Respighi: Pines of Rome, Fountains of Rome

On this CD:

1. Pini di Roma (The Pines of Rome), symphonic poem, P. 141
Composed by Ottorino Respighi
Performed by Chicago Symphony Orchestra
Conducted by Fritz Reiner

2. Fontane di Roma (The Fountains of Rome), symphonic poem, P. 106
Composed by Ottorino Respighi
Performed by Chicago Symphony Orchestra
Conducted by Fritz Reiner

Editorial Reviews
Amazon.com
RCA's line of Living Stereo recordings made in the late 1950s and early 1960s were among the best-engineered of all time, and the original LPs fetch huge sums from collectors. Among the most coveted is LSC-2436, Reiner's classic Respighi album, now licensed by JVC, whose XRCD processing brings those sonic thrills to CD with the original's huge dynamic range and flashing colors intact. The opening of Pines will sweep you off your feet, as will the march to Rome along the "Appian Way" and the volatile "Trevi Fountain" episode of the Fountains. But even those thrills pale alongside the subtleties of the "Catacombs," with its night colors, the entrancing opening "Dawn" movement of the Fountains, and the delicate strings and tolling bells of that piece's closing "Sunset." It's doubtful that Reiner's version of these works has ever been bettered, so even the 37-minute playing time and JVC's premium pricing won't deter audiophiles. --Dan Davis

Customer Reviews:

Definitive SACD of Respighi's Roman music - Outstanding!!!!.......2007-02-18

This multichannel SACD utilizes the front 3 channels only, as this was the sound of the Chicago Symphony Orchestra and Fritz Reiner that was recorded more than 40 years ago by skilled technicians with top notch analog equipment. Absolutely puts you in the middle of the ninth or tenth row. This is the glorious Pines of Rome and spectacular Fountains of Rome that I grew up with, but with much cleaner and more dynamic sound!

Oh My Goodness Gracious, Yes!.......2006-07-10

The SACD reissues of RCA recordings from their wonderful 'Living Stereo' days is reaching full spate. The Reiner/ChicagoSO Respighi, rapturously acclaimed when it first came out, is heard here in even more glorious sound with the addition of SACD multichannel reproduction. The performance itself, along with the older and now sonically hors de combat Toscanini/NBC SO recording, are possibly the most exciting, the most 'right' I've ever heard. The Chicago was in marvelous condition in those days and the brass are especially glorious in the Pines of the Appian Way section. But lest we slight the winds and strings, they have their day, too, the latter especially deep and satiny in Pines of the Janiculum. Of more recent recordings of 'Pines' I have raved about a 2000 Cincinnati SO recording but this one, frankly, puts it in the shade both sonically and musically. This is a must-have for those who have the appropriate equipment to hear it in SACD.

As for 'La Mer' it too is given a good performance but it is not going to be anyone's primary reason for acquiring this disc. There are too many other La Mer recordings that are its equal or better.

As of the date of this review there are no sound clips for the prospective buyer to hear, but eventually, I assume, Amazon will put up sound clips from this disc and if they have by the time you're reading this I'd urge you to listen just to the first few seconds of the opening of 'Pines.' That high frequency orchestration, so exciting in live performance and so easily compressed and messed up by sound engineers on recordings, is absolutely clear and thrilling.

This is a must-have. It's that simple.

Scott Morrison

Average customer rating:

A classic
The Triumph of Chicago
Only this Respighi and nothing else.
Very Justified Label of "Benchmark"
I want to be buried with this CD!

Respighi: Pines of Rome, etc

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FUG
Release Date: 1995-04-11

Tracks:

La Mer: From Dawn Till Noon On The Sea
La Mer: Play Of The Waves
La Mer: Dialogue Of The Wind And The Sea
Fountains Of Rome: The Fountain Of Valle Giulia At Dawn
Fountains Of Rome: The Triton Fountain At Morning
Fountains Of Rome: The Fountain Of Trevi At Midday
Fountains Of Rome: The Villa Medici Fountain At Sunset
Pines Of Rome: The Pines Of The Villa Borghese
Pines Of Rome: Pines Near A Catacomb
Pines Of Rome: The Pines Of The Janiculum
Pines Of Rome: The Pines Of The Appian Way

Amazon.com

Whichever other Respighi tone poem recordings you ultimately purchase, you MUST own this one. Since the early `60s it has been the standard by which all others have been judged, and in terms of both sound and performance, it has never really been surpassed. The final march of Pines is simply incredible: thundering bass drum, crashing cymbals and gongs, bellowing brass--nobody since has brought the whole thing off with the same combination of excitement and discipline. The performance of La Mer has similar virtues. Fritz Reiner was a podium tyrant, but a tremendous musician all the same. This may be his finest recording. --David Hurwitz

Customer Reviews:

A classic.......2007-06-19

This is the only recording of the Pines I've heard where the trumpets play the fanfare in the first section open instead of muted as written. It never sounds right to me when played muted and makes every other recording disappointing. This is again the case in the trumpet solo in the beginning of the 3rd movement of La Mer in which Adolph Herseth plays the first line muted and the repeated line open. I've owned about five versions of this recording going back to records that I wore out playing. I have yet to hear a better version, although there are those with more modern sound quality. Still, the three-channel SACD is an improvement over any previous mix.

The Triumph of Chicago .......2005-07-20

Yes, I too despise recordings earlier than about 1970. The recording quality tends to be annoyingly muddy. I did hear remakable things about this recording, however, some of them I even read here at Amazon. And since I revere the CSO anyway( they are my favorite) I decided I would take a chance. When I listened to Pines, it gave me goosebumps. Sure, more contemporary recordings of the CSO have more in-your-face brass but for the year this was recorded in, it is astounding. The more and more I listened to Pines of the Appian Way, the more thunderstruck I was. The brass blaze a trail that the rest of the orchestra follows. It is an awesome testimony to power of music and the fiery passions it can stir up.

Honestly, however, when I first listened to Fountains, I was not impressed. The orchestral playing was of course first-rate but I thought the music was boring and restless with no clear direction. After a day or so, I decided to listen to it again, reasoning that it was I who was wrong. I did and I liked it. Not as exciting as Pines(the whole work) and Pines of the Appian Way, but it is still a good piece wonderfully performed, just sit and listen to everything.

Only this Respighi and nothing else........2004-04-05

Fritz Reiner surprises me here, despite his infamous reputation of being a tyranical, manipulative conductor whom his Chicago musicians had a hard time working with. That is because his handling of Respighi's Pines and Fountains of Rome are one of the finest recordings I've ever heard. There are the usual trademarks of precise and exciting playing, as demonstrated by the piece, pines by Villa Borghese. An average listener might felt ambushed by another typical Disney soundtract, except this sounds most exciting. The Pines at Janiculum and the Villa Medici Fountain at Sunset is Fritz Reiner at his most delicate and finest moment. Surprising, again since such warmth is unheard of a conductor of Reiner's reputation. I don't think I would want to own any other recordings of these magnificent works.

