To my surprise the Italian magazine "Amadeus" has just released (March 2015 issue) a Cd containing Giovanni Sgambati's Symphony n.2 (in the Franceso Attardi's edition-revision) plus the Piano Concerto (Martina Filjak,pianist, Orchestra Sinfonica "Giuseppe Verdi", Milano, conductor Francesco Attardi).
It is a live recording made in Milano , last Autumn (I knew about the concert, I didn.'t expect the recording).
The Second Symphony (four movements, timing 37' 46'') appears not less attractive and tuneful than the first; maybe more assured. It got just two performances (Rome and Koeln) in Sgambati's life time and was resurrected only in 2014 in Rome (in another realisation which Naxos apparently has recorded).
Here's a link to Amadeus' home page where you can hear an excerpt from the CD:
http://www.amadeusonline.net/rivista (http://www.amadeusonline.net/rivista)
thanks for the link Alan
Tom :)
The Symphony sounds like a vibrant piece of work, and a worthy successor to the First. Don't I remember that Naxos plan to bring it out soon?
You do indeed.
Sgambati 2 is a most attractive, vibrant work in a very personal idiom combining Lisztian bravado and Wagnerian horn-writing with an open-hearted Italian warmth of utterance and generosity of spirit. For those with no access to Amadeus magazine, it'll be worth keeping an eye on the Naxos release schedule for the recording conducted by LaVecchia. Thanks, meanwhile, to alberto for drawing our attention to this performance of a truly magnificent work.
I'd say that Symphony No.2 is a more concentrated, mature piece than No.1. Very interesting that it was written at roughly the same time as Brahms' 3rd. I can hardly think of two more contrasting outworkings of the symphonic idea. Sgambati stands with the New German-influenced colourists and yet incorporates their sonorities into a traditional (scherzo*-second) four-movement scheme. I honestly can't think of anything like it - probably because there was just no solid tradition of Italian symphonism. Sgambati was, as it were, composing into a void, filling it with all the sounds he picked up from Liszt and Wagner. It's a wonderful synthesis.
To whom would this symphony appeal? To fans of, say, Dvorak or Tchaikovsky, definitely - although he's not like either. But he does write melodies and clothes them in such wonderful orchestration. And I'm sure I heard passages that prefigure Respighi. No, honestly! See if you can find them when you get to hear this magnificent score. Clue: they're in the second movement!
*not that the second movement is titled scherzo.
See also if you can spot what sounds awfully like the arrival of Siegfried in the life-affirming finale...
Sgambati's Second is a real find, and it gets a vibrant, enthusiastic performance from Attardi and his Milanese orchestra. Alan has characterised the work very well: this is swaggering, positive music, largely free of introspection and none the worse for that. Throughout Sgambati is generous with attractive and appropriate melody and his orchestration is brilliantly inventive.
The opening Andante sostenuto – Agitato movement is marginally the most successful in my book. It has a symphonic sweep and propulsive forward momentum to it which is immediately attractive and yet it rewards repeated listening. There is a terrific brass-led rhythmic idea, repeated a couple of times, which is a very clear pre-echo of one of Kalinnikov's symphonies and, although that's clearly a co-incidence, it does give an idea of how transparently colourful Sgambati's orchestration is. The fast second movement (Allegro vivace assai) is most Resphigi-like in its colouring (yes, Alan!), but again I was reminded of the later Russian nationalists (Glazunov this time!) in its turn of phrase. The pastoral/dance not-very-slow movement (Andante con moto) could, for me at least, have had a little more depth to it to counter-balance the high spirits so evident elsewhere in the work, but that may be down to Attardi's interpretation, and we'll have to wait for the Naxos recording to see if there is more to it than I heard. The final Allegro returns to the world of the first movement with music full of confident vigour. If I have a small criticism it is that Sgambati is melodically at his weakest here: the themes seem to be chasing their tales, like those in some of Raff's flimsier finales. That said, it's an appropriately upbeat close to a very upbeat work.
Playing the "sounds like" game can be a dangerous one, I know, but anyone who enjoys the rich, full orchestration and melodiousness of Stanford, say, will be very at home here. Also, equally surprisingly, there are very clear similarities with the rhythmic panache of Kalinnikov and Glazunov. Of course these composers are both geographically distant and of a later generation, which only underlines that Sgambati is a compositional one off, composing major orchestral works in an Italy still dominated by opera. If you can't get hold of this performance, don't miss out on hearing this hugely enjoyable work, and make sure you buy the Naxos recording when it comes out.
With the four Jadassohn symphonies and now Sgambati 2, 2015 has begun rather well, symphonically speaking.
A few more plays have raised this symphony even higher in my estimation. The finale I find especially exhilarating and memorable - and the orchestration is extremely exciting.
I remember having a discussion with the late Dr Alan Krueck about Sgambati and Martucci some years ago. His opinion was that Sgambati was the more important figure. I remember at the time wondering if that was really the case. I am now more than ever convinced that Dr Krueck was correct. He would have loved Symphony No.2.
