Italian Music

[jowcol]

Concerto for Piano, Strings, Timpani, and Percussion, Op. 69 by Alfredo Casella (1943)

Gary Graffman, Soloist
ORTF, Conducted by  F Mannino
Radio broadcast, April 29, 1966

From the collection of Karl Miller

http://www.mediafire.com/download.php?v238npaivum5ucr

[jowcol]

Music of Goffredo Petrassi

1. Quartet
Parrenin String Quartet
Radio broadcast, date unknown.

2-4:  Petrassi  Concerto pour Orchestre
Orch Philh;  Cond. R. Benzi
Radio broadcast, April 18, 1972.

From the collection of Karl Miller

http://www.mediafire.com/?f7bwdej6jc7v102

[Dundonnell]

The Petrassi Concerto for Orchestra you uploaded sounds like the No.1 of 1934.

[jowcol]

The Petrassi Concerto for Orchestra you uploaded sounds like the No.1 of 1934.

So glad to have you with us, Colin!

[Dundonnell]

Giorgio Federico Ghedini(1892-1965):

Contrappunti for Violin, Viola, Cello and Orchestra(1962):

Franco Gulli(violin), Bruno Giuranna(viola), Giacinto Caramia(cello) and the Milan Symphony Orchestra of Italian Radio(Sergiu Celibidache)

http://www.mediafire.com/?58o57qa5ud5qy8n

[jowcol]

MUSIC OF GIAN FRANCESCO MALIPIERO


From the collection of Karl Miller
Radio Broadcasts, dates unknown unless state otherwise.

You can access the Malipiero folder here:
http://www.mediafire.com/#r1wpf2jkszny8

 
***************************************************************************
SYMPHONIES 1-3
http://www.mediafire.com/download.php?zroqd4v55jj8raj

Symphony 1:  “Four Seasons”
1. Quasi Andante, sereno
2. Allegro
3.  Lento
4.  Allegro quasi allegretto
Rome Radio Orchestra, Goffredo Petrassi

Symphony 2: “Sinfonia Elegiaca”
5. Allegro Non Troppo
6. Lento Non Troppo
7. Mosso
8. Lento
Maggio Musicale Symphony Orchestra Florentino/ Manno Wolf-Ferrari(?)

Symphony 3:  “The Bells”
9. Allegro Moderato
10.  Andante molto moderato
11. Vivace
12. Lento, andante sostenuto

RAI Rome Symphony Orchestra
Ettore Gracis

*********************************************************************************

SYMPHONIES 3,4 and 6:
http://www.mediafire.com/download.php?3rhc239z49ocfgt

1-5 Symphony 3  “the Bells ) with Radio intro/Outro
CBS Symphony Orchestra, Bernard Herrman, Conductor
(US premiere)

6-11  Symphony 4 “In Memoriam”
6. Radio Into
7.  Allegro Moderato
8. Lento funebre
9.  Allegro
10.  Lento
11. Radio Outro
Boston Symphony Orchestra
Serge Koussevitzky
March 2, 1948

12-17:  Symphony 6 “For Strings”
12. Radio Intro
13-16: Symphony 6 (no movement info)
17. Radio Outro
Scarlatti Orchestra Naples/ Franco Caracciolo

***********************************************************************

SYMPHONIES 7,8,10
http://www.mediafire.com/download.php?jzoxpzzlnjx73li

Symphony 7
Allegro
Allegro quasi Andante
Allegro Ipmetuoso
Lento
Rome Radio Orchestra
Dmitri Mitropoulos

Symphony 8:  SInfonia Brevis
Piu tosto lento
Allegro
Non troppo lento
RAI Milan/Mario Rossi

Symphony 10 “Sinfonia Antropo”
Lento-andante
Tranquillo
Mosso;
Mosso, molto vivace-un poco
South West German Radio Orchestra
Zdenek Macal

************************************************************************************

OTHER SYMPHONIES OF MALIPIERO:
http://www.mediafire.com/download.php?ot4y4zrcy1etvcr


1-6:  Symphony 11
Hilversum Radio Symphony Orchestra
Jean Fournet

7-17:  Sinfonia dell Zodiac
RAI Symphony Orchestra Turin/Bruno Maderna

18-19 Sinfonia inUn Tempo
RAI Symphony Orchestra Rome/ Armando la Rosa Parodi


************************************************************************

CONCERTI:

http://www.mediafire.com/download.php?wm2ra6amuy3mnsw

1-3: Dialog No. 6 for Harpsichord and Orchestra
Isabelle Nef, Harpsichord
RAI Milan Symphony Orchestra/Fulvio Vernizzi

4-6: Concerto for Two Pianos and Orchestra
Resing and Mette, pianos
Strasbourg Symphony Orchestra/Martin?

7-11: Concerto for Cello and Orchestra
Masimo Pradella (sp?) Cello
RAI Scarlatti Orchestra Naples/Decinto Cremian (sp?)
12+: Violin Concerto
Allegro con spriito, Lento ma non troppo, Allegro
Andre Gertler, violin
RAI Symphony Orchestra Turin/Fernando Previtali


*********************************************************

LA PASSIONE AND MORE:
http://www.mediafire.com/download.php?lb9628isqzj3kdx

1 Intro
2-8: La Passione
9: Outro
Tenors, Carlo Franzini and Gianfranco Manganotti Baritone, Claudio Strudthoff Orchestra Sinfonica di Milano della RAI Coro di Milano della RAI Conductor, Nino Sanzogno Chorus Master, Giulio Bertola Thanks to dafrieze
RIA Milan Symphony Orchestra and Chorus

Radio Broadcast, Date Unknown.

