Notes

PROGRAM NOTES FOR THIRD SEASON, 2009-2010 CONCERTS

“…a real fusion between the music of Respighi and our maestro (Di Vittorio)”

– Potito Pedarra, Respighi family archive curator

WINTER CONCERT, FEBRUARY 13, 2010 - "Alla Respighiana: Announcing The Respighi Prize"

Overtura Respighiana (2008) – World Premiere

Salvatore Di Vittorio (1967), Palermo

Overtura Respighiana…Or…Rossiniana 2? In 2007, Salvatore Di Vittorio shared with Potito Pedarra (Respighi archive curator) the idea of composing an overture in homage to Ottorino Respighi, also as a thank you to the Respighi family heirs for their permission for the Chamber Orchestra of New York to honor the composer’s name and to promote his unpublished music.

Di Vittorio’s passion for the music of Respighi developed quite early, and without much of a struggle. He set out from the start to focus on orchestral composition, primarily interested in the program symphony (and the tone poem, as was Respighi) as well as opera.

As of today, a number of Di Vittorio’s premieres have been performed by small chamber orchestras in Italy, who have often programmed his music alongside Respighi. News reviews followed with related comments such as “a post-Mahlerian sound…and an outstanding re-orchestration of ancient Italian folk melodies…as if in the footsteps of Respighi” (Mark Greenfest, New Music Connoisseur).

Initial plans for this homage overture evolved, from a reworking of Respighi’s transcriptions based on Rossini’s piano music “Les Riens” (Rossiniana Suite and La Boutique Fantasque), to realizing a musical connection with Di Vittorio’s own Sinfonia No. 2. The Maestro had observed a strong resemblance between his nursery rhyme motif in the final movement of Sinfonia and Respighi’s ‘children’s theme’ at the beginning of Pines of Rome. If he could achieve a connection in the overture, both of his works could be performed in the same program. He now envisioned a performance of the overture with Sinfonia No. 2 after having received an invitation to perform his revised Sinfonia in Palermo.

As the newly titled Overture Respighiana developed, Mr. Pedarra grew more convinced that a season combining the music of Respighi and related works on Rossini, together with Di Vittorio’s own music on Respighi could realize “a real fusion"…of sound. The Overture and the completed Respighi Violin Concerto have clear musical links that connect them to each other as well as to Respighi’s famous work, Pines of Rome. Likewise, there is an obvious symbiosis between Sinfonia No. 2 and Overtura Respighiana.

Overtura Respighiana begins with a reflection on Pines of Rome, citing a reinvention of the principal motifs of Rossiniana and the ending of Sinfonia No. 2. Di Vittorio’s goal for the introduction was to capture Respighi’s orchestral aesthetic at the beginning of Pines of Rome, but with entirely different and original melodies and notes. This fanfare-like sound then develops into a variation of the well-known March from La Boutique Fantasque – the original source material for Di Vittorio’s originally intended plan to reconstruct the ballet with the same name. An interlude sarabande interrupts, derived from the Valse Lente movement of La Boutique, and then turns into a tarantella dance alla Rossini, with similar bells and whistles concluding with a Rossini crescendo or rocket. Di Vittorio’s original melody for this tarantella is based on the introductory motif which begins the Overture.

Overtura Respighiana fuses Rossini’s influence on Respighi, with their influence on Di Vittorio’s own orchestral musical language.

Overtura Respighiana is published by Edizioni Panastudio, Palermo

Rossiniana Suite (1925)

Gioacchino Rossini (1792-1868), Pesaro

Ottorino Respighi (1879-1936), Bologna

Ottorino Respighi’s Rossiniana Suite is one of two works in homage to Gioacchino Rossini, the other being the ballet (and its resulting Suite for orchestra) called La Boutique Fantasque.

Respighi based both of these works on piano music Rossini completed during his retirement called “Les Riens”.

