It's not too surprising that people are hearing Borodin, Gliere, Tschaikovsky, Grechaninov, etc. since it is a "Ballet on Russian Melodies". In it, Respighi pays tribute to a group of lesser-known Russian composers. The opening prelude is "in the style of Grechaninov". The third movement, "Entry of the Tsar with Bridegrooms" is in the style of Arensky. Movement 4, "Scene of the Tsarevich" is modelled after Palchuski. The 5th movement, "Dance of the Tartar Archers", is in the style of Rubenstein, while the Finale is in the style of Rabikaff. The other movements are by Respighi but based on Russian folk tunes.
Respighi es un grande. Insisto en que la "posteridad" no siempre da lo que algunos se merecen. Incluso a veces da a quien no se merece. No es este el caso, como queda patente en lo que respecta a este genial compositor-artista recordado casi exclusivamente por sus "Pinos o sus Fuentes de Roma" y no mucho más, y que merece más atención de la que viene gozando. A ver si esas grandes orquestas se animan a sacar a la luz las composiciones --y los nombres de sus autores-- de tantos que aún permanecen en un, por lo general ( y que Oscar me perdone) injusto olvido; o como en el presente otras de sus obras a penas conocidas e incluso desconocidas. Que así sea.
ringraziamo TheWellezCompany per le bellissime serate musicali che ci regala! Avanti così, mi raccomando! troppa musica del '900 è rimasta quasi completamente sconosciuta ai più, era ora che qualcuno le rendesse giustizia.
There are many of us who are so well versed in the 20th century playlist. We move beyond the "Canon" in midlife. We collect many other genres of the so-called "classical" library. We have built upon the genius class of 18th/19th century works, and move out to experiment and experience the ever-branching bodies of musical creation. I co-host a Music Appreciation Group in Southern California. Several of us inherited it from a group that started in 1954! There is a wealth of delight out there in the world of music...all genres, all schools, all categories. If it gives YOU a "Frisson" all over your body when you hear it, it is WORTHY! Keep it alive! Share it!
You describe exactly my own experience though in fact I started to explore beyond the core repertory when I was in my early 20`s and of course have never looked back. There is so much great music out there which is rarely heard but recently things have started to change and thanks to Y.T. our search can continue indefinitely.
@@paullewis2413 Hahaha, I just stumbled across this work again today and found my comment from 5 years ago. Comment threads here move like slowly sinking antique glass panes in historic house's windows, as compared to social media elsewhere, which resemble Kilauea lava flows by comparison. Now I bookmark these works so I don't lose track on them again!
@@paullewis2413 I was exploring the beyond places ieven n my late teens, but kept filling in my knowledge of the standards until a few years ago when they started becoming earworms. We bellyache about how many times our local station runs Brandenberg Ctos...don't listen to it anymore. I feel that overplaying canonic works does them a disservice.
Wonderful largely forgotten work, with his typical orchestral 'elan' and melodic sensibility...fine enjoyable music worth repeated listening's..with yes...that whiff of Tchaikovsky to it...
Respighi was not only a composer but also a pianist, violinist, orchestra conductor, professor of composition at the Accademia di Santa Cecilia in Rome and the greatest Italian musicologist who rediscovered our Renaissance music and studied Gregorian chants, a sacred music whose origins date back to 500 AD He composed suites based on music by Italian and French composers of 1600-1700 thus contributing to the knowledge of then forgotten music. He was also a transcriber in orchestral form of Bach organ sonatas.
August must have been Respighi month at TheWelleszCompany--I thought I was familiar with his repertoire but I've never even heard of this, or half the other stuff you've so obligingly posted! Wish you'd gave some background on this and the other lesser known pieces. But ta muchly for this and all the rest!
As for the person putting a heart to Respighi’s music, who is you？ This splendor of words can not arrive The attraction of Respighi’s music is immeasurable,
@@malena3669 Hallow I am thought of the horse racing of Saturday, and Sunday, and Monday The overhelming powerful super Tyhoon is approaching in Tokyo At the landing site , the storm is blowing so hard that trucks and cars are toppling over. In Japan autumn is the tyhoon season
For those interested: this piece ends at 25:07. There is an empty unused space at the end totaling 12:05. Perhaps another piece could have been inserted here?