10-12: Pause Del Silenzio
Turin Radio Orchestra/ Bruno Maderna
Radio Broadcast, date unknown

13.  Serenata Mattutia
Scarlatti Orchestra of Naples
Franco Coracciolo

************************************************************************************
ORCHESTRAL WORKS:
http://www.mediafire.com/download.php?cs597ry2wa3q6cb


1-4: Canataiallla Madrigalesca for String Orchestra
RAI Rome Orchestra
Nino Sanzono
Radio Broadcast, Date Unknown.

5+  Fantasia Concertante for Violin, Cello, Piano and Orchestra

(soloists announced—you need to figure them out)
1st movement for string, 2nd for violin, 3rd for cello, 4th for Piano.
Bavarian Radio Symphony Orchestra
David Zinman
Radio Broadcast, Date Unknown.


***************************************************************

THE GOLDEN ASS AND SONGS
http://www.mediafire.com/download.php?xvl7c0xb5r22cxx


1-8. L’Asino d’Oro (de Apuleio)
Sesto  Bruscantini, baritone
RAI Symphone Orchestra Rome / Sergui Celibidache

9+: Sette Canzoni
Ester Ovelli, soprano; Florindo Andreolli, tenor;
Sesto Bruscantini, baritone
RAI Rome Chorus and Orchestra/ Mario Rossi

[jowcol]

Music of Alfred Casella


From the collection of Karl Miller


******************* VOLUME 1 *******************

1.  Cello Concerto, Op. 58
Gerda Angermann, Cello
North German Radio Symphony Orchestra
Gerhard Sameul, cond.

2-4:  Concerto for Orchestra, Op. 61
Munich Philharmonic
Alfredo Antonini, Cond.

5-7: Concerto for Orchestra, Op 61.  (Another performance)
Teatro la Fenice Orch- Venice
Ettore Gracis, conductor.

8,  A Notte Alta Op. 30
E. Maganetti, Piano
RAI Turin
Mario Rossi, conductor

9.  Nocturne and Tarantella for Orchestra Op. 54
Leo Loscielng, Cello
Southwest German Radio Symphony Orchestra
Ernst Bour, Cond.
 
10-12:  Concerto for Piano, Strings, Timpani and Percussion, Op. 69
Trio Kogan
RAI Turino
Franco Mannino, Conductor

13-15:  Concerto for Piano Trio and Orchestra, Op . 56
Marta de Conciliis, piano
Giuseppe Prencipe, violin
Willy La Volpe, cello
Scarlatti Orchestra, Naples
Massimo Pradella, conductor.



16: Intro
17: L’adieu a la vie Op.26 bis
RAI Turino
Mina Minetta, Mezzo
Fulvio Vernizzi,  conductor

http://www.mediafire.com/download.php?z84jitlgw1udlxc



******************* VOLUME 2 *******************


18: Intro
19:  Sacred Songs for Baritone and Small Orchestra  Op. 67
Ferdinando Lidonni, baritone
RAI Turino
Massimo Pradella, Cond

20-25:  Camera dei Disegni, A ballet for Fulvia, Op 65
RAI Turino
Ettore Gracis, conductor


26-28:  La Donna Serpente, suites Op 50bis, ter
Berlin Radio Orchestra
Harold Byrus, Cond.


29 Intro
30 : Siciliano and Burlesca for Flute and Orch. Op 23 bis
Machiko Takahashi, flute
Orchestra Unknown
Pierre Stoll, conductor

31 Introduction, Chorale, and March for Winds, Op. 57
32: Outro
RAI Rome
Charles Dutoit, conductor

33: Intro
34: introduction, Aria and Toccatta Op. 55
RAI Milano
Nino Sanzogno,  cond.

35:  Intro
36-38: Suite in C Major, Op. 13
RAI Turin
Fulvio Vernizzi

39. Intro
40: War Pages, Op 25bis
RAI Rome
Gianpiero Tavesna, Cond.

http://www.mediafire.com/download.php?sij9pvb2qptp05q





******************* VOLUME 3 *******************

41-48:  La giara’, Op. 41b, Suite
Tommaso Frascati, tenor
Orchestra Sinfonica di Roma della RAI
Armando La Rosa Parodi, conductor
April 21, 1964

49-51:  Partita for Piano and Orchestra
Pietro Scarpini, piano
Orchestra Alessandro Scarlatti di Napoli RAI
Massimo Pradella, conductor
Feb. 25, 1967

http://www.mediafire.com/download.php?q1ok7d5qmhkzry6




******************* VOLUME 4 *******************

Note:  The works in this volume are arrangements and treatments of works by other composers.