Very Justified Label of "Benchmark".......2004-02-23

Well, to begin, I'll say that I find the three musical compositions featured here to be splendid works. Respighi's journal of the sights of Rome as well as Debussy's accounts of his trips on the Mediterranean are irresistable tone poems that all classical music fans appreciate

And of course, the Chicago Symphony, whom you can just argue is the greatest American orchestra ever, puts in another terrific performance, as you would definately expect them to. The legendary Fritz Reiner was conductor of the CSO from 1951 to 1962, a golden period in the orchestra's history. Heiner was certainly a demanding leader, and it showed whenever recording sessions took place. A perfectionalist, he wanted control over all aspects and made sure himself that he received satisfactory results.

In the program booklet that comes with this CD, an excellent account is included of downtown Chicago's Orchestra Hall on October 24, 1959, when Reiner led his ensemble to a tremendous performance of Respighi's Pines and Fountains of Rome. The article is a very interesting read on the details of the recording session.

Now, as for the CD itself, the aged recording would of course raise the attention of the listening. While technology has definately surpassed what had been available back then, the sound is however very acceptable. This album indeed still remains one for the ages.

I want to be buried with this CD!.......2003-07-21

An NPR program once listed the best recordings of Respighi's works. The announcer made it a point to slam Respighi's compositions in every way possible (he even said that he found it fitting that the word "pig" was in Respighi!) but when all was said and done, he still ranked this recording as the undisputed master. I have owned several CDs of "Pines" and have slowly gotten rid of all but this one. NO recording of that piece has ever come close to Reiner's. The offstage brass are actually located on risers around the group and sound very "offstage" when they're supposed to be, but at the end of "Pines of the Appian Way", they are blazing at a volume that can compete with the brass on the stage. The intensity of the brass sound at ridiculous volume without sounding distored or harsh in any way is amazing-especially given the "prehistoric" techniques used in the recording. The string sound is beautiful throughout the range and the basses are thunderous when they need to be. In the fourth mvt, there are 2 spots in particular that are NEVER heard on other recordings. At 2:02, there is a key change to Bb. It is ushered in by the organ on a pedal Bb. It is marked pp I think, but when listening on good speakers or headphones in this recording, that note wraps around you and pins you down. On most recordings it is inaudible.

Another moment is at 3:34. There is an A in the second trumpet that is never heard for whatever reason, but on this version it is so intense that it will part your hair. There is no subtleness to the finale in this one. It is pure, raw power. I have performed this piece several times and while nothing can ever compare to being in the middle of this tidal wave of sounds all around you, this CD (at a proper, near-deafening level) can evoke those same sensations.

The Catacomb movement is frightening. The offstage trumpet solo is as gorgeous as they come with perfect muted string accompaniment. When the character changes right after the solo, the low brass hold down a beautiful pp with the subtle tam tam hits making it all the more eerie. Then...THE crescendo. The trombones take over with a sound unlike just about anything you'll hear on record. The strings are never buried either. Much of what makes this such a phenominal recording is the perfect balances that bring life to Respighi's brilliant coloration. Remember, this is before multitracking. They played and the mics picked up what was played. God, orchestras should sound this good today.

Respighi: Pini di Roma/Feste Romane/Fontane di Roma
Average customer rating:

The Ultimate Roman Trilogy

Roman excellence

Wow.

Truly a Monumental Respighi Recording

Enjoyable Works!

Respighi: Pini di Roma/Feste Romane/Fontane di Roma

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Respighi: Church Windows, Brazilian Impressions/Simon

Symphonie Fantastique

ASIN: B0000041OT
Release Date: 1990-10-25

Tracks:

PINI DI ROMA: Pines of Rome: I. I Pini di Villa Borghese
PINI DI ROMA: II. Pini presso una catacomba
PINI DI ROMA: III. I Pini del Gianicolo
PINI DI ROMA: IV. I Pini della Via Appia
Feste romane: Feste Romane: I. Circenses
Feste romane: II. Il Giubileo
Feste romane: III. L'Ottobrata
Feste romane: IV. La Befana
FONTANE DI ROMA: Foutains of Rome: I. La fontana di Valle Giulia all'alba
FONTANE DI ROMA: II. La fontana del Tritone al mattino
FONTANE DI ROMA: III. La fontana di Trevi al meriggio
FONTANE DI ROMA: IV. La fontana di Villa Medici al tramonto

Customer Reviews:

The Ultimate Roman Trilogy.......2006-04-20

Well, what can I say? Charles Dutoit's rendition of Respighi's Roman Trilogy ranks among the finest. The orchestral emotions give out a spine-tingling sensation. The sound quality is beyond excellent. Tension is high and tedium is low. I'd have to say congratulations to Decca/London for giving us this fabulous creation.

Pini di Roma: I first heard this in the movie Fantasia 2000, and I just had this feeling that the filmmakers cut out half of its entirety. When I heard this complete version, I was hooked. Its power and precision is strikingly beautiful. From the lively introduction to the gracious finale, this one is hard to hate.

Feste Romane: The most energetic of the three, it misses some familiarity from the other two Roman pieces, but it is still worth a listen. The First movement (Circenses) has a high level of good old apprehension, while the Fourth movement (La Befana) goes way deeper than that. For the second half third movement (L'Ottobrata), it has some of the same lovable atmosphere as from Pini del Gianicolo of Pini di Roma. Not the best of the three, but simply not the worst.

Fontane di Roma: The Italian flair and the massive sanguinity are both present here in this first piece of the Roman Trilogy. It's a beautiful phenomenon that has generated to a catchy musicality today. Precise, vigorous, soft, and exquisite at the same time.

This should be an absolute steal for those who are beginning to feel the Italian Impressionism through Ottorino Respighi. A+

Roman excellence.......2005-06-26

After long and arduous searching and listening, I have come to the conclusion that this is quite possibly the best available recording of the Roman triptych by Ottorino Respighi.

This comes not as a revelation but as a final assertion based on what I've heard and what I look for in fine recordings: this includes examining 'reference' (if there be fairness in naming such things) recordings the likes of Muti/Philadelphia, Bernstein/NYPhil, Reiner/Chicago, Ozawa/Boston, and others of the sort. I think all of them have exceptional qualities but something missing from them. For some reason, this particular recording of Dutoit with a very disciplined and rather 'on-fire' Montreal Symphony bests them all.

Whether it be in just intonation or in clarity from better digital recording to attention paid to every little nuance, OSM and Dutoit give us the most riveting account. The power is really there at the end of Pines of the Appian Way and one can feel the majesty and glory in the Fountains of Rome (especially in Fountain at Trevi at Mid-day... the low brass especially bass trombone are alive and kickin'). The sweet song of the nightingale is gorgeously present and dubbed in so well, you'd almost swear that the bird is in the studio with the orchestra.