Ottorino Respighi is one of the most underrated composers of the 20th century and yet, tonally his music rates "up there" with all the British greats of the same time period. I suspect there is a little sub conscious racism and dismissal of him as being "just another Italian with Italian music". Well, imho, his music stands tall and proud and is the equal of anything the venerable John Williams could write today.
+ tripsadelica Sorry who are all the "British greats" of the same time period? I can only think of Vaughan Williams, considering Elgar is basically a generation earlier. And even Vaughan Williams, not sure he is considered " up there". Holst? And really are there persons around thinking anything such as "just another Italian with Italian music"? That is really blatant ignorance of the history of music and of history in general (and maybe you are right also racism). I hope you have been able to dismiss them as the ignorant people they are.
@@steveegallo3384 Is Tchaikovsky hailed as a great orchestrator? He certainly orchestrated well, but I've never heard people call him an amazing orchestrator to the extent of the others you mention.
Grechaninov used the same melody and harmony in a lullabye as the beginning of this piece. I sang it years ago. "Sleep my baby, close to mother, hush-a-bye my dear, hush-a-bye my dear." Seems that Respighi borrowed it completely, or Grechaninov did.
I want to make it short, so I will not mention whom I don't hear in this work. Whom I do hear is Borodin. And at some parts it reminds me of a certain Respighi.
Russian influence, perhaps; but I hear more of Rimsky-Korsakov and especially Glazunov in this piece - not so much Tchaikovsky, really. Still none the worse for that - a very fine piece of music that ought to be far better known. You pundits can keep your Sacres and Petrouchkas. It's not a matter of what's historically significant, but rather how the sensitive musical ear receives a work. We each have our own individual listening needs, so please don't tell us what we should value and what we should not. We don't tell you "experts" what to esteem.
***** I certainly cannot argue that Respighi was more attuned to the St. Petersburg Conservatoire rather than the Moscow. Tchaikovsky and Rachmaninov were essentially foreign to his nature, as to an extent was Glazunov and following this latter, Shostakovich. I think we are in agreement there. Stravinsky of Feu d' Artifice and Scherzo Fantasque as well as the original first act of Le Rossignol would appeal to Respighi as well, along with parts of Oiseau d'Feu. Here too we have no difference. Between Tchaikovsky and Rimsky-Korsakov (as indeed with all of the Nationalists) it was the whole approach to composition. Tchaikovsky was no amateur as they were and insisted on formal study. He assiduously followed the examples of the great Austro-German composers and their tradition, adapted them to his own ends, and his work benefited thereby. The same to an extent could be said of the other three names I mentioned above. In later years, Rimsky-Korsakov, almost alone among the Nationalists, began to see the error of his ways, recognized the need for intense study to accomplish his ends, and really set out to make up for lost time. He acquired enough knowledge to acquire a font to pass on to pupils by keeping, as he put it, one jump ahead of them. He actually sought Tchaikovsky out at one point for guidance, and as it turned out, Tchaikovsky had more respect for him and his accomplishments than that of any of the other Nationalists. Even Rachmaninov in the end developed a healthy respect for him even though the two had totally different approaches. And Glazunov, who was prodigious in his talent at a very early age, actually ended up by outstripping his master in compositional skills, although I realize that many will dispute this.
+alger3041 You are so right! Too much "academia" has pervaded the musical world with certain composers being accused of being out of touch with current trends but in the end this is really irrelevant. Over the years, with experience, I have widened my musical horizons considerably but I still judge music solely on how it affects me, nothing more.
+cameronpaul Very good. Even in my professional status, I agree with your outlook 100%. We cannot go by what we read in books or hear others state, but on the contrary have to experience a given work of music for ourselves, for in the end, it is the work itself that matters, that we have to deal with.And it is also true that a work generally regarded as an important historical landmark may be found by many to be utterly revolting or at the very least, uncongenial; whereas, on the contrary, a work thought of us derivative, solidly on the beaten track, and consequently dismissed as insignificant, may move us to our very roots.This point would even apply regarding individual works by the same composer.And we must also remember that we are hearing a work of music with our own faculties - our minds, our ears, even our eyes (assuming the ability to read a score and mentally hearing what the notes on the page represent) - with our own faculties, not anyone else's not even the composers. We form our own images, and these are in a sense immutable, because they are what introduced us to a work in the first place. We should never permit any external influence to take these from us. The sources of a composer's inspiration or the coincidental biographical occurrences while a given work was composed may be incidentally interesting, but in many cases, because of how we receive a work, they can oftentimes become intrusive and quite frankly, unwelcome.You seem to be very much on the right track. Please tell me more about your musical experiences.