52-55:  Paganiniana, Divertimento for Orchestra, after music by Niccolo Paganini, Op. 65
Orchestra Sinfonica di Torino della RAI
Bruno Maderna, cond.
Nov. 4, 1961

56.  Franz Schubert: Marcia Militaire D.819(Op 40) No. 3
RAI Milano
Bruno Maderna, cond.
May 11, 1963

57: Irving Berlin: A Russian Lullaby
58: Outro
RAI Rome
Bruno Maderna, cond.
Dec 2, 1957

59: Domenico Scarlatti: Tocatta, bouree and gig
60. Outro
Scarlatti Orchestra of Naples
Gabriele Ferro, conductor

61: Intro
62: Johann Sebastian Bach: Chaconnne S. 1004
San Francisco Orchestra
George Cleve, conductor.

http://www.mediafire.com/download.php?gu7hr87neewefk0

***********************************************************

Tracks are mp3s, 128 or more kps.

Sources are from radio broadcasts or personal recordings.  I am not aware that any of these have been released in digital form.

Background Info:


BBC Profile :
http://www.bbc.co.uk/music/artists/59cf3a7f-0eef-4e11-ae69-a2b75feab47f

Some of his scores are available here:
http://imslp.org/wiki/Category:Casella,_Alfredo


Wikipedia bio

Alfredo Casella (25 July 1883 – 5 March 1947) was an Italian composer, pianist and conductor.
 
Casella was born in Turin; his family included many musicians; his grandfather, a friend of Paganini's, was first cello in the San Carlo Theatre in Lisbon and eventually was soloist in the Royal Chapel in Turin. Alfredo's father Carlo Casella was also a professional cellist, as were Carlo's brothers Cesare and Gioacchino; his mother was a pianist, and gave the boy his first music lessons.

Alfredo entered the Conservatoire de Paris in 1896 to study piano under Louis Diémer and composition under Gabriel Fauré; in these classes, George Enescu and Maurice Ravel were among his fellow students. During his Parisian period, Claude Debussy, Igor Stravinsky, and Manuel de Falla were acquaintances, and he was in contact with Ferruccio Busoni, Gustav Mahler, and Richard Strauss as well.

Casella developed a deep admiration for Debussy's output after hearing Prélude à l'après-midi d'un faune in 1898, but pursued a more romantic vein (stemming from Strauss and Mahler) in his own writing of this period, rather than turning to impressionism. His first symphony of 1905 is from this time, and it is with this work that Casella made his debut as a conductor when he led the symphony's premiere in Monte Carlo in 1908.

Back in Italy during World War I, he began teaching piano at the Accademia Nazionale di Santa Cecilia in Rome. From 1927 to 1929, Casella was the principal conductor of the Boston Pops, where he was succeeded by Arthur Fiedler.[1] He was one of the best-known Italian piano virtuosos of his generation, and together with Arturo Bonucci (cello) and Alberto Poltronieri (violin), he formed the Trio Italiano in 1930. This group played to great acclaim in Europe and America. His stature as a pianist and his work with the Trio gave rise to some of his best known compositions, including A Notte Alta, the Sonatina, Nove Pezzi, and the Six Studies, Op. 70, for piano. For the Trio to play on tour, he wrote the Sonata a Tre and the Triple Concerto.

Casella had his biggest success with the ballet La Giara, set to a scenario by Pirandello; other notable works include Italia, the Concerto Romano, Partita and Scarlattiana for Piano and Orchestra, the Violin and Cello Concerti, Paganiniana, and the Concerto for Piano, Strings, Timpani and Percussion. Amongst his chamber works, both Cello Sonatas are played with some frequency, as is the very beautiful late Harp Sonata, and the music for Flute and Piano. Casella also made live-recording player piano music rolls for the Aeolian Duo-Art system, all of which survive today and can be heard. In 1923, together with Gabriele D'Annunzio and Gian Francesco Malipiero from Venice, he founded an association to promote the spread of modern Italian music, the "Corporation of the New Music".

The resurrection of Vivaldi's works in the 20th century is mostly thanks to the efforts of Casella, who in 1939, organised the now historic Vivaldi Week, in which the poet Ezra Pound was also involved. Since then, Vivaldi's compositions have enjoyed almost universal success, and the advent of historically informed performance has catapulted him to stardom once again. In 1947, the Venetian businessman Antonio Fanna founded the Istituto Italiano Antonio Vivaldi, with the composer Malipiero as its artistic director, with the purpose of promoting Vivaldi's music and putting out new editions of his works. Casella's work on behalf of his Italian Baroque musical ancestors put him at the centre of the early 20th Century Neoclassical revival in music, and influenced his own compositions profoundly. His editions of Johann Sebastian Bach and Ludwig van Beethoven's piano works, alongside with many others, proved extremely influential on the musical taste and performance style of Italian players in the following generations.[2]
Usually the generazione dell'ottanta ("generation of '80"), including Casella himself, Malipiero, Respighi, Pizzetti, and Alfano — all composers born around 1880, the post-Puccini generation — concentrated on writing instrumental works, rather than the operas in which Puccini and his musical forebears had specialised. Members of this generation were the dominant figures in Italian music after Puccini's death in 1924; they had their counterparts in Italian literature and painting. Casella, who was especially passionate about painting, accumulated an important collection of art and sculptures. He was perhaps the most "international" in outlook and stylistic influences of the generazione dell'ottanta, owing at least in part to his early musical training in Paris and the circle in which he lived and worked while there. He died in Rome.