I recommend and encourage everyone who wants to hear a supreme recording of the Roman cycle to snatch this recording up. It is leaps and bounds ahead of the competition.

Wow........2003-06-06

I never thought I'd hear a brass sound equal to that of the Chicago Symphony, but Charles Dutoit and the OSM do it right here. The OSM plays the Pines of Rome like I've never heard it before. As fantastic as the entire performance is, the final Pines of the Appian Way seems to dwarf the first three movements. One can visualize the slow, steady march of the Roman legions, coming closer, closer, and closer still. The OSM possesses and demonstrates the superb control required to give a convincing performance of this piece. They play the written "F"'s and still retain the purity and clarity of their sound. The last two or so minutes of it still send chills up my spine. I recommend this album highly to anybody and everybody.

Truly a Monumental Respighi Recording.......2003-01-26

As others have expounded, this is exquisite performance and recording. Dutoit and the Orchestra Symphony of Montreal deliver Pines of Rome with sensitive, passionate dynamics which are incredibly captured by this recording.

The instrument groups are crystal clear and pristine, yet the subtle movements deliver concert hall chills while listening.

This is of the top notch.

Enjoyable Works!.......2003-01-15

Not much more to say that others haven't said already.
These are very fine works, excellent sound and music.

Respighi: Pines of Rome; The Birds; Fountains of Rome

Average customer rating:

Resphigi: Pines of Rome, The Birds Lane; Atlanta Sym. Orch.
Great modern classical music!
Sparkling, scintillating brilliance . . . chiaroscuro beauty
Music, Not Noise .... Thank you, Louis Lane & Telarc!
My First Respighi Album, And Still My Favorite.

Respighi: Pines of Rome; The Birds; Fountains of Rome

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003CT0
Release Date: 2002-07-23

Tracks:

I. Pines Of The Villa Borghese
II. Pines Near A Catacomb
III. Pines Of The Janiculum
IV. Pines Of The Appian Way
I. Prelude
II. The Dove
The Birds: III. The Hen
IV. The Nightingale
V. Cuckoo
I. Fountain Of Valle Giulia At Dawn
II. Triton Fountain At Morn
III. Fountain Of Trevi At Mid-Day
IV. Villa Medici Fountain At Sunset

Customer Reviews:

Resphigi: Pines of Rome, The Birds Lane; Atlanta Sym. Orch. .......2006-04-18

This is one of the finest performances of these pieces. Under Lane's direction, the Orchestra sounds magnificent and they are in absolute top form. The sound from this Telarc disc can only be described as ravishing. At times, the orchestration, together with the performance and the recording all combine to create some of the most beautiful sounds I have ever heard from an orchestral recording. The engineering is magnificent and this is probably the best sound that Telarc has ever achieved. This is an audiophile's dream recording. Buy this disc and it will give you a lifetime of listening pleasure.

Great modern classical music!.......2005-10-30

Ottorino Respighi is one of the best composers of modern classical music, along with Ravel, Debussy, Poulenc, Hanson, and Shostakovich. In this recording, we hear Gli Uccelli, Pini di Roma, and Fontane di Roma. In this review, I'm going to talk about Pini di Roma and Fontane di Roma.

Pini di Roma, also called Pines of Rome, is a wonderful symphonic poem by Respighi. It has been adopted to film in "Fantasia 2000" and is my favorite work by Respighi. It is made up of 4 sections that are part of one big movement. The first section is called Pines of the Villa Borghese and is in B-flat. It is a lively piece of music featuring a lot of triangle, trumpet, and other instruments which make it sound majestical. The second movement, Pines of the Catacombs, is slightly darker and mysterious in the beginning, but it climbs to it's climax and then finishes off strangely. The third movement, Pines of the Janiculum, is the lightest and starts off in a maritime piano piece and then features soft music. In some recordings, a bird can be heard chirping in this section, since that was the original idea that Respighi had. The fourth movement, Pines of the Appian Way, is also in B-flat and is the best one of them all. It starts out with a constant march and that march follows the song the whole time as it gets louder and louder until it reaches the grand finale.

Foutnains of Rome is another wondeful symphonic poem by Respighi and Pines of Rome was written as a sequel. The first movement is a quiet little movement which creates the scene of a foutain at dawn and has a magical sound to it. The second movement is the shortest and has a great part for the trumpets towards the end. The third movement is the greatest of them all and is in E major. It is about the Trevi Fountain at Midday and bears a striking resemblence to the finale of Pines of Rome. The fourth movement is quieter and more mysterious and features chimes dinging throughout the whole thing and eventually to the quiet and relaxing ending.

Sparkling, scintillating brilliance . . . chiaroscuro beauty.......2004-02-08

This review applies to the works -Pines of Rome-,
-The Birds-, and -Fountains of Rome- performed by
the Atlanta Symphony Orchestra and conducted by
Louis Lane on Telarc.
Listening and enjoyment and enthusiasm are all
subjective elements which can't be "quantified" for
everyone's satisfaction. I can only say that I
have "perfectionist" ears and eyes, so I have
real trouble finding personally satisfying sound
reproduction devices as well as particular versions
of classical works which I "get into." There
are some other versions of this work which I like
very much also, conductor Daniel Gatti's with the
Orchestra of the Accademia di Santa Cecilia, conductor
Giuseppe Sinopoli's with the New York Philharmonic
on Deutsche Grammophon, and conductor Jesus Lopez-
Cobos with the Cincinnati Symphony Orchestra on
Telarc.
What makes me decide to review Lane's recording is
his concern with tempo and dynamics...the transition
from the sunny brilliance of the Pines of the Villa
Borghese to the dark, quiet mystery and softness of
the Pines Near a Catacomb is a wonder, and for me,
breath-taking. The sound clarity and "presence" of
this Telarc recording are outstanding. In the
Pines of the Villa Borghese you can hear the
instruments giving out percussive effects to imitate
the toys of the children. But it is the sunny,
sparkling brilliance and tempo of the orchestra
as well that make this piece scintillating!
Of all of the pieces in the Pines, my own particular
favorite (for its associations) is the Pines of the
Janiculum -- that dreamy, lyrical, almost mystic
portrayal of moonlight among the pines and the
lyrical warbling of the nightingale. I am somewhat
of a connoisseur of the warbling nightingale in these
recordings. I don't like Von Karajan's nightingale; it
does not have the echoing resonance of the symphony
hall, but sounds as if it is recorded in nature; and
the Von Karajan nightingale only tweets, it doesn't
have the glorious, full-throated warble of the
Lane nightingale and some of the other recordings.
The gentle piano introduction to the Janiculum in
the Lane recording, the harmonious pacing -- very
lyrical and peaceful and haunting (in beauty, not
grief or languid weariness), the soulful clarinet,
the caressing strings...all give this recorded
version optimal stars from me.
-- Robert Kilgore.

