Eugene Goossens, Antal Dorati - Respighi: Feste Romane, The Birds, Brazillian Impressions (1957, 1959) [2010] Hi-Res
![Eugene Goossens, Antal Dorati - Respighi: Feste Romane, The Birds, Brazillian Impressions (1957, 1959) [2010] Hi-Res](https://www.dibpic.com/uploads/posts/2021-10/1634984730_cover.jpg)
BAND/ARTIST: Eugene Goossens, Antal Dorati
- Title: Respighi: Feste Romane, The Birds, Brazillian Impressions
- Year Of Release: 1957, 1959 [2010]
- Label: HDTT
- Genre: Classical
- Quality: FLAC (Tracks) | 24 Bit/192 kHz
- Total Time: 01:02:38
- Total Size: 2,3 GB (+3%rec.)
- WebSite: Album Preview
Ottorino Respighi was born in Bologna, where his father was a piano teacher, and taught his son violin and piano. He
continued studying violin with Federico Sarti at the Liceo Musicale in Bologna, and composition with Giuseppe
Martucci and the early music scholar Luigi Torchi. In 1900, Respighi studied composition for ve months with
Rimsky-Korsakov in Russia, while he was employed as rst violinist in the orchestra of the Russian Imperial Theatre in St
Petersburg during its season of Italian opera. He also had composition lessons with Max Bruch in 1902 in Berlin. Until
1908 his principal activity was as rst violin in the Mugellini Quintet, before turning his attention entirely to
composition.
Ottorino Respighi lived in Rome from 1913 for the rest of his life, after being appointed a teacher of composition at the
Conservatorio di Santa Cecilia there. From 1923 to 1926 he was director of the Conservatorio. In 1925 he collaborated
with Luciani on an elementary textbook entitled Orpheus.
Ottorino Respighi maintained an uneasy relationship with Mussolini's Fascist Party during his later years, vouching for
more outspoken critics such as Arturo Toscanini which allowed them to work on under the regime.[1] Feste Romane, the
third part of his Roman trilogy, has been seen by many as a response to the regime's demands to glorify Italy under the
Fascists. However as with much of the work of Shostakovich, the 'celebration' is ambiguous, if not satirical.
Ottorino Respighi was also a musicologist, a devoted scholar of Italian music of the 16th-18th centuries. He published
editions of the music of Claudio Monteverdi and Antonio Vivaldi, and of Benedetto Marcello's Didone. Because of his
devotion to these older sources (which worked its way to many of his compositions), many would start to consider him
as a typical exponent of Neo-classicism (while Neo-Renaissance or Neo-Baroque would probably be more accurate to
describe most of his compositions based on older work). In fact, dierent from the style of most neo-classicist
compositions, Respighi kept more or less clear from the musical idiom of the classical period: he rather combined
pre-classical musical forms (like dance suites) with a typical 19th century romantic idiom (e.g. the musical idiom
associated with symphonic poems in the romantic period).
Ottorino Respighi died in his Roman villa named "I Pini". A year after his burial, his remains were moved to his
birthplace Bologna and reinterred at the city's expense.
His wife, Elsa Respighi, (neé Olivieri-Sangiacomo) (1894-1996) was his former pupil. A singer (mezzo-soprano) and
composer herself, Elsa Respighi created ballets of Respighi's Ancient Airs and Dances Suites and completed his nal
opera Lucrezia in 1937. Throughout her long life she championed her husband's work unfailingly. She published a
biography of Respighi in 1962. In 1969 she established Fondo Respighi in Venice, to promote music education in
Italy. She was also at the forefront of the 1979 Respighi Centenary celebrations, which saw a number of
long-neglected works performed and recorded for the rst time. Since then, several of her own works, chiey for
solo accompanied voice, have been given their premiere. In 1955 Elsa Respighi produced a memoir of her
encounters with some of the most inuential cultural gures of the early 20th century.
Tracks:
01-04: Feste romane
05-10: The Birds
11-13: Brazilian Impressions
Personnel:
Eugene Goossens
Antal Dorati
London Symphony Orchestra
![Eugene Goossens, Antal Dorati - Respighi: Feste Romane, The Birds, Brazillian Impressions (1957, 1959) [2010] Hi-Res](https://www.dibpic.com/uploads/posts/2021-10/1634984732_back.jpg)
continued studying violin with Federico Sarti at the Liceo Musicale in Bologna, and composition with Giuseppe
Martucci and the early music scholar Luigi Torchi. In 1900, Respighi studied composition for ve months with
Rimsky-Korsakov in Russia, while he was employed as rst violinist in the orchestra of the Russian Imperial Theatre in St
Petersburg during its season of Italian opera. He also had composition lessons with Max Bruch in 1902 in Berlin. Until
1908 his principal activity was as rst violin in the Mugellini Quintet, before turning his attention entirely to
composition.
Ottorino Respighi lived in Rome from 1913 for the rest of his life, after being appointed a teacher of composition at the
Conservatorio di Santa Cecilia there. From 1923 to 1926 he was director of the Conservatorio. In 1925 he collaborated
with Luciani on an elementary textbook entitled Orpheus.
Ottorino Respighi maintained an uneasy relationship with Mussolini's Fascist Party during his later years, vouching for
more outspoken critics such as Arturo Toscanini which allowed them to work on under the regime.[1] Feste Romane, the
third part of his Roman trilogy, has been seen by many as a response to the regime's demands to glorify Italy under the
Fascists. However as with much of the work of Shostakovich, the 'celebration' is ambiguous, if not satirical.
Ottorino Respighi was also a musicologist, a devoted scholar of Italian music of the 16th-18th centuries. He published
editions of the music of Claudio Monteverdi and Antonio Vivaldi, and of Benedetto Marcello's Didone. Because of his
devotion to these older sources (which worked its way to many of his compositions), many would start to consider him
as a typical exponent of Neo-classicism (while Neo-Renaissance or Neo-Baroque would probably be more accurate to
describe most of his compositions based on older work). In fact, dierent from the style of most neo-classicist
compositions, Respighi kept more or less clear from the musical idiom of the classical period: he rather combined
pre-classical musical forms (like dance suites) with a typical 19th century romantic idiom (e.g. the musical idiom
associated with symphonic poems in the romantic period).
Ottorino Respighi died in his Roman villa named "I Pini". A year after his burial, his remains were moved to his
birthplace Bologna and reinterred at the city's expense.
His wife, Elsa Respighi, (neé Olivieri-Sangiacomo) (1894-1996) was his former pupil. A singer (mezzo-soprano) and
composer herself, Elsa Respighi created ballets of Respighi's Ancient Airs and Dances Suites and completed his nal
opera Lucrezia in 1937. Throughout her long life she championed her husband's work unfailingly. She published a
biography of Respighi in 1962. In 1969 she established Fondo Respighi in Venice, to promote music education in
Italy. She was also at the forefront of the 1979 Respighi Centenary celebrations, which saw a number of
long-neglected works performed and recorded for the rst time. Since then, several of her own works, chiey for
solo accompanied voice, have been given their premiere. In 1955 Elsa Respighi produced a memoir of her
encounters with some of the most inuential cultural gures of the early 20th century.
Tracks:
01-04: Feste romane
05-10: The Birds
11-13: Brazilian Impressions
Personnel:
Eugene Goossens
Antal Dorati
London Symphony Orchestra
Classical | Oldies | FLAC / APE | HD & Vinyl
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