Not sure how many recordings this has had, but "not many" would seem a good guess. (Nazareth on Marco Polo, Neschling on BIS, La Vecchia on Brilliant Classics, Downes on Chandos, for commercial recordings?) There's a new one out this month from Robert Trevino conducting the RAI National Symphony Orchestra (https://www.naxos.com/CatalogueDetail/?id=ODE1477-2) on Ondine (63 minutes compared to 62 for La Vecchia, 60 minutes for Downes, 58 for Nazareth, 58 for Neschling...)
Seems like Trevino's doing a cycle of Respighi's Major orchestral works on Ondine. I wholeheartedly look forward to this release. This symphony though repetitive is undeservedly neglected.
Presto makes it possible to listen to the entire 3rd movement as a teaser, and having done so I have to say that it sounds really good. At nearly twenty minutes, it takes its time, but my advance scepticism was entirely proven wrong; Trevino gives a driven performance.
Having said that, judging only on the basis of that final movement I still think it's a bit too soft; the Neschling on BIS is the only recording that adequately presents the sheer brutality of this piece (and it is the only to have the organ!). The Liège Phil (which for me counts among the most underestimated orchestras around) is nothing but stellar, and the recording also includes the similarly diabolical symphonic poem Belfagor (which brushes against the borders of polite subjects of conversation on this forum, but I'll give it a pass since the devil is probably the most fitting subject to be depicted with dissonance).
Where's the organ pedal part, by the way? Hurwitz used to say that he felt the version recorded by Marco Polo/Naxos has the most prominent organ part, but I'm familiar with it and also frequently listen to Downes's version on Chandos, yet I've never clearly heard the organ pedal's existence.
Also, Neschling's interpretation sounds a little rushed to me.
As to the existence of the organ pedal in the Drammatica I suggest we refer to expert Respighi commentator on this board adriano. (haven't seen any of his posts for a while). Maybe the organ pedal is "ad libitum"? I do hear frequent tam-tam smashes which ought to delight Hurwitz.
Finally I heard the organ part at the end of the piece in the Neschling recording, not present on Marco Polo and Chandos recordings...
Having heard the Trevino, I am confirmed in my impression that it's just too tame. David Hurwitz discusses it here (https://www.youtube.com/watch?v=XUMLXPMS8S0&t=375s), but while I can live with the verdict I don't think he really understands the piece.
Quote from: tuatara442442 on Thursday 04 June 2026, 05:14Also, Neschling's interpretation sounds a little rushed to me.
Perhaps it does. But on the other hand, speed is essential. Let's not forget that this work was born together with Italian Futurism, in which movement, technology, and violence play a big part. This is a symphony that needs to sound brutal. If it begins to sound pretty, you've missed the point - and that's why I think Neschling's version is still the one to go for (despite the recording and some other shortcomings). Extra points for the organ pedal.