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Bob Briggs
MusicWeb International, September 2008

This is the real thing! True symphonic music, full of tunes, high drama, arresting ideas, tender slow movements, fun finales. Rendine is an Italian composer who wrote both his symphonies, one immediately after the other, at the instigation of Marzio Conti. And we must thank him for that.

Rendine’s 1st Symphony begins with a call to arms, direct and incisive. This man obviously means business. The first movement is full of drama, the composer never lets go of the reins and keeps an high degree of tension during the headlong forward momentum. The slow movement begins in a somewhat distant manner but soon Rendine has built a warm atmosphere and the tunes just keep coming. After this the finale will come as a shock—it’s true fiesta music. Drums, whirling woodwind, strings unpinning it all, then we’re off. It’s great fun. Like the first movement the music never lets up in its forward momentum, the difference is that there’s no problems here, no drama, just total enjoyment. So exuberant is this music that I was reminded of the words of an old song:

"It's just an invitation across the nation
A chance for folks to meet
There'll be laughing, singing, music swinging…
So come on ev'ry guy grab a girl
Ev'rywhere around the world
They're dancing in the street…"
and Rendine has us all doing just that.

I want to rush into my kitchen and make spaghetti bolognese so as to keep the warm Italian feeling going. The music is welcomingly tonal, brilliantly orchestrated, easily assimilated and wildly enjoyable. I should point out that although the composer has stated that this finale is based on a theme from an old Neapolitan tarantella funebre, this is no macabre dance.

The 2nd Symphony is an homage to Andorra. It begins with some very impressionistic sounds. The woodwind swirl, the brass call, the strings arpeggiate. It’s all very mysterious. Then the oboe gives a long tune, the strings, in fine harmony, take up the strand. When the allegro breaks in it’s with an angular theme for the horns, and what a theme it is. Strings and trombones argue, then there’s relief, an easier–going idea, but obviously a continuation of the earlier idea, coloured with brass and glockenspiel. It’s wonderful stuff. A slight reminiscence of the fiesta and we’re back to a repeat of the opening idea. It reminds me of a restrained version of the first movement of Laszlo Lajtha’s truly astonishing 9th Symphony. There’s drama aplenty but this time it’s tempered with moments of repose and dance. Again, this is superb stuff.

The slow movement is elegiac, stately in gait, very serious, with some lovely writing for strings and woodwind. The finale is another dance movement but subdued, without the wild fantasticism of the finale of No.1.

These two works are real Symphonies insofar as they follow true symphonic lines. And they are both very enjoyable. …This is a disk of music to enjoy and revel in the great tunes, the gloriously colorful orchestrations and vital performances, in excellent sound. Rendine may not be the great Symphonic composer the notes claim him to be but he can write and write appealing music. At the price you can’t lose.

David Denton
David's Review Corner, July 2008

The Italian composer, Sergio Rendine, does not believe that the traditional symphony is dead and here contributes two newly crafted works. Born in Naples in 1954 and presently combining the roles of Artistic Director of the Teatro Marrucino di Chieti and Administrative Advisor of the Orchestra of Santa Cecilia Accademia Nazionale, he still finds the time to compose. Many of his previous works have been commissioned by leading orchestras in Germany, Austria, Russia and the UK, and it was the conductor at the Teatro Marrucino, Marzio Conti, who suggested that Rendine should look at the composition of symphonies, of which two have so far been completed in 2006 and 2007. With their roots firmly anchored to a time when melody and tunefulness were the driving force in music, both works are in three movements with a slow Adagio as the central movement. Created in a very personal manner, they are rather like an elaborate and colourful patchwork quilt where motifs recur within the overall framework. You have the sense that you have heard these motifs somewhere before, but that comes from Rendine’s feel for music of times past. There is drama, nostalgia, long orchestral solos and a search for musical elegance of yesteryear. The Second Symphony, which carries the subtitle ‘Andorrana’ uses folk music Rendine heard in Andora as the basis for each movement.  I like Rendine in his quiet moments, the Lento opening to this symphony being attractive. It also has an engaging dance as the Allegro assai finale.  If you want to quickly sample go to track three, the tarantella funebre conclusion to the FirstSymphony with a driving pounding rhythm to take it forward. Conti obtains spirited playing from the Orquestra Nacional Classica d’Andorra.

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