Giorgio Federico Ghedini - Architetture; Contrappunti (Francesco La Vecchia)

Information

Composer: Giorgio Federico Ghedini

• Architetture, Concerto for orchestra
• Contrappunti
• Marinaresca e baccanale

Paolo Chiavacci, violin

Riccardo Savinelli, viola

Giuseppe Scaglione, cello

Orchestra Sinfonica di Roma

Francesco La Vecchia, conductor

Date: 2013

Label: Naxos

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Review

Conductor Francesco La Vecchia and the Rome Symphony Orchestra (OSR) have given us several outstanding discs with the symphonic music of twentieth century Italian composers Alfredo Casella (1883-1947), Franco Ferrara (1911-1985), and Goffredo Petrassi (1904-2003). Now they serve up another featuring three orchestral works by Giorgio Federico Ghedini (1892-1965). These are the only currently available modern day, studio recordings of them.

Ghedini studied in Italy and from 1918 through 1962 taught in Turin, Parma and finally Milan, where he became director of the local conservatory (1951-62). Beginning in the early 1900s he would also go on to write a considerable amount of music throughout his career. While his works would remain tonal, the mature ones, which include those here, show a level of originality bordering on the avant-garde of his day. Consequently they'll require repeated listening to be fully appreciated, and are well worth the effort.

The program begins with his Architetture (Architectures, 1939-40), which is also called a Concerto for Orchestra in that strings, winds, brass and percussion, including piano, take on solo roles as in Hindemith's (1895-1963) pioneering effort of 1925. Over and above that it's a series of seven abstract tonal constructs lasting anywhere from a half to just over five minutes, which are thematically and structurally linked.

The first [T-1] finds the strings annunciating an insistent riff [00:01] with piano decorations, and segues into the next [T-2] featuring a chortling bassoon reminiscent of "Uranus" in Holst's (1874-1934) The Planets (1914-6). Then it's back to the strings for a swaying moto perpetuo [T-3], whose last measures are reinforced with percussion and brass.

These bridge into a tragic episode [T-4] having "Uranus-like" brass fanfares and wailing strings. The latter transition into the work's longest section, which is a mysterious lament [T-5] for weeping violins and winds along with a sobbing piano.

After a respectful pause we get a minischerzo [T-6] recalling Hindemith's Concert Music for Brass and Strings (1930), and presaging the more animated moments in Bernard Herrmann's (1911-1975) film scores (see 31 March 2011). It ends with a couple of whacks on the timpani, which also herald the final construct.

This is a monumental chorale [T-7] that begins in the brass and spreads throughout the orchestra. The composer ends it with a massive ambivalent chord, which may have reflected his doubts about the future of Fascist Italy. Incidentally, it was this work which finally brought him to the attention of Italian audiences when it premiered in 1941.

The next selection Contrappunti (Counterpoints, 1960-1) is in essence a three-movement concerto for string trio and orchestra. The counterpoint designation should not be understood in the sense of a J.S. Bach (1685-1750) fugue where there's a horizontally structured flow of melodic subjects above and below one another. On the contrary, Ghedini takes a more disjoined vertical approach reminiscent of Beethoven (1770-1827), allowing different ideas to run their separate courses with unifying juncture points.

The opening movement [T-8] begins with the trio supported by the other strings playing a frowning Beethoven (FB) idea [00:00]. An elaboration with some agitated figurations follows, and then FB is transformed into a sinuous lyrical melody (SL) [01:50] that could almost be out of some late romantic English work for string orchestra.

A highly sophisticated development starting with a repeated riff reminiscent of Carl Nielsen (1865-1931) follows [02:43]. This fills out the movement, and ends it peacefully with disembodied hints of FB that set the tone for the next one.

An andante misterioso [T-9], it certainly lives up to its name. Here a brooding cello opening [00:00] slowly gathers strength and gives way to some agitated tutti passages [02:57]. They're succeeded by a chromatically spooky, otherwordly episode with haunting woodwind and string solos. These slowly fade away, concluding the movement indecisively.

It's quickly followed by the final allegro [T-10], which opens dynamically [00:00] and presents us with a capricious scurrying theme [00:35]. This waxes and wanes in a variety of guises with a repetitious insistence anticipating twentieth century minimalism. The overall effect is one of a deconstructed fugue that concludes with an allusion to SL [08:04], and a powerful FB-based coda [08:34] ending the work tragically. The consummate skill with which Ghedini develops his thematic material, and juggles same between trio and tutti is remarkable.

The disc closes with the two-part conjoined Marinaresca e baccanale (Sea Piece and Bacchanal) from 1933. This is an entirely different kettle of fish from the more familiar seascapes of Debussy (1862-1918), Glazunov (1865-1936), Bridge (1879-1941) and Sibelius (1865-1957) that preceded it.

The first section [T-11] begins with low string groundswells and woodwind avian cries [00:00] presaging the tempest to come. The "medicane" that follows surrounds a peaceful eye of the storm episode [06:48-09:11], and launches without a break into the bacchanal finale [T-12].

Dancelike with brief fragmented motifs set to rhythms reminiscent of Stravinsky (1882-1971), the subject material is “minimalistically” persistent. Then the piece ends excitedly with percussion-accented flourishes for brass, and finally full orchestra.

As on their previous Mancinelli release for Naxos (see 20 June 2013) Maestro La Vecchia and the OSR give us splendid performances of these undeservedly neglected scores, the only reservation being a couple of shaky horn passages in Architetture. Their riveting account of Contrappunti with outstanding solo work from violinist Paolo Chiavacci, violist Riccardo Savinelli and cellist Giuseppe Scaglione, arguably make it one of the best symphonic pieces to come out of Italy during the middle of the twentieth century.

Architetture as well as Contrappunti were done in the OSR studios, and Marinaresca... the Via Conciliazione Auditorium, Rome. All three recordings project consistent, convincing soundstages made all the richer by warm reverberant surroundings. The instrumental timbre is musical with sparklingly highs and low clean bass. The many soloists and groups of instruments that pop up in the first two selections are ideally balanced against the rest of the orchestra. It seems the Italian engineers got everything right this time around!

— Bob McQuiston

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Giorgio Federico Ghedini (11 July 1892 – 25 March 1965) was an Italian composer. Born in Cuneo, he studied in Turin and graduated from the Bologna Conservatory under Marco Enrico Bossi in 1911. After a brief conducting career, he dedicated himself to teaching composition at conservatories in Turin, Parma and Milan. His notable students include Marcello and Claudio Abbado, Luciano Berio and Guido Cantelli. A passionate admirer of early music, Ghedini transcribed works by Frescobaldi, Monteverdi, and the Gabrielis. His most famous composition is the Concerto dell'Albatro, among many chamber and vocal works.

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Francesco La Vecchia (born 10 September 1954 in Rome) is an Italian conductor. He studied with his grandfather, began performing at age nine, and later led the Boccherini Quartet. At 23, he founded the Arts Academy of Rome and started his international recording career at 27. In 2002, he became artistic director and resident conductor of the Orchestra Sinfonica di Roma, leading it to international acclaim with tours across major global cities. La Vecchia has conducted in renowned venues such as Carnegie Hall and the Kennedy Center. He has recorded extensively, particularly for Naxos, Brilliant Classics and Sony.

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