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Julian Haylock
International Record Review, March 2015

The Orchestra Sinfonica di Roma under Francesco La Vecchia…sound totally inside Malipiero’s elusive idiom and prove especially persuasive whenever the music relaxes and becomes enveloped in a gentle haze of half-whispered reminiscences. Well worth investigating. © 2015 International Record Review




Michel Fleury
Classica, March 2015

Francesco La Vecchia is in full possession of the keys of this enigmatic universe: with him, the rediscovery of the greatest Italian musician of the 20th century begins auspiciously. © 2015 Classica



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2014

The music and performers seem well-suited to each other, as the renditions are spirited and dynamic.

…[this recording] certainly brings us more and very pleasing evidence that [Malipiero’s] music is central to an understanding of the rise of modernism in 20th-century Italy.

Recommended! © 2014 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, October 2014

Gian Francesco Malipiero was one of the most enigmatic composers of the 20th century, made all the more so by a complete change of style in the early 1950’s. Abundant in his output that included eleven symphonies, he is often quoted as having destroyed all of his compositions following a life-changing experience at the age of 30 when he attended the premiere of Stravinsky’s Le Sacre du Printemps. In truth he revisited many later in life, though at the age of seventy he did a total stocktaking of his works, and at the same time took another about turn that would point him back to the serial techniques of Schoenberg. The first two tracks of the present disc come from those days of reassessment, neither score readily asking you to love it, and one must wonder what went through his mind each day if they are retold in the Fantasie di ogni giorno (Everyday Fantasies). The two-movement Passacaglie is even more difficult to approach, its free flowing structure moving from one abstract thought to another, and reminds one of his own description of being a ‘singing cricket’, the creature singing all day and every day without knowing why. Turn the clock back to 1931 for Concerti (Concertos), a series of seven concertos for the instruments of the orchestra surrounded by a Prelude and a final Leave Taking. These are not a series of virtuoso concertos, but a view of the differing qualities of the instruments, and how they fit into the texture of a symphony orchestra. As such it is a most interesting and pleasing score, and acts as a timely reminder of the outstanding quality of each department of the Rome orchestra. We must also applaud Francesco La Vecchia’s dedication in bringing to our attention the vast wealth of Italian orchestral music. The sound quality is very good. © 2014 David’s Review Corner





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