Published as Rossini–Respighi, Rossiniana Suite is usually labeled as music of Rossini perhaps only orchestrated by Respighi. But this is not entirely true. Months of research into Rossini’s Les Riens, and Respighi’s Rossiniana Suite and La Boutique Fantasque proves otherwise. While some of the melodies are identical with those by Rossini, there are countless motives and full length melodies in both homage works (including Rossiniana) that do not strictly resemble those by Rossini in Les Riens. To be more specific, a good number of the melodies in Rossiniana were reinvented by Respighi through either extension or variation, for they only hint at the original motivic source material in Rossini’s Les Riens.

At times, we may actually hear more of Respighi’s influence from Giuseppe Verdi, particularly in the second movement Lamento – where one reminisces of Verdi’s beautiful and dramatic moments in opera.

Putting history aside, the overall music by Rossini and Respighi is absolutely delightful, especially with Respighi’s incredibly colorful and traditional orchestrations.

Sinfonia No. 2 “Lost Innocence” (1997; Revised 2000) – US Premiere

Salvatore Di Vittorio (1967), Palermo

Sinfonia No. 2 "Lost Innocence", per orchestra (for orchestra), was composed in 1997 and then revised in 2000.

The original 1997 version was World Premiered under a Teatro Massimo Opera production (in Palermo) in 1998, under conductor Gaetano Colajanni. The live recording of this performance is available on the Panastudio label, entitled “Le Prime Sinfonie”.

A program symphony, Sinfonia No. 2 was inspired by the tragedy of the Yugoslav civil wars in the late 1990s. As a reflection on the history of war and peace, the symphony depicts mankind's cyclical process in the search, discovery and abandonment of truth.

Despite the work's dramatic ending, the overall theme of the music suggests mankind's unrelenting hope and soul through the guide of innocence.

A "Requiem for a Child" begins the music with a prayer for the death of innocent souls. The "March, On Lost Innocence" concludes the first movement in a musical depiction of war, or evil itself. In the "Dance of Tears" a cry for redemption is made in the search for humanity. Finally, a symbolic discovery of truth is given in "Child-heart, Song of Truth", which advocates the heart and innocence of a child. As typical of history, mankind abandons the childlike philosophy and returns to evil and war in "Revelation: The Abandoned Cradle". The fourth and final movement, "Elegy" acts as a funeral march with the hopeful rebirth of mankind towards peace.

Note that each of the four movements is based on the development of different world-lullabies (Yugoslavian and German, English and American, French, Austrian, and Italian), which as a collective whole represent the hope of the world.

From published score program notes, by S. Di Vittorio

Courtesy of Edizioni Panastudio, Palermo

Concerto per Violino (1913; Completed 2009) – World Premiere

Ottorino Respighi (1879-1936), Bologna

Salvatore Di Vittorio (1967), Palermo

Following meetings in 2007, Potito Pedarra entrusted Maestro Di Vittorio with copies of unpublished early Respighi manuscripts, in anticipation of their possible public premieres.

The following year, Pedarra acknowledged Di Vittorio’s inherent musical connection with Ottorino Respighi, and with the Respighi heirs invited the Maestro to complete Respighi’s first (unknown) Concerto per Violino (in A major).

Di Vittorio was incredibly impressed by the beauty of this lyrical and romantic work, left unfinished by Respighi in 1903, which pre-dates his three completed violin concerti: Concerto all’antica (in A minor) in 1908, Concerto Gregoriano in 1921, and the single movement Poema Autunnale in 1925. For Di Vittorio, this first Respighi Violin Concerto not only foreshadows the later Respighi known for Pines of Rome, but harks back to the concerto writing of such masters as Vivaldi if not Mendelssohn.

As for the original manuscript of this Concerto per Violino, Respighi had completed the first two movements and begun the third movement in piano reduction, with only a few measures orchestrated.

Maestro Di Vittorio realized that it would be ideal to maintain the nature and musical integrity of the work, which Respighi himself had demonstrated through his original manuscripts. Di Vittorio modeled the third movement as a sort of rondo of musical ideas, culminating from the newly-revised first two movements. Respighi had already inspired this by creating a third movement principal theme which resembled the thematic material of his first movement. With this in mind, Di Vittorio extended this introductory theme along with others from earlier movements, through a series of developing variations and reinvention.