Just recently I read somewhere that the "Italian program" which sadly was the last concert ever conducted by Gustav Mahler in his life (in New York) should have comprised (alongside Sinigaglia, Martucci , Bossi and the world first performance of Busoni's Berceuse Elegiaque) Sgambati's First Symphony , but the parts didn't arrive in time and Mahler deputized with Mendelssohn's Italian Symphony. That very program (with the Mendelssohn) in the Mahler centennial year 2011 was conducted by Muti (in New York) and by Noseda (in various Israeli towns).
What a shame neither Muti nor Noseda conducted the Sgambati instead. He could do with their advocacy!
Back to Sgambati 2. Strange how often I think I'm listening to Elgar - especially in the finale...
Here's Roz Trübger's take on the symphony:
About the Symphony no 2. The symphony opens in the key of Eb minor with a slow introduction that could suggest a choir singing the words lux perpetua. This is followed by the first movement proper, marked Agitato in which major and minor 3rds vie for dominance. The Second movement is a Scherzo with delicate, simple themes that seems to derive their inspiration from Italian folk melody but which become imbued with a twisted character as the major and minor 3rds battle it out again. The Third movement also has folk-like qualities but now the atmosphere is introspective with the main theme entrusted to the throaty tones of the Cor Anglais. The 4th movement begins in typical Finale manner full of light-hearted energy but, a few bars into what may be described as the development section, the music seems to break down and then set off again in an entirely different, exciting direction. It sounds as though Sgambati is filled suddenly with an unstoppable creative energy that rushes forward to a fanfare conclusion The whole work is characterised by chromaticism, ironic dissonances, memorable melodies, thematic development and a preference for deep, rich textures.
http://www.trubcher.com/Giovanni_Sgambati_s/93.htm (http://www.trubcher.com/Giovanni_Sgambati_s/93.htm)
I'm getting more and more interested in this CD, but I do not know how to get it from outside Italy. Has anyone here tried just writing to them (e-mail)?
Wheesht, yes, I did, and they were very helpful, replying in just a few minutes with details of how to order this individual issue/CD. Mine is now on its way! Use news@amadeusonline.net to contact them.
Thank you very much, Savoir_Faire, I'll try that.
Has anyone else got hold of this recording yet? I'm just playing the finale - and what a magnificent piece it is. The whole thing has the stamp of a masterpiece.
Sometimes the records produced by, and for, the Italian magazine Amadeus have begun, months later, a new life under normal distributional channels (under various labels).
That has concerned, mainly, very sung composers. I have no idea if that could happen to the Sgambati Cd.
Alan,
Yes, I received the disc very promptly this week after contacting Amadeus magazine directly. You are absolutely right, the Symphony is a real find, and both it and the concerto (also available in a different performance on an earlier ASV CD) are IMHO superbly played and recorded. My thanks to you all for the recommendation!
On a slight tangent, I enjoyed reading the magazine, and the very interesting biographical article on Sgambati spurred me on to purchasing his Requiem (on Carus).
If you don't know his string quartet e.g. I recommend that as well...
Thanks Savoir-faire for your advice how to order direct from the Amadeus magazine site using the email address you provided. I have just made my payment to them and eagerly look forward to receiving the magazine/CD shortly.
My copy of the magazine with the CD has now arrived - second class p&p cost more than the magazine itself, but it did not take long for it to arrive. I have listened to the Symphony just once so far, but it is already clear to me that it was absolutely worth getting my hands on this!
Any more opinions on this magnificent and important symphony?
I am still waiting for my copy to arrive. As soon as it arrives, I will of course listen to it straight away and then post my opinion of the symphony on UC.
Thanks, Dennis.
A very pleasant surprise this morning, the Amadeus magazine and Sgambati CD finally arrived this morning(originally ordered 26 March). I am eagerly looking forward to listening to it later today. As soon as I am familiar with the work, I will report back to UC.
For the past week or so I have been listening to Sgambati's Symphony no 2 almost daily, indeed on a couple of occasions I have listened to the symphony twice through without a break. That should already make clear my impression of this symphony! I too think this symphony is marvellous and a real find! For me personally, this is THE symphony of 2015 so far! I was absolutely taken with it from the very first hearing. I concur fully with the comments already made in this thread. I too hear a bit of Liszt and some Wagner but mostly I hear the wonderful Italianate, joyous voice of Sgambati. I really like all 4 movements but would qualify this statement with the following comments. My absolute favourite movement is the scherzo, movement number 2. Three times in this movement is heard the exhilarating theme, first introduced at 3:55 and 8:29 in the opening movement. But in the scherzo this theme is given its full expression: a joyous Italian dance-like interpretation sweeping the listener along with its sheer joie de vivre. Needless to say, I have also listened to this movement as a stand-alone movement; I am that fond of it!!! The opening movement does indeed have a thrilling forward impulsion to it and finishes, it seems, almost too quickly. The third movement Andante con moto is pastoral/bucolic in feel and is quite beautiful in its simplicity. If I am being a little critical, I find the first half of the concluding movement, for me at least, slightly (but only very slightly) lacking in the inspiration of the other three movements. But from 4:45 onwards, starting with some wonderful writing for flute, this movement really takes off and moves all too swiftly to an exciting conclusion. A marvellous, marvellous symphony! If I had to pick out just one highly attractive feature of Sgambati's writing, I would not hesitate to choose his orchestral writing skills and the magical orchestral colours he imparts to his music, particularly in Symphony no 2! I was so swept away by his second symphony that I had to get out Symphony no 1 again and give it another listen or two. I am already revising my opinion of his first symphony but I have to say that I still prefer by far Symphony no 2! Thank you UC for discovering this symphony!!!