Casella's students included Clotilde Coulombe, Maria Curcio, Francesco Mander, Maurice Ohana, Robin Orr, Primož Ramovš, Nino Rota, Maria Tipo, and Camillo Togni.
Casella was married to Yvonne Müller. Their granddaughter is actress Daria Nicolodi and their great-granddaughter is actress Asia Argento.[3][4]

[jowcol]

Music of Ennio Porrino


From the collection of Karl Miller

If you are a fan of Ottorino Respighi, Howard Hanson, or Samuel Barber, this collection is a must!



These recordings are from personal collections and radio broadcasts.  To the best of my knowledge, none of these have been commercially released in digital form.

http://www.mediafire.com/download/k744qytgan21uv7/Porrino1.zip
http://www.mediafire.com/download/59ju3xx2wyoc173/Porrino2.zip
http://www.mediafire.com/download/48ymdo3wzlw9sz1/Porrino3.zip






**********Volume 1***********

Intro
Notturno e Danza (for small Orchestra, 1936)
Outro
Naples RAI Orchestra/Massimo Pradella

Intro
Preludio in Modo Religioso e Ostinato
Outro
Naples RAI Orchestra/Pietro Argento
Andante calmo
Allegro Agitato

Prosperpina Suite (1937)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

Intro
Sardegna(1933)
Outro
Atlantic Symphony (Halifax)/Nello Segerini

Sinfonietta in D Major(1949)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

La Bambola Malata "The Sick Doll" (1959)
Rome Philharmonic/Nino Bonavolonta
Source LP: Phillips S 04571 L

Intro
Canti di Stagione (1934)
Nicoletta Panni, soprano
Naples RAI/Nino Bonavolonta
Canti di stagione: 4 liriche per soprano e piccola orchestra (20") (Notte d’inverno, versi di G. Carducci; Mattino d’aprile nel bosco, vocalizzo; Afa, versi di Giuseppe Valentini; Autunnale-Ditirambo, dal Bacco in Toscana di Francesco Redi). Roma, 1933-34. Edizioni Carisch, Milano 1936.


**********Volume 2***********

Intro
Nuraghi, 3 (?) Primitive Sardinian Dances
Outro
Naples RAI/Composer

Concerto dell'Argentarola for Guitar and Orchestra (1953)
Mario Gangi, guitar
Saint Cecillia Orchestra/Composer
[17 January 1954]

Intro
Sonar per Musici, Concerto for Strings and Harpsichord
Naples RAI Orchestra/Franco Caracciolo

Intro
Sonata Drammatica
Lea Caraino Silvestri, Piano
Turin RAI Orchestra/ Dante Ullu
Moderato notturno
Allegro violento
Adagio in modo funebre

Concertino for Trumpet and Orchestra
R. Marini, trumpet
Naples RAI/Nino Bonavolonta


**********Volume 3***********

"E un uomo vinse lo spazio" Orotorio Radiofonico (1938)
Turin RAI Orchestra and Chorus
Massimo Pradella
Title has been machine tranaslated as "And a Man Won the Space", and is
dedicated to the memory of Marconi. It was premiered as a part of series of radio broadcasts that run from 1938 to 1942 to promote "new" classical music.
Text by E. Gianinni

[jowcol]

Music of Victor de Sabata


From the collection of Karl Miller

Tra Fronda e Fronda: from Suite #2
Milan RAI Orchestra
Fulvio Vernizzia


"La Notte di Platon"
Turin RAI Orchestra
Lorin Maazel


http://www.mediafire.com/download/g6szd28yjx2dks2/Sabata.zip

[jowcol]

Music of Franco Alfano


From the collection of Karl Miller

http://www.mediafire.com/download/f6b3kjt0g4zf7nf/Alfano.zip

Intro
Divertimento for Small Orchestra and Piano Obligato
Naples RAI Orch/O. Zilno

Romantic Suite (Natale Campano Only)
Rome RAI Orch/Massimo Pradella

Symphony #2
Milan RAI Orch/Fulvio Vernizzi




Wikipedia Bio:
Franco Alfano (8 March 1875 – 27 October 1954) was an Italian composer and pianist. Best known today for his opera Risurrezione (1904) and above all for having completed Puccini's opera Turandot in 1926. He had considerable success with several of his own works during his lifetime.


Career

Alfano was born in Posillipo, Naples. He attended piano lessons given privately by Alessandro Longo, and harmony and composition respectively under Camillo de Nardis (1857–1951) and Paolo Serrao at the conservatory San Pietro a Majella in Naples. Later, after graduating, he pursued further composition studies with Hans Sitt and Salomon Jadassohn in Leipzig. While working there he met his idol, Edvard Grieg, and wrote numerous piano and orchestral pieces.

From 1918 he was Director of the Conservatory of Bologna, from 1923 Director of the Turin Conservatory, and from 1947 to 1950 Director of the Rossini Conservatory in Pesaro. Alfano died in San Remo.[1]

Operas

He completed his first opera, Miranda, still unpublished, for which he also wrote the libretto based on a novel by Antonio Fogazzaro in 1896. His work La Fonte Di Enschir (libretto by Luigi Illica) was refused by Ricordi but was presented in Wrocław (then Breslau) as Die Quelle von Enschir on 8 November 1898. It enjoyed some success.