The concluding work embraces Respighi’s vision. And historically, Respighi’s ending in the first movement foreshadows the great master’s later orchestral colors, trills and fanfares, in his arguably greatest work, Pines of Rome.

Concerto per Violino is published by Edizioni Panastudio, Palermo

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SPRING CONCERT, MAY 22, 2010 - "Italian Heartstrings"

Il Giardino di Rose (1705)

Alessandro Scarlatti (1660-1725), Palermo

In commemoration of the 350th Anniversary of the birth of composer Alessandro Scarlatti.

Alessandro Scarlatti is well known as the founder of the Neopolitan school of opera, which culminated in the music of Vincenzo Bellini (of Catania). His output includes almost 100 operas, over 500 cantatas and 38 oratorios.

Scarlatti established the “Italian overture” form, abandoning the earlier ground bass and binary form air style in favour of ternary or da capo. His tradition was also extended by his composer-son Domenico Scarlatti (1685-1757), who became one of the most influential composers of the keyboard.

The Sinfonia Il Giardino di Rose was composed as the overture to the Oratorio La SS Vergine del Rosario, and first performed at the Ruspoli palace in Rome in 1707.

Il Giardino di Rose borrows from the concerto grosso style by featuring dialogues between two solo concertino violins and two solo ripieno violins, together with strings and continuo (harpsichord). Resembling the concerto grosso also in form, a solemn air introduces the music which quickly turns to a presto, and then evolves through a series of contrasts with lively interplay between concertino and ripieno, not to mention varying tempi leading to an Allegro conclusion.

Although dedicated to vocal music, Alessandro Scarlatti’s influence combines well with that of his contemporary Antonio Vivaldi (1678-1741) to establish what is referred to as the Baroque Italian style, which inspires J.S. Bach (1685-1750) and generations of composers who followed in their footsteps.

Aria (1902; Transcribed 2009) – US Premiere

Ottorino Respighi (1879-1936), Bologna

In 2007 Mr. Pedarra entrusted Maestro Di Vittorio with numerous copies of unpublished early Respighi manuscripts, in anticipation of their possible public premieres in New York.

One of these manuscripts was Respighi’s Aria per archi (for strings), which dates to 1902 – or (arguably) 1901, a one movement work. The Aria was also included as one of the final movements of Respighi’s Suite No. 2 for flute and strings (1906).

This beautiful Aria clearly shows Respighi’s affection for the music and composers of the Baroque, especially Vivaldi, Corelli and Frescobaldi. The work is a towering lyrical statement by the young Respighi, who was only at the threshold of what would become a prolific output of 180 works, over 36 transcriptions and several dozen unpublished and unfinished works.

Maestro Di Vittorio has recently transcribed the Aria for publication, making the work accessible for not only string orchestra but string quintet, so that it may be performed more regularly at music conservatories and schools worldwide.

The Chamber Orchestra of New York had introduced the Aria to a private audience at the Italian Cultural Institute of NY on the occasion of their Holiday Concert on December 10, 2008. Tonight marks the official US Premiere of the Aria per archi, recently transcribed by Di Vittorio.

Aria per archi is published by Edizioni Panastudio, Palermo

Sinfonia No. 1 “Isolation” (1994; Revised 1999)

Salvatore Di Vittorio (1967), Palermo

Sinfonia No. 1 "Isolation", per orchestra d’archi (for string orchestra), was composed in 1994 and then revised in 1999.

The original 1994 version was World Premiered by the Philarmonique dell’Accademia Musicale Siciliana (in Palermo) in 1998, under conductor Gaetano Colajanni. The live recording of this performance is available on the Panastudio label, entitled “Le Prime Sinfonie”.

The completed 1999 version (performed tonight) was World Premiered by the Chamber Ensemble of Rome (in Rome) in 2002, under conductor Francesco Carotenuto. The US Premiere was given by the San Jose Chamber Orchestra (in San Jose) in 2003, under conductor Barbara Day Turner.

As Di Vittorio’s first symphony, the work moves as “if in the footsteps of Respighi” and harks back to the sinfonia writing of Antonio Vivaldi, if not Alessandro Scarlatti. Di Vittorio’s influences may be heard in Sinfonia Al Santo Sepolcro by Vivaldi, who is often neglected as perhaps the first composer of the symphony.