"How the sensitive ear receives a work." So, if that's how you want to rationalize a taste for simpler music with a prominent melodic line and chordal accompaniment, go ahead. You could stop making excuses for your preference -- it seems, for simpler musical textures, and say instead, ya know, "I like it."
Generally I've categorised all Respighi's works into the transitional period between the Romantic and Modern eras. I, for one, would rather refer to Respighi as a Romantic composer, due to the influence of Romance on his works.
![FORTNITE CLASSICS IS BACK! Fortnite Item Shop [November 15th, 2024] (Fortnite Chapter 5)](http://i.ytimg.com/vi/RbQURbeFwqs/mqdefault.jpg)
It's not too surprising that people are hearing Borodin, Gliere, Tschaikovsky, Grechaninov, etc. since it is a
"Ballet on Russian Melodies". In it, Respighi pays tribute to a group of lesser-known Russian composers. The opening prelude is "in the style of Grechaninov". The third movement, "Entry of the Tsar with Bridegrooms" is in the style of Arensky. Movement 4, "Scene of the Tsarevich" is modelled after Palchuski. The 5th movement, "Dance of the Tartar Archers", is in the style of Rubenstein, while the Finale is in the style of Rabikaff. The other movements are by Respighi but based on Russian folk tunes.
Thank you for that!🌹
Thank you for explaining.
Respighi never fails to amaze and delight! Stylistically he seems to have no limits.....
Because we always hear the same few stereotypical works over and over again, we have little idea of just how great he is.
Respighi es un grande. Insisto en que la "posteridad" no siempre da lo que algunos se merecen. Incluso a veces da a quien no se merece. No es este el caso, como queda patente en lo que respecta a este genial compositor-artista recordado casi exclusivamente por sus "Pinos o sus Fuentes de Roma" y no mucho más, y que merece más atención de la que viene gozando. A ver si esas grandes orquestas se animan a sacar a la luz las composiciones --y los nombres de sus autores-- de tantos que aún permanecen en un, por lo general ( y que Oscar me perdone) injusto olvido; o como en el presente otras de sus obras a penas conocidas e incluso desconocidas. Que así sea.
ringraziamo TheWellezCompany per le bellissime serate musicali che ci regala! Avanti così, mi raccomando! troppa musica del '900 è rimasta quasi completamente sconosciuta ai più, era ora che qualcuno le rendesse giustizia.
E poco pultroppo causa della stupidità ed ignoranza. Ma noi speriamo sempre nel meglio cosa ci vuoi fare. Questo vale in tutto.
What a beautiful piece of music! I wish more people knew about its existence.
They do now!🌺
There are many of us who are so well versed in the 20th century playlist. We move beyond the "Canon" in midlife. We collect many other genres of the so-called "classical" library. We have built upon the genius class of 18th/19th century works, and move out to experiment and experience the ever-branching bodies of musical creation. I co-host a Music Appreciation Group in Southern California. Several of us inherited it from a group that started in 1954! There is a wealth of delight out there in the world of music...all genres, all schools, all categories. If it gives YOU a "Frisson" all over your body when you hear it, it is WORTHY! Keep it alive! Share it!
Fantastic to hear! It make me glad just to hear that you do this.
You describe exactly my own experience though in fact I started to explore beyond the core repertory when I was in my early 20`s and of course have never looked back. There is so much great music out there which is rarely heard but recently things have started to change and thanks to Y.T. our search can continue indefinitely.
@@paullewis2413 Hahaha, I just stumbled across this work again today and found my comment from 5 years ago. Comment threads here move like slowly sinking antique glass panes in historic house's windows, as compared to social media elsewhere, which resemble Kilauea lava flows by comparison. Now I bookmark these works so I don't lose track on them again!
I agree; I'm 51 and thoroughly enjoying moving beyond the "Canon" as you put it. And yes, very grateful for YT making this possible. Thank you all!
