Pietro Russo, Gabriela Istoc - Bossi: Organ Concerto, Op.100 - Martucci: La Canzone dei Ricordi, Op. 68b - Respighi: Antiche danze et arie for lute, Suite No. 3 - I Pini di Roma (2025)
BAND/ARTIST: Pietro Russo, Gabriela Istoc, Timisoara Symphony Orchestra, Romanian National Symphony Orchestra, Leonardo Quadrini
- Title: Martucci: La Canzone dei Ricordi, Op. 68b - Respighi: Antiche danze et arie for lute, Suite No. 3 - I Pini di Roma
- Year Of Release: 2025
- Label: Aulicus Classics
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:44:53
- Total Size: 505 mb
- WebSite: Album Preview
Tracklist
01. Organ Concerto, Op. 100: I. Allegro moderato
02. Organ Concerto, Op. 100: II. Adagio ma non troppo
03. Organ Concerto, Op. 100: III. Allegro
04. La Canzone dei Ricordi, Op. 68b: I. No... svaniti non sono i sogni - Dolce ed espressivo
05. La Canzone dei Ricordi, Op. 68b: II. Cantava'l ruscello la gaia canzone - Allegretto con moto
06. La Canzone dei Ricordi, Op. 68b: III. Fior di ginestra - Andantino
07. La Canzone dei Ricordi, Op. 68b: IV. Su'l mar la navicella - Allegretto con moto
08. La Canzone dei Ricordi, Op. 68b: V. Un vago mormorio mi giunge - Andante
09. La Canzone dei Ricordi, Op. 68b: VI. A'l folto bosco - Andantino con moto
10. La Canzone dei Ricordi, Op. 68b: VII. No, svaniti non sono i sogni - Andantino
11. Antiche danze et arie for lute, Suite No. 3: I. Italiana - Andantino
12. Antiche danze et arie for lute, Suite No. 3: II. Arei di corte - Andantino cantabile
13. Antiche danze et arie for lute, Suite No. 3: III. Siciliana - Andantino
14. Antiche danze et arie for lute, Suite No. 3: IV. Passacaglia - Maestoso
15. I Pini di Roma: I. I pini di Villa Borghese (The Pines of Villa Borghese)
16. I Pini di Roma: II. I pini presso una catacomba (Pines near a catacomb)
17. I Pini di Roma: III. I pini del Gianicolo (The Pines of the Janiculum)
18. I Pini di Roma: IV. I pini della Via Appia (The Pines of the Appian Way)
Upon careful analysis, it appears quite clear that 19th-century Italian instrumental and symphonic music has not received the attention it truly deserves, despite having solid foundations in Italy. The tripartite form, reminiscent of Scarlatti, as well as the initial development of instrumental concertos, found fertile ground in the 18th-century works of composers such as Vivaldi, Torelli, Geminiani, Marcello, Albinoni, Tartini, and others. However, this genre was largely abandoned as the focus shifted to opera. Opera evolved from seria to buffa and eventually to lirica, pushing instrumental and symphonic music into the background, almost to the point of disappearing from Italian production altogether.
Mozart serves as a decisive figure in this context. He uniquely bridged the roles of symphonic composer (41 symphonies) and opera composer (23 operas) although historical criticism has often sought to separate these two roles. In Italy, the natural progression from 18th-century Neapolitan traditions led to a focus on opera. Rossini, Donizetti, and Bellini, who began their careers in Naples, initially composed comic operas, farces, and comedies before transforming their style into grand operas, tragedies, and lyrical dramas.
01. Organ Concerto, Op. 100: I. Allegro moderato
02. Organ Concerto, Op. 100: II. Adagio ma non troppo
03. Organ Concerto, Op. 100: III. Allegro
04. La Canzone dei Ricordi, Op. 68b: I. No... svaniti non sono i sogni - Dolce ed espressivo
05. La Canzone dei Ricordi, Op. 68b: II. Cantava'l ruscello la gaia canzone - Allegretto con moto
06. La Canzone dei Ricordi, Op. 68b: III. Fior di ginestra - Andantino
07. La Canzone dei Ricordi, Op. 68b: IV. Su'l mar la navicella - Allegretto con moto
08. La Canzone dei Ricordi, Op. 68b: V. Un vago mormorio mi giunge - Andante
09. La Canzone dei Ricordi, Op. 68b: VI. A'l folto bosco - Andantino con moto
10. La Canzone dei Ricordi, Op. 68b: VII. No, svaniti non sono i sogni - Andantino
11. Antiche danze et arie for lute, Suite No. 3: I. Italiana - Andantino
12. Antiche danze et arie for lute, Suite No. 3: II. Arei di corte - Andantino cantabile
13. Antiche danze et arie for lute, Suite No. 3: III. Siciliana - Andantino
14. Antiche danze et arie for lute, Suite No. 3: IV. Passacaglia - Maestoso
15. I Pini di Roma: I. I pini di Villa Borghese (The Pines of Villa Borghese)
16. I Pini di Roma: II. I pini presso una catacomba (Pines near a catacomb)
17. I Pini di Roma: III. I pini del Gianicolo (The Pines of the Janiculum)
18. I Pini di Roma: IV. I pini della Via Appia (The Pines of the Appian Way)
Upon careful analysis, it appears quite clear that 19th-century Italian instrumental and symphonic music has not received the attention it truly deserves, despite having solid foundations in Italy. The tripartite form, reminiscent of Scarlatti, as well as the initial development of instrumental concertos, found fertile ground in the 18th-century works of composers such as Vivaldi, Torelli, Geminiani, Marcello, Albinoni, Tartini, and others. However, this genre was largely abandoned as the focus shifted to opera. Opera evolved from seria to buffa and eventually to lirica, pushing instrumental and symphonic music into the background, almost to the point of disappearing from Italian production altogether.
Mozart serves as a decisive figure in this context. He uniquely bridged the roles of symphonic composer (41 symphonies) and opera composer (23 operas) although historical criticism has often sought to separate these two roles. In Italy, the natural progression from 18th-century Neapolitan traditions led to a focus on opera. Rossini, Donizetti, and Bellini, who began their careers in Naples, initially composed comic operas, farces, and comedies before transforming their style into grand operas, tragedies, and lyrical dramas.
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