His three most important operas begin with Risurrezione in 1904. It was based on Tolstoy, and was later sung by Magda Olivero.

Cyrano de Bergerac followed. This based on the famous play by Edmond Rostand and composed to the French libretto by Henri Cain. It had its Italian version premiere in Rome in January 1936, and its French version premiere in Paris four months later. It was recently revived by the Kiel Opera (Germany), the Montpellier Radio Festival (France) and the Metropolitan Opera, New York, starring Plácido Domingo in the title role.

In 1921, La Leggenda di Sakùntala appeared, and while it was successful enough to have Arturo Toscanini recommend Alfano to complete Puccini's posthumous Turandot, the performance materials were thought destroyed in an air raid during the Second World War. Alfano reconstructed it in 1952 as Sakùntala, after Abhijñānaśākuntalam (The Recognition of Sakuntala), the Sanskrit play by Kalidasa. Subsequently, the original version was recovered in 2005, with the two versions available for performance today. The second version of Sakùntala will be performed in New York City by Teatro Grattacielo in the fall of 2013.

Historical perspectives

In Fanfare 's issue of September/October 1998-99, it was asserted that Alfano's reputation suffers because of several things. Firstly, that he should not be judged as a composer on the basis of the task he was given in completing Turandot (La Scala, 25 April 1926). Secondly, that we almost never hear everything he wrote for Turandot since the standard ending heavily edits Alfano's work.[2] Thirdly, [...]it is not his conclusion that is performed in productions of Turandot but only what the premiere conductor Arturo Toscanini included from it... Puccini had worked for nine months on the following concluding duet and at his death had left behind a whole ream of sketches... Alfano had to reconstruct...according to his best assessment...and with his imagination and magnifying glass" since Puccini's material "had not really been legible."[3][clarification needed]

"Alfano's reputation has also suffered [IC:along with Mascagni], understandably, because of his willingness to associate himself closely with Mussolini's Fascist government."[citation needed]

Alex Ross, in The New Yorker,[4] notes that a new ending of Turandot composed by Luciano Berio premiered in 2002[5] is preferred by some critics for making a more satisfactory resolution of Turandot's change of heart, and of being more in keeping with Puccini's evolving technique.

[jowcol]

Theme and Variations by Mario Bossi


From the collection of Karl Miller

Milan RAI Orchestra/Claudio Abbado

Radio broadcast
http://www.mediafire.com/download/rcs1vs1updxjtzm/Bossi.zip

 Italian organist and composer Mario Enrico Bossi (1861-1925) was considered one of the finest organists of his day and gave organ recitals throughout Europe and in the U.S., including an appearance at the Grand Court Organ during a Wanamaker Musicians' Assembly at John Wanamaker & Co. in Philadelphia. Also a composer known for his dramatic flair, Bossi wrote works for the organ as well as operas and oratorios. His son, Renzo Bossi (1883-1965), was a gifted composer and teacher of composition.

[jowcol]

Adelchi, an Overture by Nestore Gaggiano


From the collection of Karl Miller


Adlechi, Overture
Rome RAI Orchestra/Massimo Pradella

http://www.mediafire.com/download/7imb2m4oc7ci3tu/Caggiano.zip
    
Machine Translation:

Until the late 80 ' the name of Nestor Caggiano was known to scholars of the twentieth century Italian instrumental and almost unknown to the large public. A albeit wispy memory of his legacy was preserved, though undoubtedly in 1969 the Commission for symphonic music, Opera and chamber music of RAI had recommended broadcasting L'Ouverture "Adelchi" of n. Caggiano.

The same year the Orchestra Sinfonica di Roma della RAI conducted for recordings by master Francesco Molinari-Pradelli, transmitted by radio.

The real discovery of this author was credited with Carlo Vitali with the book "a promise forgotten symphonic Italian: Nestor Caggiano and editor Bongiovanni, who published a cd containing" Alla città di Ferrara "," the tomb of the Busento, Adelchi ", directed by Silvano Frontalini podium Master of Polish orchestras willing.

The work of musicologists would be infinitely more arduous, and the perpetrators almost impossible "without the valuable work of Census and review done by Adam Cardenas, doc, Thomas DiNapoli on Nestor's handwritten Caggiano, kept with loving care by the heirs of the master.

Cardoso, along with John Chan, has produced an impressive catalog that includes 75 opera numbers, as well as a great and touching epistolary material of the ill-fated and short-lived Master Caggiano.

In the Biblioteca comunale di Caggiano has formed a complete archive of the "corpus" symphonic and chamber music musician, with the letters and documents that are left to the family, as well as numerous recorded performances of music by Nestor. The Gandhi and Vizioli ne performed almost all the Repertoire, even in manifestations of mid-1990s Thomas DiNapoli.

Nestor Caggiano was born in Caggiano on November 18, 1888. His mother, Anna Luisi, was a homemaker, his father Giuseppe was a craftsman owner of numerous olive groves in the estates of Caggiano and Pertosa. In his workshop had constituted a kind Joseph of cultural coterie which performed musical works.

Cultural spirit is breathed in casa Caggiano is somehow testified by Nestor's brothers names: Vittorugo, Armida, Riccardo (clear tribute to Wagner).