Music, Not Noise .... Thank you, Louis Lane & Telarc!.......2003-07-21

Ever since Toscanini's RCA recordings (early 1950s), these Respighi tone poems have been played as sonic block-busters, with engineering to match. It seems everybody's idea of this music is driven by the last section of "The Pines of Rome," which famously evokes a march of Roman legionnaries via a steady crescendo of orchestral volume that finally explodes in an orgy of brass playing. But there are subtler pleasures in these pieces, especially in "The Fountains of Rome," and in this recording I've finally found Respighi performances that sound like music, not noise. Not that conductor Louis Lane and the fine Atlanta orchestra underplay the parts that need it; there's plenty of drama here, trust me. But Lane was an assistant to legendary conductor George Szell in Cleveland for many years, and he clearly learned how to achieve proper orchestral balances, even when working with the massively large orchestra favored by late Romantic composers like Respighi. For once, Respighi's orchestral texures register with the necessary nuance and subtlety. And Telarc's sound complements Lane's approach with an appropriate acoustic: very "hi-fi," but not in your face. Instead of garishly spotlighting individual sections, Telarc works its magic to ensure that the entire orchestra registers with a marvelous warmth. Given the subtleties of Lane's approach, I think it's no accident that he chose to couple "Pines" and "Fountains" with Respighi's suite "The Birds" rather than with the more glitzy "Roman Festivals." "The Birds" ("Gli Uccelli") is a Renaissance/Baroque pastiche cut from the same cloth as Respighi's perennially popular "Ancient Airs and Dances." So if you love the Respighi of the "Ancient Airs" and abhor the composer of the flashier tone poems, buy this CD. It may just be the Respighi disc of your dreams! Final word: "Louis Lane and the Atlanta Symphony" might not have the cache of Toscanini/NBC, Bernstein/New York, Karajan/Berlin, and God-knows how many other high-powered teams that have recorded this music. But for my money, this very musical Telarc CD beats the competition hands down. (Also note that this is one of many earlier (late 1980s) Telarc digital CDs that the company has reissued in a new budget series. Same great Telarc sound and sophisticated packaging, but at a very nice price.)

My First Respighi Album, And Still My Favorite........2003-03-15

After seeing Disney's "Fantasia 2000" in the Summer of that year I realized that I had found a new love of Classical music in Respighi's 'Pines of Rome.' I quickly picked up the soundtrack album with James Levine conducting the Chicago Symphony Orchestra in a superb, although abbreviated, performance of 'Pines' for the Fantasia sequel. However this little snippet did not keep me satisfied. For my birthday later that year my father gave me this album of Louis Lane and the Atlanta S.O. performing 'Pines,' 'The Birds,' and 'Fountains.' I was mesmorized by Respighi's music and the images and feeling conjured when listening to it. I had fallen in love.

Naturally this album holds a special place in my heart even today after collecting nearly every Respighi album I could put my hands on. So that makes it doubly difficult for me to critique it. At the very least, this is a fine performance. The tempi are consistent, if a little on the slow side (the 'Fountain at Trevi' being the most clear example). The brass section is strong and stingy (just the way Telarc likes it) sometimes at the expense of loosing the strings in the mix. Louis Lane clearly understood the moods and images Respighi yearned for in his days of composition and succeeds in conveying those through the players.

Technically speaking, this is a beautifully captured performance, no doubt benefiting from Telarc's pure digital recording and mixing methods. I have never heard bass such as that in the climax of 'Pines Near a Catacomb.' When you buy a Telarc Digital album you can be assured there is a high level of clarity; that you will be able to distinguish between all types of instruments during both the soft, gentle moments, and during the greatest crescendos. This CD is no exception.

Tracks:

Fontane di Roma-Poema sinfonico: I. La Fontana Di Valle Giulia All'alba
Fontane di Roma-Poema sinfonico: II. La fontana del Tritone al mattino
Fontane di Roma-Poema sinfonico: III. La fontana di Trevi al meriggio
Fontane di Roma-Poema sinfonico: IV. La fontana di Villa Medici al tramonto
Pini di Roma-Poema sinfonico: I. Pini di Villa Borghese
Pini di Roma-Poema sinfonico: II. Pini presso una catacomba
Pini di Roma-Poema sinfonico: III. I pini del gianicolo
Pini di Roma-Poema sinfonico: IV. I pini della via Appia
Antiche danze ed arie per liuto - Libera transcrizione per orchestra, Suite III: 1. Anon.: Italiana. Andantino
Antiche danze ed arie per liuto - Libera transcrizione per orchestra, Suite III: 2. Jean-Baptiste Besard: Arie di corte. Andante cantabile - Allegretto - Vivace - Lento con grande espressione - Allegro vivace - Vivacissimo - Andante cantabile
Antiche danze ed arie per liuto - Libera transcrizione per orchestra, Suite III: 3. Anon.: Siciliana. Andantino
Antiche danze ed arie per liuto - Libera transcrizione per orchestra, Suite III: 4. Ludovico Roncalli: Passacaglia. Maestoso - Vivace
Quintettino La musica notturna delle strade di Madrid op.30 No.6: Introduzione
Quintettino La musica notturna delle strade di Madrid op.30 No.6: Minuetto
Quintettino La musica notturna delle strade di Madrid op.30 No.6: Largo assai, senza rigor di Battuta
Quintettino La musica notturna delle strade di Madrid op.30 No.6: Passacalle
Quintettino La musica notturna delle strade di Madrid op.30 No.6: Ritirata
Adagio G-Moll

Customer Reviews:

Fantastic!.......2007-02-06

I love the Pines of Rome and find this version to be as good as my other benchmark, Reiner's interpretation with the Chicago Symphony in the 60's. Too many conductors feel the need for excessive speed in the opening of this piece, causing it to feel hurried and rushed rather than triumphant. Karjan and Reiner are able to reign in this tendency. The playing is immaculate as well. This is an essential recording of this piece. Buy it.

Soothing Visions of Rome.......2007-02-01

I decided to purchase this particular CD because I did not have these compositions in my collection. I have always loved the works by Respighi, & based on the reputations of Deutsche Grammaphon, Herbert von Karajan & the Berlin Philharmonic I expected the highest quality in performance and interpretation, & they did not disappoint. They are enchanting, soothing, Italian visions of Rome. Listening to the music on this CD makes it possible to take a break & mentally transport yourself to the parks & fountains of Rome.

A Great Compilation.......2006-04-17

If I could choose the 10 best classical albums, this would be one of them. The Boccherini is probably the best part, and sections of it were used in several movies, including Sherlock Holmes: The Case of The Silk Stocking and Master and Commander: The Far Side of The World. The quality of the recording is crystal clear, creating the most enjoyable listening experience. It finishes off with Albinoni and the fabulous Adagio in G Minor, featuring Wolfgang Meyer on the organ. All in all, it's a very nice album, and a joy to listen to.

