简介:
John Neschling – Respighi: Orchestral Works – 约翰·内斯克林 – Respighi: 管弦乐作品
曲目:
CD1
01. Fontane di Roma, P. 106: I. La fontana di Valle Giulia all\’alba
02. Fontane di Roma, P. 106: II. La fontana del Tritone al mattino
03. Fontane di Roma, P. 106: III. La fontana di Trevi al meriggio
04. Fontane di Roma, P. 106: IV. La fontana di Villa Medici al tramonto
05. Pini di Roma, P. 141: I. I pini di Villa Borghese
06. Pini di Roma, P. 141: II. I pini presso una catacomba
07. Pini di Roma, P. 141: III. I pini del Gianicolo
08. Pini di Roma, P. 141: IV. I pini della via Appia
09. Feste romane, P. 157: I. Circenses
10. Feste romane, P. 157: II. Giubilio
11. Feste romane, P. 157: III. L\’Ottobrata
12. Feste romane, P. 157: IV. La befana
CD2
01. Impressioni brasiliane, P. 153: I. Notte tropicale
02. Impressioni brasiliane, P. 153: II. Butantan
03. Impressioni brasiliane, P. 153: III. Canzona e danza
04. La Boutique fantasque, P. 120 (After Rossini): I. Overture
05. La Boutique fantasque, P. 120 (After Rossini): II. Tarantella
06. La Boutique fantasque, P. 120 (After Rossini): III. Mazurka
07. La Boutique fantasque, P. 120 (After Rossini): IV. Danse cosaque
08. La Boutique fantasque, P. 120 (After Rossini): V. Can–Can
09. La Boutique fantasque, P. 120 (After Rossini): VI. Valse lente
10. La Boutique fantasque, P. 120 (After Rossini): VII. Nocturne
11. La Boutique fantasque, P. 120 (After Rossini): VIII. Galop
CD3
01. Metamorphoseon, P. 169: Tema. Andante moderato
02. Metamorphoseon, P. 169: Modus 1, Moderato non troppo
03. Metamorphoseon, P. 169: Modus 2, Allegretto
04. Metamorphoseon, P. 169: Modus 3, Lento
05. Metamorphoseon, P. 169: Modus 4, Lento espressivo
06. Metamorphoseon, P. 169: Modus 5, Allegro vivace
07. Metamorphoseon, P. 169: Modus 6, Vivo
08. Metamorphoseon, P. 169: Modus 7, Cadenza
09. Metamorphoseon, P. 169: Modus 8, Andantino mosso
10. Metamorphoseon, P. 169: Modus 9, Lento non troppo
11. Metamorphoseon, P. 169: Modus 10, Molto allegro
12. Metamorphoseon, P. 169: Modus 11, Molto allegro
13. Metamorphoseon, P. 169: Modus 12, Vivo non troppo
14. Ballata delle gnomidi, P. 124
15. Belkis, Regina di Saba, P. 177: I. Il sogno di Salomone
16. Belkis, Regina di Saba, P. 177: II. La danza di Belkis all\’aurora
17. Belkis, Regina di Saba, P. 177: III. Danza guerresca
18. Belkis, Regina di Saba, P. 177: IV. Danza orgiastica
CD4
01. Antiche danze et arie per liuto, Suite No. 1, P. 109: I. Allegro energico
02. Antiche danze et arie per liuto, Suite No. 1, P. 109: II. Andante sostenuto
03. Antiche danze et arie per liuto, Suite No. 1, P. 109: III. Allegro impetuoso
04. Belfagor, P. 140
CD5
01. Trittico botticelliano, P. 151: I. La primavera
02. Trittico botticelliano, P. 151: II. L\’adorazione dei Magi
03. Trittico botticelliano, P. 151: III. La nascita di Venere
04. Il tramonto, P. 101
05. Vetrate di chiesa, P. 150: I. La fuga in Egitto
06. Vetrate di chiesa, P. 150: II. San Michele Arcangelo
07. Vetrate di chiesa, P. 150: III. Il mattutino di Santa Chiara
08. Vetrate di chiesa, P. 150: IV. San Gregorio Magno
CD6
01. Prelude & Fugue in D Major, P. 158 (After J.S. Bach\’s BWV 532): I. Prelude
02. Prelude & Fugue in D Major, P. 158 (After J.S. Bach\’s BWV 532): II. Fugue