Sinfonia No. 1, a program symphony, depicts man's isolation or alienation from himself (his inner being and spirit) and, more importantly, his fellow man and the surrounding world. It is based on original folksongs. With Sinfonia No. 1, Di Vittorio wishes to express human emotional and spiritual longing, man's longing for his enlightened inner self. The program music is an illustration of the emotional surge or force of soul, that which ties the individual to, and hungers for, the universal.

The symphony attempts to reveal the truth about our human bonding, that humanity exists in itself, as realized through love, in light of such unity.

From published score program notes, by S. Di Vittorio

Courtesy of Edizioni Panastudio, Palermo

Crisantemi (1890)

Giacomo Puccini (1858-1924), Lucca

Giacomo Puccini is primarily known as one of the most important composers of opera. His principal operas include La Boheme, Tosca, Madama Butterfly and Turandot.

While he composed twelve operas, most of which fill the operatic repertoire, Puccini also composed a good number of orchestral music, choral and chamber music.

Crisantemi (Chrysanthemums) was composed as Puccini began work on the opera Manon Lescaut, where we may also find the same themes – perhaps more pronounced in the Act III prison scene with Manon and Des Grieux, and the Act IV death scene that ends the opera. And rightfully so, as chrysanthemums are used for mourning in Italy.

Puccini originally scored this somber, gentle, music for string quartet, moved by the death of his friend Duke Amadeo di Savoia.

The principal theme is quite chromatic and emotional in nature, full of sighing motives and dramatic hesitations. The secondary theme is more flowing, yet darker and ambiguous with its expressions. And bold expressions they are, as Puccini is often revered as one of the greatest neo-romantics, a true expressionist. Much of his writing here involves wide sonorities, including octave doublings on melodies and contrapuntal textures, never letting go of sensitive changes in dynamics usually towards quieter moments.

If not for establishing himself in opera, Puccini – some scholars argue – could have embarked on the road to transform Italian symphonic music altogether, as predecessor of Respighi. Although, Respighi did not live far beyond Puccini’s lifetime. But what is most important is Puccini’s clear command of his orchestral palette, as demonstrated not only by his operatic but symphonic orchestral writing. Crisantemi is only a small appetizer in this regard.

Suite per archi (1903; Revised 2009) – US Premiere

Ottorino Respighi (1879-1936), Bologna

The Suite per archi is another unpublished early Respighi manuscript that Di Vittorio received from Mr. Pedarra in Italy. The Suite for strings dates to 1902, and was composed in six movements in the style of the Baroque.

The Ciaccona begins in a reflective manner, a bold and serious music, with an underlying harmonic progression (as with the Baroque chaconne), before shifting to more quick tempi for its remaining variations. The Siciliana, second movement, is light and graceful with its pastoral almost jig-like dance, high soaring notes and melodic turns.

The Giga immediately establishes its quick meter in a scurry of counterpoint. Although an early work of Respighi, the middle section of this movement foreshadows the composer’s later use of trills and tremolos as key effects throughout the orchestra. Nonetheless, with all the excitement in the music, Respighi’s lyricism commands control over all other aspects of his composition. His gift of lyricism is perhaps even more apparent in the Sarabande, with its ever-present tied beats and other sustained sounds. The five movement Burlesca remains playful from beginning to end, rich of ornamentation and introduces the finale Rigaudon – which interupts the previous music with a lively duple meter and declamatory melodies.

The Suite for strings not only introduces us to an incredibly exciting music, which Respighi considered his own Baroque style treatment and homage to the string music of Edvard Grieg (1843-1907), but also allows us keen insight of the master who later composed the well-received Ancient Airs and Dances No. 3 for strings. In effect, the Suite remains a precursor to the third Ancient Airs Suite.

Maestro Di Vittorio has recently revised the Suite in the version we are hearing tonight, for publication as a set together with the Aria, to help the Respighi family heirs promote the earlier works of their great uncle Ottorino Respighi to other professional orchestras around the world.

Suite per archi is published by Edizioni Panastudio, Palermo