Karajan's Fine Interpretations Of Respighi's Music.......2001-12-18

I don't wish to deny that this may be one of the finest recordings Karajan made with the Berlin Philharmonic. Not only is the sound quality fine, but more importantly, the Berlin Philharmonic plays with ample technical precision and warmth. Still, Karajan's interpretations lack the vibrancy I have heard in recent recordings by Dutoit and Maazel; they tend to be sluggish in their tempi, most notably the "Pines Of Rome". Karajan is a bit more successful with the works by Boccherini and Albinoni; the string playing is a bit more refined than with Respighi's scores.

von Karajan's Pines of Rome.......2001-08-28

This is one of the most lively performances conducted by von Karajan.

Respighi: Pini di Roma; Fontane de Roma; Feste Romane

Average customer rating:

This is the one to get
Impeccable performance by both Maestro and Orchestra
Good clean energy
Italian Impressionist
Second to none!

Respighi: Pini di Roma; Fontane de Roma; Feste Romane

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Respighi: Pines Of Rome/Roman Festivals
Camille Saint-Saens: Organ Symphony/Tone Poems
Strauss: Don Quixote; Schumann: Cello Concerto / Rostropovich, Karajan, et al
Tchaikovsky: 1812; Mussorgsky / Solti, Chicago Symphony Orchestra
Tschaikovsky: Ballet Suites / Rostropovich, Berlin Philharmonic Orchestra

ASIN: B000002AY6
Release Date: 1996-11-05

Tracks:

Pines Of Rome: I. Pini di Villa Borghese
Pines of Rome: II. Pini presso una catacomba
Pines of Rome: III. I Pini del Gianicolo
Pines of Rome: IV. I Pini della via Appia
The Fountains Of Rome: I. La fontana di Valle Giulia all'alba
The Fountains Of Rome: II. La fontana di Tritone al mattino
The Fountains Of Rome: III. La fontana di Trevi al meriggio
The Fountains Of Rome: IV. La fontana di Villa Medici al tramonto
Roman Festivals: I. Circenses
Roman Festivals: Il. Giubileo
Roman Festivals: III. L'Ottobrata
Roman Festivals: IV. La Befana

Amazon.com

Lorin Maazel and the Pittsburghers give us Respighi's Roman triptych in all its gaudy splendor on this 1996 release, which was made using a purist two-mike approach unusual for Sony. Thanks to the conductor's control of balances, the high standard of the orchestra's execution, and the clarity of texture that characterizes the recording, one can enjoy every detail of Respighi's opulent scoring and at the same time hear these works, for once, as actual music. The performances, like the sonics, are demonstration class. --Ted Libbey

Customer Reviews:

This is the one to get.......2007-02-22

If you only can buy one recording of the Roman Trilogy make it this one. It has best sound quality and the performance is awe-inspiring.

Highly recommended!

Impeccable performance by both Maestro and Orchestra.......2006-08-17

To compare an orchestra with such caliber as Philadelphia (one of the "Mighty Five" of this country) with a lesser known orchestra (yet not any less talented I must say) is to compare apples to oranges. I personally don't see any sense in doing so and I strongly dispute comparing recordings based on the orchestra alone. I have heard sloppy records played by world famous orchestras. It happens. I have also heard phenomonal recordings done by orchestras previously unheard of. While Pittsburgh is most certainly not unheard of, they would still fall into the latter category.
The performance given here by Pittsburgh is top notch, no questions asked, hands down. A fabulous technical ability paired with the wise musical styling of Maazel make this record a steal. The sound quality is stunning, each episode of Respighi's triptych sparkles with its own light, not a cut and paste example. Another fine example of this is Danielle Gatti with the Orchestra of Saint Cecilia.
Maazel doesn't fail to delight with his great readings of the Respighi Roman triptych. And, at least in this recording, Pittsburgh is right up there with the heavy hitters in today's orchestral scene.

Good clean energy.......2006-06-09

Lorin Maazel brings an incredibly energetic approach to the music of Respighi. The previous reviewer, Mr. Kniess does a wonderful job telling you about the pieces of music on this disk, so I only intend to add to what he has said. (However, I would not regard Respighi as an 'impressionist'. That seems to put his music in the same category as Debussy and Ravel, which it is most certainly not.)

The performance of these works are impeccable. All sections of the orchestra are always pristine, both in terms of rhythm and pitch. So much power and energy comes from the orchestra, I continue to be amazed every time I listen to the recording. The brass soloists in the last movement of Roman Festival are incredible. They really go for the biggest tone, and sound great in the process.

This is a great CD to own. A must have for Respighi lovers and brass musicians.

Italian Impressionist.......2006-01-28

Ottorino Respighi is somewhat of an oddity; considered an Italian impressionist, his music is far off from the fuzzy haze of the French, and while he highly regarded Nicolai Rimsky-Korsakov, his music is not particularly nationalistic, save the ideas and programs of his works. Three very popular symphonic poems represent the pinnacle of his compositional style, all included on this disk: The Pines of Rome, The Fountains of Rome, and Roman Festivals.

Each of the poems have four movements which describe the musical portraits or scenes Respighi wants to convey, usually in a vivid manner. The Pines of Rome is centered around the ancient trees of his native land, the first, the pine trees of Villa Borghese, is a playful opener with tinkling bells and skipping rhythms imitating the playing children. Pine trees near a catacomb is very subdued, but a rhythmical chanting rises to a climax with blazing brass, combining ancient ritual with, then, modern classicism. The nearest Respighi approaches French Impressionism is in the pine trees of Janiculum, with its shimmering strings, arpeggiated piano, and use of harp and celeste. The nature-based clarinet solo cuts through any haze, however, and the use of recorded bird song is unique to Respighi in this case. The final, pine trees of the Appian Way, builds into a theme of fifths, horn and trumpet calls aided by the trombones and tuba, give a militaristic quality and a brash ending gives a glorious close. The orchestrations are very colorful, even including organ on top of a host of other unique instruments. The melodic material is tuneful and interesting, one of Respighi's most approachable poems for orchestra.

The poem which flows the best from start to finish is the Fountains of Rome (no pun intended). Respighi describes four specific fountains in an around Rome and musically depicts them. The opening fountain of Valle Giulia is the most bubbly (pun intended). The lines are long and florid with burbling scales in all parts, with calmly rising melodies. In contrast, the Triton Fountain is firmly announced by horns, screaming strings, and bells. What follows is a bouncy scherzo, often reminiscent of the French Romantic composer Paul Dukas; the movement is fun and bubbly. The Fountain at Trevi, however, seems to recall Richard Strauss, with heavy and powerful trombones in the spotlight. The forcefulness is fortified by the addition of organ, but subsides into the last fountain at Villa Medici. The most impressionistic sounding, the modal melody on English horn recalls Debussy, while the harp glissandi, celeste, string tremolos, and woodwind dottings only reinforce the idea. Again, colorful orchestrations, beautiful melodies, including the haunting modes of the last fountain.