This environment had a lasting influence on the formation of the composer, whose intellectual horizon will remain, variously interwoven, national pride, curiosity about French culture, especially Germanic, and some individualistic streak-anarcoide.

Caggiano carried out most likely from an early study of the oboe, surely encouraged by listening to the bands accompanying processions to numerous festivities that lined the country life, and somehow broke the monotony of an obvious cultural isolation.

This influence would be resurfaced in its most significant scores, in which the orchestral colour is mainly of a perfect knowledge of band instrumentation, rara frequentation discipline and stylistic rendering uncertain, who never learned not Caggiano form, absolutely self-taught official.

In 1904 the sixteen year old adolescent passions embellished with a healthy pragmatism: oboe student in the class of De Rosa at the Conservatory of San Pietro a Majella, along with complementary harmony in that of Daniel Napoletano, showed an early talent for composition, and his piece for violin and piano, poems, Reminiscences escaped with Giuseppe Martucci, at that time Director of the Conservatory.

Martucci, Paladin of instrumental music and great popularizer in the peninsula Symphony production of Germanic area and Wagnerian dramas, had decisive influence in the formation of Caggiano, who was positively stimulating interest in the instrumental repertoire Central.

Encouraging your promising student to write again, and especially the incited to commence regular studies.

Eventually the younger became one of his favorite disciples.

In 1906 he graduated in oboe Caggiano, and is reported as the first part in civic Concert in Rome and later in the orchestra of the Teatro Quirino. As oboist also participated in a tour of Egypt, however it was in free composition that came the first rewards.

         
Among the most significant compositions of his early lyrical Duet account for soprano and tenor, completed October 23, 1907, on verses by Vittorugo Caggiano. Very carnal composition, even if strongly moulded on the rhythms of the poem. The following year he was admitted to the composition. Zampillava, unstoppable, the creative flow: go back to those years cited biblical poem for voices and orchestra entitled "Perimus", an eighteenth-century suite in four movements, the "Adagio religioso", but especially the "heroic Procession" and "symphonic Prelude". This decade was to "work day and night; It is one thing to crazy! ... I'm so glad though, although exact a ghastly toil ... they're dazed for the great job "he wrote to his family. In his works and in his letters captures the great effort of the cultural momentum of the era and the emerging, unfortunately, the humanity of the unfortunate sore.

The March 3, 1918 died in Caggiano, he took refuge in the arms of the homeland and of dear family.

Text taken from the book published by the city of the Sun, "Nestor Caggiano and his time" by Maurizio Giani and suggested by Adam Cardenas. Naples, 2002.

[jowcol]

Lorenzo Perosi: Tema Variato


From the collection of Karl Miller.


Tema Variato
Milan RAI Orchestra/Otmar Nussio


http://www.mediafire.com/download/07ww4cvbvw777yo/perosi.zip

Wikipedia Bio:
Monsignor Lorenzo Perosi (21 December 1872 – 12 October 1956) was an Italian composer of sacred music and the only member of the Giovane Scuola who did not write opera. In the late 1890s, while he was still only in his 20s, Perosi was an internationally celebrated composer of sacred music, especially large-scale oratorios. Nobel Prize winner Romain Rolland wrote: "It's not easy to give you an exact idea of how popular Lorenzo Perosi is in his native country." [1] Perosi's fame was not restricted to Europe. A 19 March 1899 New York Times article entitled "The Genius of Don Perosi" began: "The great and ever-increasing success which has greeted the four new oratorios of Don Lorenzo Perosi has placed this young priest-composer on a pedestal of fame which can only be compared with that which has been accorded of late years to the idolized Pietro Mascagni by his fellow-countrymen." Gianandrea Gavazzeni made the same comparison: "The sudden clamors of applause, at the end of the [19th] century, were just like those a decade earlier for Mascagni."[2] Perosi worked for five Popes, including Pope St. Pius X who greatly fostered his rise.

Early years and education
Lorenzo Perosi was born at Tortona, Piedmont, in Italy. Many sources[3] give December 20 as Perosi's birthdate but recent scholarship suggests December 21 to be correct.[4] Perosi was one of twelve[5] children, one of six to survive infancy. Perosi hailed from an extremely musical and religious family. For nearly 200 years before him, all of Lorenzo's ancestors were church musicians. His father was Giuseppe Perosi (1849–1908), Maestro di Cappella (Choir Director) of Tortona Cathedral and one of Italy's most prominent church musicians. Giuseppe was the first teacher of Lorenzo as well as his other two sons, Carlo (who became a priest and then a cardinal) and Marziano (who was Maestro di Cappella at the Duomo of Milan from 1930 to 1949). In Milan Lorenzo studied with respected professor Michele Saladino of the Milan Conservatory. Even when he was not enrolled at the Conservatory, Perosi kept up a correspondence course with Saladino.

In 1890, 18 years old and still a student, Perosi obtained his first professional post: organist and "teacher of the piano novices" at the Abbey of Montecassino. He received his diploma from the Milan Conservatory in 1892, following which he spent an influential year of study with Franz Xaver Haberl in Regensburg, at the Kirchenmusikschule that Haberl had founded in 1874. A noted musician and musicologist, Haberl was the pioneering editor of the complete works of Palestrina and Lassus. Perosi's development was such that Haberl offered him a cattedra ("chair," or permanent teaching position) in the Kirchenmusikschule. The homesick Perosi politely declined, in favour of a post as teacher and director of sacred music at Imola. As Perosi himself explained, he "desired and prayed at length to the Lord to be able to do something for the music of God in Italy."[6] Perosi served in Imola from November 1892, to August 1894.