@@paullewis2413 I was exploring the beyond places ieven n my late teens, but kept filling in my knowledge of the standards until a few years ago when they started becoming earworms. We bellyache about how many times our local station runs Brandenberg Ctos...don't listen to it anymore. I feel that overplaying canonic works does them a disservice.
魅力的な小品が次々に繰り出される
レスピーギの埋もれた名品
私の大のお気に入りバレエ音楽
プロでも知らない曲
right.
Le gemme come queste di Respighi sono la ricompensa per persone aperte e curiose.
Have unjustly ignored Respighi until hearing some of your excellent downloads.....'unsung' no longer in this household, thank you !
beautiful work and a stunning performance
Adoro Respighi, questo mi mancava, GRAZIE!!!
ma per favore! .........
Wonderful largely forgotten work, with his typical orchestral 'elan' and melodic sensibility...fine enjoyable music worth repeated listening's..with yes...that whiff of Tchaikovsky to it...
Tremendous work and beautifully performed
Davvero notevole e godibilissimo, Respighi.
''La Cinema Cantata Magica''? Supremely ethereal ... sublime ...
A beautiful piece, beautifully orchestrated.
Respighi was not only a composer but also a pianist, violinist, orchestra conductor, professor of composition at the Accademia di Santa Cecilia in Rome and the greatest Italian musicologist who rediscovered our Renaissance music and studied Gregorian chants, a sacred music whose origins date back to 500 AD
He composed suites based on music by Italian and French composers of 1600-1700 thus contributing to the knowledge of then forgotten music. He was also a transcriber in orchestral form of Bach organ sonatas.
Lovely! Somehow more exquisite than one might expect from a piece called "The Magic Saucepan">
I confess, I had to look up pentola. I was thinking Pentola Magica was a translation of the magic flute. Different composers you say? Look a squirrel!
suoni che addolciscono l'anima
Hermosa musica.Parece que hay influencia de musica rusa.Conocía sólo los pinos de Roma.Pero esto si que me impreciona.From Argentina.
August must have been Respighi month at TheWelleszCompany--I thought I was familiar with his repertoire but I've never even heard of this, or half the other stuff you've so obligingly posted! Wish you'd gave some background on this and the other lesser known pieces. But ta muchly for this and all the rest!
As for the person putting a heart to Respighi’s music, who is you？
This splendor of words can not arrive
The attraction of Respighi’s music is immeasurable,
@@malena3669
Thankyou
I am grateful that You found this new my posted site
@@malena3669
Hallow
I am thought of the horse racing of Saturday, and Sunday, and Monday
The overhelming powerful super Tyhoon is approaching in Tokyo
At the landing site , the storm is blowing so hard that trucks and cars are toppling over.
In Japan
autumn is the tyhoon season
@@malena3669 Thankyou
See You again
For those interested: this piece ends at 25:07. There is an empty unused space at the end totaling 12:05. Perhaps another piece could have been inserted here?
12 minutes of silence, this is part of score.
@@proarte4081 Really ?
it's not written on the score
@@bertrandrussel3680
ahah I was joking...lol
Stranded in a Winter Wonderland! Maybe this will inspire some other want-a-be composers?
Ottorino Respighi is one of the most underrated composers of the 20th century and yet, tonally his music rates "up there" with all the British greats of the same time period. I suspect there is a little sub conscious racism and dismissal of him as being "just another Italian with Italian music". Well, imho, his music stands tall and proud and is the equal of anything the venerable John Williams could write today.
+ tripsadelica Sorry who are all the "British greats" of the same time period? I can only think of Vaughan Williams, considering Elgar is basically a generation earlier. And even Vaughan Williams, not sure he is considered " up there". Holst? And really are there persons around thinking anything such as "just another Italian with Italian music"? That is really blatant ignorance of the history of music and of history in general (and maybe you are right also racism). I hope you have been able to dismiss them as the ignorant people they are.
Oh, Vaughan Williams is "up there"!
Racisim? What are you talking about?
Underrated? As an orchestrator, most people rank Respighi "up there" with Rimsky, Berlioz, Ravel and Tschaikowsky....
@@steveegallo3384 Is Tchaikovsky hailed as a great orchestrator? He certainly orchestrated well, but I've never heard people call him an amazing orchestrator to the extent of the others you mention.