Roman Festivals is by and far the most Italian sounding of the three poems, and chronicles life around a celebration. The very angry and agitated opening Cirenses, sounds nearly schizophrenic, with unrelated fanfares, and a menacing bass drum for the impending storm, as well as a fearful organ. A slow procession of religious folk outside of town changes the mood to the movement entitled Jubilee, but builds in intensity. The third movement, October Festival, has varied melodies and sections, including an Italian love song, and a serenade complete with solo mandolin. The blazing finale, Epiphany, is also schizophrenic in pacing, with constantly changing moods, scenes, and themes. The end result is exultancy as full orchestra resoundingly concludes.

Of digital recordings, this Sony recording is by and far the finest. The Pittsburg Symphony Orchestra under Lorin Maazel is captured in a sonically enriched atmosphere, very much like a concert hall setting. The large proportions are captured well and balanced properly, and the colorful orchestration dazzles the listener. The playing is great, the brass section is particularly exceptional; I have not heard such ensemble, precision, and high quality in a long time. Maazel is faithful to the score, but also makes each portrait diverse from the preceding one, relying on Respighi's imagination. He gets a full and dramatic reading from the score. Highly recommended modern account of three classics. Compare with Maazel's 70's recording with the Cleveland Orchestra on Decca; both great, I prefer this one.

Second to none!.......2004-11-08

Lorin Maazel transports the listener along a musical soujourn that s/he'll not soon forget! The composer, the conductor and the orchestra nail this one in a perfect tenon. This is a rendition that one can listen to over and over. Don't wait to add it to your Classical Music library.

Respighi: Pines of Rome; Fountains of Rome; Metamorphoseon Modi XII

Average customer rating:

Haunting, beautiful, balanced & respectful treatment. Perfection!
Surprising warmth and engagement
Surprising warmth and engagement
Wow! Incredible music.
Great sonics, average performance

Respighi: Pines of Rome; Fountains of Rome; Metamorphoseon Modi XII

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Hindemith: Mathis der maler; Nobilissima Visione; Symphonic Metamorphosis
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Resphighi: Ancient Airs and Dances; Trittico Botticelliano

ASIN: B00004S8A7
Release Date: 2000-04-25

Tracks:

Pines Of The Villa Borghese
Pines Near A Catacomb
Pines Of The Janiculum
Pines Of The Appian Way
Fountain Of Valle Giulia At Dawn
Triton Fountain At Morn
Fountain Of Trevi At Mid-day
Villa Medici Fontain At Sunset
Theme
Modus I
Modus II
Modus III
Modus IV
Modus V
Modus VI
Modus VII
Modus VIII
Modus IX
Modus X
Modus XI
Modus XII

Customer Reviews:

Haunting, beautiful, balanced & respectful treatment. Perfection!.......2007-04-16

Respighi is yet another musician who is overlooked, but who composed beautiful music. Considering the time he spent as a musician and composer (roughly 1899 until his death in 1936) he composed music that could easily be juxtaposed with earlier geniuses such as Debussy, Ravel or Tchaikovsky.
"The Pines" and "The Fountains", Respighi's tone poems, are played superbly with a respect that transcends the technology and settles on your ears like honey on lips.
"Metamorphoseon Modi XII", apparently rare in recording, is a beautiful exploration of theme and variation for orchestra. Each "Modus" is played with exceptional feeling and clarity. These Modi only further cement Respighi's deserved place alongside great composers that went before him.
Jesus Lopez-Cobos and the Cincinnati Symphony Orchestra have superbly captured the feeling, the emotion of this haunting opus to Rome and, in the Modi, Russian classical harmonies, which in my opinion honor one of Respighi's mentors Rimsky-Korsokov. Other reviews point to Gregorian themes and Richard Strauss' influence in the harmonic techniques, but I believe the Respighi, not just in these compositions, built a library of work that is comporable to any master of figuration, of composition.
The orchestration, tempo and solo work are laid out beautifully and the result is an incredibly relaxing yet somewhat haunting recording. You feel emotion in and from the music. It is breathtaking. A true delight.
Conductor and Symphony should be commended for such a touching interpretation and for the amazing clarity of each instruments contribution to the composition.
The recording is gorgeous, wonderfully mixed, with no background noise and perfect treatment.

***A note - according to the liner notes, The Modi is not readily available in recording, so consider that a treat for yourself when you listen, knowing that not too many others have heard the gorgeous composition.***

A must have addition to any classical library.

ADDITIONAL RECOMMENDATIONS BY RESPIGHI: Respighi: The Birds; Three Botticelli Pictures, and/or Ottorino Respighi: The Ballad of the Gnomes / Adagio with Variations for Cello & Orchestra / Three Botticelli Pictures / Suite in G major for Strings & Organ - The Philharmonia / Geoffrey Simon. "The Birth of Venus" from "Thee Botticelli Pictures" is gorgeous, one of the best compositions I have ever heard.

Surprising warmth and engagement.......2003-07-23

I've been fairly critical of this combination of artists in other reviews (e.g. Dukas) - not for their virtuosity which is ample and amazing, or their discipline, which is awesome, but for a lack of real warmth and engagement.

Now here comes a disc of music which can all too "easily" be played as a sonic spectacular and virtuoso warhorse, music which, lets face it, is really only of the third rank (enjoyable though it is) - and they confound me by bringing warmth and engagement to it all.

Okay, none of these pieces are from Beethoven's ninth, but no-one can listen to the great peaks of the repertoire all the time, sometimes you have to come down and wallow in less challlenging pictures and sounds and this does the job just fine. The Cincinatti players obviously feel the same way, because they seem to be enjoying not just their own skill but the music as well.

And for once, DSD recording helps. Normally its a bit dry for my tastes but this time Telarc has superbly captured both the dry heat of Rome on some days and also the atmospheric sultriness of others.

All instruments (but especially the oboe) are captured well, but a special mention for one moment when the whole violin desk play like larks ascending (I won't tell you where and when, - it should take you by surprise and make you go "ooh" so I wont spoil it).

And its all so physical too, - my body was responding to the sound with not only spine tingles, but tummy wobbles. Without doubt, some of the best recorded sound it has ever been my privilege to hear.

If i was judging the music, enjoyable though it is, then I'd be more critical but for performance and sound, five stars.

Surprising warmth and engagement.......2003-07-23

If i was judging the music, enjoyable though it is, then I'd be more critical but for performance and sound, five stars.

Wow! Incredible music........2002-12-09

The Cincinnati Symphony Orchestra proves itself worthy of the status associated with being one of a handful of orchestras to reach a prestigious artistic level. The strings have a gorgeous but precise blend, the woodwinds have a kaleidoscopic array of colors, and the brass really come to the fore in the finale of "The Pines of Rome".