In 1894 Perosi went to Solesmes Abbey to study with the Gregorianists Dom André Mocquereau and Dom Joseph Pothier. The Renaissance polyphony he learned from Haberl, and the Gregorian chant he studied in Solesmes were the two pillars upon which the entire oeuvre of Perosi rested.

Years in Venice
From Imola, Perosi obtained a more important post, that of Maestro of the Cappella Marciana at San Marco's Basilica in Venice. This Venetian appointment resulted from the deep friendship between Perosi and Cardinal Giuseppe Sarto, then Patriarca di Venezia (Patriarch of Venice) but soon to be Pope Pius X (and still later Pope Saint Pius X). Sarto was a profound music-lover who was disturbed by the roughly hundred years (c.1800-1900) that Gregorian Chant was absent from the Church. A more operatic, entertaining style of music prevailed. Thus, Perosi found in Sarto not only a friend and kindred spirit, but also a staunch sponsor.

Perosi's Venetian appointment (1894) unleashed a torrent of music that lasted at least until 1907. He continued to compose prolifically until his death, but this 13-year period produced some of his most substantial work.

In 1895, Perosi became a priest, having been ordained by his good friend Cardinal Patriarch Sarto (the later Saint Pius X) himself. It should also be mentioned that St. Luigi Orione was, like Perosi, born in Tortona in 1872. The three men — Orione, Perosi, and Sarto — were all dear friends and mutual inspirers.

Don Perosi was inspired by the later Pope Pius X also to infuse priestly sanctity into the music, and Perosi daily offered Mass and spent many hours in prayer.

Vatican appointment
In 1898, Cardinal Sarto used his influence with Pope Leo XIII to get Perosi the post of Maestro Perpetuo della Cappella Sistina, or Perpetual Director of the Sistine Choir, in Rome. Five years later, Sarto was elected Pope Pius X. Just months after his coronation, he released a Motu Proprio "Tra le sollecitudini" on sacred music (of which Perosi was a co-writer). The 1903 Motu Proprio was a papal declaration that Gregorian Chant must be immediately reinstated in all Catholic churches around the world.
Don Perosi with his scuola di canto (singschool, c. 1905).

Perosi remained Maestro Perpetuo until his death over 50 years later, in spite of interruptions in his directorship. After 1907, Perosi began to suffer more intensely from psychological and neurological problems, caused by his problematic (probably breach) birth.[7] These afflictions reached their apex in 1922; many declared him "incurable." The composer did spend many months in comparative seclusion; some sources suggest he was briefly institutionalized,[3] although recent scholarship suggests that this was not the case, and that he did not change residence in 1922.[8] In fact, the very next year, 1923, Perosi had fully resumed his administrative and compositional activity; in the last decade of his life, he also maintained a busy conducting schedule.[9]
Compositions

According to biographer Graziella Merlatti, Perosi was the most prolific composer of sacred music of the 20th century.[10] According to musicologist Arturo Sacchetti's estimate, Perosi composed 3,000-4,000 works.[11] A great many still await publication; some have not yet been located. All of the sources mentioned in the bibliography agree that Perosi was the most influential composer of the Cecilian Movement.

Despite the relative obscurity of his name today, Perosi was a prominent member of the Giovane Scuola, of which the most important Verismo composers or Veristi (Puccini, Mascagni, Leoncavallo, Giordano, and Cilea) were all considered members. An entire chapter is dedicated to Perosi in Romain Rolland's Musiciens d’Aujourd’hui (1899). Perosi was deeply admired not only by Rolland and by the above-named Veristi, but also by Boito, Toscanini, and many others. Caruso sang his music, as did Sammarco, Tagliabue, Gigli, and other great singers from that era, and also quite a few in modern times, such as Fiorenza Cossotto, Mirella Freni, Renato Capecchi, and fellow Tortonese Giuseppe Campora. His French admirers included Debussy, Massenet, Guilmant and d'Indy, all of whom were impressed by the 1899 French Première of La Risurrezione di Cristo.[12] Unlike the other members of the Giovane Scuola, Perosi was significantly influenced by pre-Classical repertoire. Romain Rolland reports that Perosi said: "Great artists formerly were more eclectic than ourselves, and less fettered by their nationalities.... We must do as they did. We must try to recreate an art in which the arts of all countries and all times are blended." [13]

In his day, Perosi was best known for his oratorios, large-scale works for chorus, soloists, and orchestra based on Latin texts. While the works can seem slow-paced today, at the time they were quite novel not only for their fusion of Renaissance polyphony, Gregorian chant, and lush, Verismo melodies and orchestrations, but also for Perosi's deep-seated faith in the words that he had set. The oratorio as a genre had been in decline in the preceding centuries, and Perosi's contributions to the canon brought him brief but significant international acclaim.[3]

In addition to the oratorios and masses for which he is best known, Perosi also wrote secular music — symphonic poems, chamber music, concertos, etc. In his youth, he also wrote pieces for organ.

