more recent recordings of Fountains and Pines, DePreist’s interpretation brings a vivacious energy to the work. This third piece, often critiqued for its overt exuberance, benefits from DePreist’s ability to embrace its more brazen qualities without falling into excess. The orchestra displays commendable precision, especially in the frenetic rhythms of the finale. The performance embodies a celebratory spirit, and the less vivid sound does not detract significantly from the overall impact, as the musical intent remains palpable.
Respighi’s Roman Trilogy is a testament to the power of orchestral music to evoke place and time, and this recording stands as a significant contribution to the canon. DePreist and the Oregon Symphony Orchestra articulate the intricate details of Respighi’s scores with both technical prowess and interpretative insight. The recording quality enhances the listening experience, ensuring that the lush orchestration and dynamic contrasts are vividly rendered. This performance not only affirms Respighi’s status as a master of orchestral color but also exemplifies how a conductor’s vision can illuminate the subtleties and grandeur of a composer’s intent. The result is a compelling tribute to both the music and the city that inspired it, reaffirming the enduring appeal of Respighi’s Roman Trilogy in the orchestral repertoire.