The woodwind section in the Cincinnati Symphony Orchestra is stunning. The principal clarinetist plays the delicate solos in the penultimate movement of "Pines" with a warm, rich sound. Special note must also be made for the english horn solo in the finale, which captures the attention of all by way of its seductive, hypnotic character.

Metamorphosen Modi XII displays many different images. All of the soloists in this piece are virtuosos, and it shows.

Overall, an incredible and vivid recording; worthy of high praise.

Great sonics, average performance.......2000-12-29

Soniclly, Telarc has done its usual excelent job of providing a near-perfect (for CD)recording. The performance, however, was just average. While 'Pines' was adequate, I found 'Fountains' to be somewhat flat and lacking in emotion. Having said that, I still recommend this album for the sheer sonic pleasure of listening.

Respighi: Pines of Rome; Fountains Of Rome; The Birds [Australia]

Average customer rating:

Pines of Rome
From Australia With Love

Respighi: Pines of Rome; Fountains Of Rome; The Birds [Australia]
Kertesz , and London Symphony Orchestra
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000025UK9
Release Date: 2002-01-28

Tracks:

Pines Of The Villa Borghese
Pines Near A Catacomb
Pines Of The Janiculum
Pines Of The Appian
Prelude
Dove
Hen
Nightgale
Cuckoo
Valley Giulia Fountain At Daybreak
Tritan Fountain In The Morning
Trevi Fountain At Noon
Villa Medici Fountain At Sunset

Customer Reviews:

Pines of Rome.......2007-06-14

Respighi is one of my favorite composers, and I've heard these pieces many times. Recently I heard this performance of the Pines of Rome on a local classical music station and was struck by its immediacy and freshness. After buying the disc from Amazon and putting it on my CD player, the impression was heightened. This is a great performance, the best I've heard of the Pines of Rome. It evokes the place settings perfectly. Kertesz is in complete control, and the LSO plays magnificently. The sound quality is amazingly good -- among the best I've heard on CD.

From Australia With Love.......2003-11-01

Thank you Amazon for carrying such a large selection of titles from the Australian "Eloquence" series! While the majority of the performances in this mid-price import line are available stateside (but as different titles or with different packaging), many are not and needless to say I am snapping those CDs up quickly. This delightful disc is one of them. It collects Respighi's "Pines of Rome," "The Birds," and "Fountains of Rome" as performed by Istvan Kertesz and the London Symphony Orchestra. The performances, first released for Decca in 1969, are tremendous, though the disc does log in a bit on the short side -- only 55 minutes. But personally, I'll take anything by Kertesz, no matter how brief. It's a tragedy that Kertesz died in 1973 -- drowning while swimming in the Mediterranean -- at the age of 43. While most conductors live to a ripe old age, too many others have been plucked from us in their prime -- Argenta, Cantelli, Fricsay, and Kertesz among them. Savor the precious few recordings these greats left us. Anyway, I certainly look forward to getting more Amazon deliveries from Australia with love.

Respighi: Pini di Roma; Fontane di Roma; Feste Romane

Average customer rating:

Not the best, but quite fine (to me)
Modern 'Classical'
Poor Pines, Beautiful Fountains and Festivals
Different views from different publications
A putative tie-breaker: Muti over Dutoit

Respighi: Pini di Roma; Fontane di Roma; Feste Romane

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000002RNX
Release Date: 1990-10-25

Tracks:

I: I Pini Di Villa Borghese
II: I Pini Presso Una Catacomba
III: I Pini Del Gianicolo
IV: I Pini Della Via Appia
I: La Fontana Di Valle Giulia All'Alba
II: La Fontana Del Tritone Al Mattino
III: La Fontana Di Trevi Al Meriggio
IV: La Fontana Di Villa Medici Al Tramonto
I: Circenses
II: Il Giubileo
III: L'Ottobrata
IV: La Befana

Amazon.com

This is deluxe Respighi. These tone poems were specialties of Eugene Ormandy, who recorded them with the Philadelphia Orchestra at least twice in stereo, once for Sony and again for RCA. Neither of those versions is really competitive sonically, so it's great to hear this superlative orchestra play the music under a knowing conductor in fully modern (if not quite perfect) sound. Ricardo Muti is no mere Ormandy clone, however. To the orchestra's natural opulence, he adds an extra dash of discipline and a firm grip on the rhythmic tiller. The result is both lushly Romantic and exciting--really these three tone poems have never been better conducted. --David Hurwitz

Customer Reviews:

Not the best, but quite fine (to me).......2007-01-13

I have this on LP, but only have two of them on CD. Fountains is with Shcheherezade, and Pines is with the Romeo & Juliet suites. I don't have Festivals on CD. I do remember the LP being somewhat problematic in terms of sound, and hoped that CD would clear that up. Fountains seems to have worked, but Pines still seems a bit congested. Muti's Philly does play wonderfully, regardless.

Reiner is stil splendid, and I don't mind the sound. Ozawa is a nice way to get all 3, but Maazel/Cleveland (no Fountains) really works the best. Most people rave about his Festivals, but I also love his Pines, especially the Appian Way. His Pittsburgh version (all 3) is also great. Ormandy is OK on a budget, but DeWaart/SanFran, Lane/Atlanta, Com misiona/Baltimore are not. They don't contain all 3, and there are pacing, ensemble, intonation issues. Dutoit just sounds like a run-through. I got a number of Du-what's recordings in the 80's, and they seem so overrated. Their longevity is severely lacking.
I'd say, go ahead with Muti, but don't be surprised if you find that ultimately, you prefer someone else. Of course, he could do it just the way you want it, and you can certainly do worse!

Modern 'Classical'.......2007-01-13

Listening to Ottorino Resphigi's trilogy 'Pini di Roma', 'Fontane di Roma', and 'Feste Romane' was quite a surprise to me, as I 'unconsciously filed Resphigi away in my musically dillantish mind as a much earlier, possibly even Renaissance composer! One listen to the opening phrases had me dashing to check the composer's dates, when I heard things which sounded remarkably like very modern composers, especially Richard Strauss and even Aron Copeland. I was embarrased to realize how obviously similar Resphigi's 'tone poem' genre was similar to Strauss, and how similar he was, therefore, to so much modern film music. While Resphigi is much more sophisticated than any movie score, I can almost hear precursors to, for example, Howard Shore's scores for 'The Lord of the Rings' here and there. I can definitely hear similarities to Copeland's 'Nantucket Sleighride'! This is not 'great' music, in the same category as 'The Rites of Spring' or Berg's violin concerto or Bartok's third piano concerto, but it is good and it is enjoyable. I'm glad I got around to actually listening to it!

Poor Pines, Beautiful Fountains and Festivals.......2006-09-04

I can't believe I have the same recording! The Fountains and Festivals are wonderful. They are the reasons to buy this disc. Dissatisfaction with the sound quality is, no doubt, because the Philadelphia Orchestra had no suitable venue for recording. The notes say that this was recorded at Memorial Hall. Philadelphians know that this so-called hall is a gymnasium. That's the best we could do for one of the world's greatest artistic treasures. But these two performances are fantastic.