Giacomo Puccini is quoted as saying that "There's more music in Perosi's head than in mine and Mascagni's put together." [14]

[jowcol]

Arrigo Pedrollo: I Castelli di Remeo e Giuletta
Symphonic Legend for Piano and Orchestra (1959)


From the collection of Karl Miller


I Castelli di Remeo e Giuletta: Symphonic Legend for Piano and Orchestra (1959)
V. Pertile, piano
Trieste Philharmonic Orchestra/Bruno Bobo

http://www.mediafire.com/download/c3chmfamzladl31/podrollo.zip

Wikipedia Bio:

Arrigo Pedrollo (born Montebello Vicentino, 5 December 1878 - died Vicenza, 23 December 1964) was an Italian composer. His father was his first teacher; at thirteen he went to study at the Milan Conservatory. Among his teachers there was Gaetano Coronaro. At his graduation in 1900, Pedrollo's only symphony was performed, under the direction of Arturo Toscanini. He chose instead to compose operas in a Wagnerian cast; in 1908 his first, Terra promessa, was premiered in Cremona. His second, Juana, won the 1949 Sonzogno Prize. Between 1920 and 1936 six more of his operas saw their premieres. In 1922 he became the head of the Conservatory in Vincenza. In 1930 he returned to Milan to teach composition at the Conservatory there; he held that post until 1941. Pedrollo retired at eighty-five, five years before his death.

[jowcol]

Nino Rota: Concerto Soiree for Piano and Orchestra


From the collection of Karl Miller


http://www.mediafire.com/download/1fnr3wchyr1qc47/Rota.zip

Concerto Soiree for Piano and Orchestra
Composer, Piano
Milan RAI/Bruno Maderna


Details from Nino Rota Catalog:

Prima Esecuzione / First Performed:Vicenza, Teatro Olimpico, 23 Settembre / 23 September 1962

Direttore / Conductor:Bruno Maderna

Contenuto / Content:

    Valzer Fantasia - tempo di valzer tranquillo, Poco piu brillante ma tranquillo
    Molto piu calmo, Tempo 1
    Ballo Figurato - Allegretto calmo con spirito
    Romanza - Andante malinconico, Poco piu mosso, Veloce, Calmo
    Quadriglia - Allegro con spirito, Poco meno con spirito, Tempo 1, Un poco trattenuto
    Can Can - Animatissimo, Meno mosso, Piu mosso quasi presto

Strumentazione / Instrumentation:

    1e2 flauto (ottavino), 1e2 oboe (corno inglese), 1e2 clarineti in si bem, 1e2 fagotto, 1e2 corno in fa, 1e2 tromba in do, trombone, timpani, pianoforte, 1e2 violini, viole, violoncelli, contrabassi

Durata / Duration:00:22:00

See also:



Bio from www.ninorota.com

Composer Nino Rota (1911 – 1979) was born into a family of musicians in Milan. He was initially a student of Giacomo Orefice and Ildebrando Pizzetti until he moved to Rome while still a child and completed his studies under Alfredo Casella at the Conservatory of Santa Cecilia in 1929. In the meantime, he became an enfant prodige, famous as both a composer and a conductor. His first oratorio, L'infanzia di San Giovanni Battista, was performed in Milan and Paris as early as 1923, and his lyrical comedy, Il Principe Porcaro, was composed in 1926.

Education
From 1930 to 1932, Rota lived in the U.S.A. He won a scholarship to the Curtis Institute of Philadelphia and studied composition under Rosario Scalero and orchestra under Fritz Reiner.

Rota returned to Italy and earned a degree in literature from the University of Milan. In 1937, he began a teaching career that led to the directorship of the Bari Conservatory, a title he held from 1950 until his death in 1979.
Operas, Ballets and Orchestral Compositions

After his ‘childhood’ compositions, Rota wrote the following operas: Ariodante (Parma 1942), Torquemada (1943), Il cappello di paglia di Firenze (Palermo 1955), I due timidi (RAI 1950, London 1953), La notte di un neurastenico (Premio Italia 1959, La Scala 1960), Lo scoiattolo in gamba (Venezia 1959), Aladino e la lampada magica (Naples 1968), La visita meravigliosa (Palermo 1970), and Napoli milionaria (Spoleto Festival 1977).

He also wrote the following ballets: La rappresentazione di Adamo ed Eva (Perugia 1957), La Strada (La Scala 1965), Aci e Galatea (Rome 1971), Le Molière Imaginaire (Paris and Brussels 1976) and Amor di poeta (Brussels 1978) for Maurice Bejart.

In addition, countless of Rota works are performed worldwide.

Film Scores
Rota's work in film dates back to the early forties and his filmography includes virtually all of the noted directors of his time. The first of these is Federico Fellini. Rota wrote the scores for all of Fellini's films from The White Sheik in 1952 to The Orchestra Rehearsal in 1979.

Rota also collaborated with other directors, including Renato Castellani, Luchino Visconti, Franco Zeffirelli, Mario Monicelli, Francis Ford Coppola (he received the Oscar for Best Original Score for The Godfather II), King Vidor, René Clément, Edward Dmytrik and Eduardo de Filippo. Additionally, he composed the music for many theatre productions by Visconti, Zefirelli and de Filippo.