Alan, would you please kindly correct my spelling of Sgambati in my previous post. Don't know where I got a double "tt" from! Thank you.
Ddone! ;)
Oh, and thanks, Dennis, for that comprehensive assessment of Sgambati 2. Let's hope that the Naxos recording appears soon so that the music can reach a wider public.
The Orchestra Sinfonica di Roma (Rome Symphony) that Naxos used for their 19th/20th Century Italian Classics Series folded last year. So do we know if they every recorded the Sgambati 2nd or was it more of a wish list item? Their Italian repertoire over the last several seasons they were in existence has been pretty much covered in the Naxos series. It would be interesting to know whats left in the can (as they used to say).
rosflute reported back in January 2014:
QuoteI am told that it already has been recorded and is awaiting the release date from Naxos.
I gather that the Orchestra Sinfonica di Roma performed the Sgambati Second also in their (sadly last) public season.
I see now that Naxos has released a Malipiero Cd of juvenilia (I would say/suppose between late Romantism and Impressionism), like the "Sinfonia degli Eroi" with the Grecian Tessaloniki Orchestra (already not very impressive in a Pizzetti Cd).
I have that Malipiero CD on order. I'll start a new thread when it arrives.
Just as an adjunct to the ordering process. I have just successfully obtained the magazine and 'CD' as a download from their web-site for a modest 7 euros.
Stefano on their e-mail service was extremely prompt in his replies and helpfulness in helping me 'make this happen` (the web-site has an English option along with several other language choices) and uses Paypal or credit cards so it was all very easy (even for me!).
Given Alan, Dennis' et al warm comments, I now hope to thoroughly enjoy this in the very near future.
Once again, many thanks to members of the UC forum for letting us know this lovely music even exists, never mind being so readily available).
Best wishes
Richard
Best wishes
Richard
Thanks Richard, I have successfully downloaded the symphony and am now enjoying the music. The process was as easy as you said.
David
Thanks as well, Richard.
At first I had some difficulties locating the relevant site where the digital edition can be purchased,
since we are in April now with a new current volume - so for all others interested, this is the link for all volumes:
http://amadeus.ezpress.it/arretrati.php?id_man=123456809&codicerivista=AMA (http://amadeus.ezpress.it/arretrati.php?id_man=123456809&codicerivista=AMA)
and here for the topic of our thread:
http://www.ezpress.it/riviste.html?page=shop.product_details&flypage=flypage.tpl&product_id=3299 (http://www.ezpress.it/riviste.html?page=shop.product_details&flypage=flypage.tpl&product_id=3299)
As I haven't purchased this volume yet, one further question - what is the bitrate of the mp3 files I'll get?
Best,
mjkF
Bitrate appears to be 192kbps - but you get an impressive piano concerto as well as the symphony.
The recording's not the highest of hi-fi anyway - perfectly adequate, but I doubt very much whether a higher bitrate would make a lot of difference.
The Rome Orchestra did indeed fold shortly after the first performance of the Sinfonia no. 2 by Sgambati - so I don't think the Naxos recording will be forthcoming. However, other exciting plans for the work are in the pipeline, and I will update when everything is 'cut and dried'.
Sad news that the planned Naxos recording won't be appearing, but great news that there are other plans for this magnificent piece. Do keep us informed as and when you are able...
I just heard the beginning of the symphony, but I'm confused. It sure sounds like it's in E-flat minor, not E-flat Major. :-\
See Alan Howe's quote of Roz Trübcher about this, earlier:
"The symphony opens in the key of Eb minor with a slow introduction that could suggest a choir singing the words lux perpetua. This is followed by the first movement proper, marked Agitato in which major and minor 3rds vie for dominance".
So, E-flat minor introduction, E-flat major/minor agitato movement proper. If the agitato is more major than minor, anyway (?...), that would explain the "major" of the work's title :) since slow introductions to fast movements are usually irrelevant to their keys (... well... erm... usually.)
regarding the question of the tonality:
This symphony is indeed generally referred to as being in E flat minor, although overall only a small proportion of the work is in the minor key [for which orchestral players are grateful!] and I have never referred to it as being in E flat Major.
The structure of the work is based on a 'fight' between the major 3rd and the minor 3rd and so, in 2006 when I published this work for the first time, it seemed appropriate to name it with the tonal centre but WITHOUT the addition of the defining words 'major' or 'minor'.