But, to me, Pines is one of the great landmarks of music in this era. And this rendition of Pines is just awful. There is not one second of music in the entire first movement. Yes, it is impressive that the orchestra could stay, more-or-less, together at that tempo. But the musicians sound like they are keeping up with the conductor, not playing together. All of the movements lack musical nuance. This recording is vulgar and insensitive. While I blame this on the conductor, he certainly wasn't responsible for the clams heard in later movements. I am far more interested in an artistic performance than I am in technology. So I favor Reiner's Pines over all others. It is inspiring. Who cares if it is early stereo?

A note about the trombone section featured in a previous review: The trombone section is, in fact, outstanding throughout this disc. In Philadelphia, we were so lucky to have those years with Joe Alessi and Charley Vernon along with Glenn Dodson and Tyrone Breuninger (a fine associate principal for many years). However, Joe Alessi was long gone by the time this recording was made in 1985. If the recording was made during the '84-'85 season, the second trombone part was played by David Read. If it was made during the '85-'86 season, the second part was played by Edward Zadrozny. With Alessi's big shoes to fill, both of these musicians were phenomenal during their one-year stints in Philadelphia. Unfortunately, there is a dearth of recordings made by the two years that Dodson, Breuninger, Alessi, and Vernon were together. The only one that comes to mind is Sheherezade with Muti conducting. For trombone enthusiasts, that recording is particularly interesting because it features the future NY Philharmonic principal playing the second trombone solo.

Different views from different publications.......2005-11-18

Riccardo Muti's recording of Respighi's "Roman Trilogy" with the Phildelphia Orchestra has had different views from different publications over the years. A 1986 review in STEREO REVIEW referred to Muti's recording as "Spectacular", but a 1996 AMERICAN RECORD GUIDE review called it "over-rated, and a recording with no real bass" (referring to the engineering). I tend to view it in a more favorable light than the ARG reviewers; Muti conducts with tremendous flair, and if he glosses over some high points in the excitement of the moment, I consider this a great recording, worthy to stir the senses for the moment, which Respighi, like Richard Strauss in his tone poems, should do.

I can't give you a blow by blow description of how Muti does each movement within each work, but he has a great building climax in IV of "Pines of Rome." "Fountains" is more reflective, while "Festivals" is truly savage, and really barbaric in I, depicting the torture and slaughter of Christians at the hands of the gladiators in the Colusseum.

In short, I give Muti's Respighi 5 stars for performance, 4 stars for sound:the bass is a bit diffuse, as ARG's reviewers pointed out.

Alternatives? Ormandy/Philadelphia (Sony) for all 3; Ozawa/Boston (DG) for "Festivals" (maybe hard to find now); Gatti/Santa Cecilia (EMI) for all 3, in digital sound which is state of the art.

A putative tie-breaker: Muti over Dutoit.......2003-03-25

Having heard both Muti's and Dutoit's Respighi excursions, Muti gets the nod as the best Roman trilogy on CD. The first reviewer lamented lost impressionistic detail in the Muti that Reiner, and later Dutoit, allegedly bring out. This is only partially true -- sometimes the contrast is not between detail and no-detail, but rather on emphasis. De gustibus non disputandum - there's no disputing a matter of taste. If there's a reference recording to reflect Respighi's intent, it would have to be that of his good friend, Toscanini. And Toscanini was never happy with the inability of recording engineers to handle Respighi's intent (neither with the same Philadelphia orchestra Muti conducts here, nor with the NBC Symphony). It's fair game to extrapolate from this. Rhythm does dominate Muti's interpretation; the "acceleration" alluded to by another reviewer sometimes occurring in surprisingly effective places (the beginning of the final saltarello of Feste Romane, for example). It's hard to tell how truly "authentic" either Muti or Dutoit is; e.g., it's not clear that they're using actual buccine in Pines or Festivals (Argeo Quadri apparently did). Arguably better detail is achieved by Ozawa or Tilson Thomas, but one must rule on the overall interpretation as opposed to indulging in tunnel vision. (One reviewer commends Muti's slower tempo on the finale of Pines, but it's noteworthy that Toscanini's tempo was significantly faster, presumably reflecting Respighi's preference.)

Average customer rating:

Panorama: Ottorino Respighi

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005IB60
Release Date: 2002-01-15

Tracks:

The Pines Of Rome: I Pini Di Villa Borghese
The Pines Of Rome: Pini Presso Una Catacomba
The Pines Of Rome: I Pini Del Gianicolo
The Pines Of Rome: I Pini Della Via Appia
The Fountains Of Rome: La Fontana Di Valle Giulia All'alba
The Fountains Of Rome: La Fontana Del Tritone Al Mattino
The Fountains Of Rome: La Fontana Di Trevi Al Meriggio
The Fountains Of Rome: La Fontana Di Villa Medici Al Tramonto
Roman Festivals: Circenses
Roman Festivals: Il Giubileo
Roman Festivals: L'ottobrata
Roman Festivals: La Befana

Tracks:

Ancient Airs And Dances: Suite III: Anon.: Italiana (Fine Sec. XVI)
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'C'est Malheur Que De Vous Aymer'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'Adieu Bergere Pour Iamais'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'Beaux Yeux Qui Me Voyes Clairement'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'La Voila La Nacelle D'amor Ou Ma Maitresse Arrive'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'Quelle Divinite S'imprime Dans Mon Ame'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'Si C'est Pour Mon Pucellage Que Vous Me Faites L'Amour'
Ancient Airs And Dances: Suite III: Jean-Baptiste Besard: Arie Di Corte (Sec. XVI): 'Andante Cantabile'
Ancient Airs And Dances: Suite III: Anon.: Siciliana (Fine Sec. XVI)
Ancient Airs And Dances: Suite III: Lodovico Roncalli: Passacaglia (1692)
Impressioni Brasiliane: Notte Tropicale
Impressioni Brasiliane: Butantan
Impressioni Brasiliane: Canzona E Danza
The Birds: Preludio (Da Bernardo Pasquini)
The Birds: La Colomba (Da Jacques Gallot)
The Birds: La Gallina (Da Jean-Philippe Rameau)
The Birds: L'usignuolo (Anon., Sec. XVII)
The Birds: Il Cucu (Da Bernardo Pasquini)
Sunset - Irmgard Seefried

Music Track:

Music Track

music track

Recommended Music:

Creation, A Child

Music Review: 20th Century Flute Concertos / Jennifer Stinton

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Half Light, Pt. 2 [CD-single] [Import]

Hills of Greenmore: An Anthology

Helen Baylor...Live [Live]

Gigli Complete Collection Vol. 3

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Hijas de Eva [Import]

II & III [Extra tracks]

Forgotten Dreams

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The Big Bang: In the Beginning Was the Drum

When You Were Young