03. Passacaglia & Fugue in C Minor, P. 159 (After J.S. Bach\’s BWV 582): I. Passacaglia
04. Passacaglia & Fugue in C Minor, P. 159 (After J.S. Bach\’s BWV 582): II. Fugue
05. 3 Corali, P. 167: No. 1, Lento assai (After J.S. Bach\’s BWV 659)
06. 3 Corali, P. 167: No. 2, Andante con moto e scherzando (After J.S. Bach\’s BWV 648)
07. 3 Corali, P. 167: No. 3, Andante (After J.S. Bach\’s BWV 645)
08. 5 Etude-tableaux, P. 160 (After Rachmaninoff): No. 1, La mer et les mouettes
09. 5 Etude-tableaux, P. 160 (After Rachmaninoff): No. 2, La foire
10. 5 Etude-tableaux, P. 160 (After Rachmaninoff): No. 3, Marche funèbre
11. 5 Etude-tableaux, P. 160 (After Rachmaninoff): No. 4, Le chaperon rouge et le loup
12. 5 Etude-tableaux, P. 160 (After Rachmaninoff): No. 5, Marche
CD7
01. Gli uccelli, P. 154: I. Preludio
02. Gli uccelli, P. 154: II. La colomba
03. Gli uccelli, P. 154: III. La gallina
04. Gli uccelli, P. 154: IV. L\’usignuolo
05. Gli uccelli, P. 154: V. Il cucù
06. Antiche danze et arie per liuto, Suite No. 1, P. 109: I. Balletto detto “Il Conte Orlando”
07. Antiche danze et arie per liuto, Suite No. 1, P. 109: II. Gagliarda
08. Antiche danze et arie per liuto, Suite No. 1, P. 109: III. Villanella
09. Antiche danze et arie per liuto, Suite No. 1, P. 109: IV. Passo mezzo e Mascherada
10. Antiche danze et arie per liuto, Suite No. 2, P. 138: I. Laura soave
11. Antiche danze et arie per liuto, Suite No. 2, P. 138: II. Danza rustica
12. Antiche danze et arie per liuto, Suite No. 2, P. 138: III. Campanæ parisienses
13. Antiche danze et arie per liuto, Suite No. 2, P. 138: IV. Bergamasca
14. Antiche danze et arie per liuto, Suite No. 3, P. 172: I. Italiana
15. Antiche danze et arie per liuto, Suite No. 3, P. 172: II. Arie di corte
16. Antiche danze et arie per liuto, Suite No. 3, P. 172: III. Siciliana
17. Antiche danze et arie per liuto, Suite No. 3, P. 172: IV. Passacaglia
This 7 collection includes recordings made by Brazilian-born conductor John Neschling of the orchestral works of Ottorino Respighi, alongside Puccini the best-known Italian composer of the first half of the twentieth century. Widely praised by the press, including BBC Music Magazine, which described them as ‘the finest-ever survey of the composer’s orchestral output undertaken by a single conductor’, these recordings reveal Respighi’s extraordinary range. His transcriptions of works from the baroque period bear witness to his great musical refinement and are an example of the way in which people dared to adapt to current tastes at the beginning of the 20th century. His original compositions, whether symphonic poems, ballets or symphonic works, often call for a large orchestra, sometimes with the addition of numerous percussion instruments, piano, organ and even, in Pines of Rome, a phonograph, present a synthesis of the musical traditions of his native Italy and contemporary romantic, impressionist and neo-classical trends while remaining resolutely closed to modernist developments and atonality. Respighi’s lavish sound palette and the spirit that fills his scores were to find an echo in Hollywood film music, and John Williams considers him to be one of his most important influences.
