Symphonie n°2 - scarlattiana

Description

Aaaah, finally a CD of rare works by great composers, unfortunately far too neglected - to such an extent that it is, for Casella's Second, the first worldwide discographic release, as incredible as it may seem. It seems that musicians from early 20th century Italy are not forgiven for writing anything other than syrupy or whiny operas (my personal opinion... here come the jeers and rotten tomatoes!). Casella is one of those who resist lyrical tyranny; Martucci - another great resistor - advised the young musician to continue his studies at the Conservatoire de Paris rather than in Italy. There he would meet classmates of the caliber of Ravel and Enescu in Fauré's class, but his influences would never be limited to the French sphere alone. Listening to his Second Symphony, one can clearly detect the Russian current, and - a rarer thing - the mark of Mahler, a composer then completely ignored in France. When Mahler met his young colleague in Paris in 1909, he was surprised to see that Casella knew his symphonies by heart; and it is thanks to the efforts of the latter that Mahler was able to present his Second Symphony in Paris on April 17, 1910: for the first and only time in the French capital, he appeared as conductor and composer. Six days later, Casella premiered his own Second at the Salle Gaveau; undoubtedly the parallel between Mahler and Casella is not difficult to establish, but one should not exaggerate the lineage. Casella unfolds here an extravagant sound carpet of orchestral textures, delirious explosions, passionate digressions, and frantic ostinatos, in a completely personal, truly Italian writing - the tarantella forming the second movement is the best example, even if these tarantellas are more reminiscent of War of the Worlds! The slow movement often embraces the lyrical forms in the Italian style, with their long phrases and chromatic sobs. The kind reader will have understood, this is a work to be discovered urgently, hoping that French orchestras will dig a little deeper into their cortex by programming it into their repertoire. Much more amiable, Scarlattiana from 1926 is a typical example of neoclassicism in the line of Respighi's "Boutique fantasque" based on themes by Rossini, or naturally Stravinsky's "Pulcinella" based on a pseudo-Pergolesi. Far from Stravinsky's parody, Casella seeks a new flavor for this two-century-old music; Scarlatti is completely transfigured, barely recognizable, especially since the composer modifies the harmonies, dissonances, intermediate voices, and adds a solo piano to the orchestral score. It is therefore not a simple orchestration, but rather a rewriting based on old materials. To be discovered as well, without delay.© Abeille Musique 2010