Why do I listen to this gem? Because I can.
wonderful orchestration!
Grechaninov used the same melody and harmony in a lullabye as the beginning of this piece. I sang it years ago. "Sleep my baby, close to mother, hush-a-bye my dear, hush-a-bye my dear." Seems that Respighi borrowed it completely, or Grechaninov did.
I think Respighi's misfortune was that he was born one era too late.
An interesting work
Fantastic!
Respighi knew the capabilities of the oboe.
Realmente un reposo...
1920年の作品
クラシック音楽が最も華麗で複雑化した時代
I want to make it short, so I will not mention whom I don't hear in this work. Whom I do hear is Borodin. And at some parts it reminds me of a certain Respighi.
Yet again, Ottorino has a bit of Russian glitz with Delius serenity, n'est pas? Thanks.
Godibilissimo e da pieno stile tardoromatico!
Russian influence, perhaps; but I hear more of Rimsky-Korsakov and especially Glazunov in this piece - not so much Tchaikovsky, really. Still none the worse for that - a very fine piece of music that ought to be far better known.
You pundits can keep your Sacres and Petrouchkas. It's not a matter of what's historically significant, but rather how the sensitive musical ear receives a work. We each have our own individual listening needs, so please don't tell us what we should value and what we should not. We don't tell you "experts" what to esteem.
***** I certainly cannot argue that Respighi was more attuned to the St. Petersburg Conservatoire rather than the Moscow. Tchaikovsky and Rachmaninov were essentially foreign to his nature, as to an extent was Glazunov and following this latter, Shostakovich. I think we are in agreement there. Stravinsky of Feu d' Artifice and Scherzo Fantasque as well as the original first act of Le Rossignol would appeal to Respighi as well, along with parts of
Oiseau d'Feu. Here too we have no difference.
Between Tchaikovsky and Rimsky-Korsakov (as indeed with all of the Nationalists) it was the whole approach to composition. Tchaikovsky was no amateur as they were and insisted on formal study. He assiduously followed the examples of the great Austro-German composers and their tradition, adapted them to his own ends, and his work benefited thereby. The same to an extent could be said of the other three names I mentioned above.
In later years, Rimsky-Korsakov, almost alone among the Nationalists, began to see the error of his ways, recognized the need for intense study to accomplish his ends, and really set out to make up for lost time. He acquired enough knowledge to acquire a font to pass on to pupils by keeping, as he put it, one jump ahead of them. He actually sought Tchaikovsky out at one point for guidance, and as it turned out, Tchaikovsky had more respect for him and his accomplishments than that of any of the other Nationalists. Even Rachmaninov in the end developed a healthy respect for him even though the two had totally different approaches.
And Glazunov, who was prodigious in his talent at a very early age, actually ended up by outstripping his master in compositional skills, although I realize that many will dispute this.
+alger3041 You are so right! Too much "academia" has pervaded the musical world with certain composers being accused of being out of touch with current trends but in the end this is really irrelevant. Over the years, with experience, I have widened my musical horizons considerably but I still judge music solely on how it affects me, nothing more.
+cameronpaul Very good. Even in my professional status, I agree with your outlook 100%. We cannot go by what we read in books or hear others state, but on the contrary have to experience a given work of music for ourselves, for in the end, it is the work itself that matters, that we have to deal with.And it is also true that a work generally regarded as an important historical landmark may be found by many to be utterly revolting or at the very least, uncongenial; whereas, on the contrary, a work thought of us derivative, solidly on the beaten track, and consequently dismissed as insignificant, may move us to our very roots.This point would even apply regarding individual works by the same composer.And we must also remember that we are hearing a work of music with our own faculties - our minds, our ears, even our eyes (assuming the ability to read a score and mentally hearing what the notes on the page represent) - with our own faculties, not anyone else's not even the composers. We form our own images, and these are in a sense immutable, because they are what introduced us to a work in the first place. We should never permit any external influence to take these from us. The sources of a composer's inspiration or the coincidental biographical occurrences while a given work was composed may be incidentally interesting, but in many cases, because of how we receive a work, they can oftentimes become intrusive and quite frankly, unwelcome.You seem to be very much on the right track. Please tell me more about your musical experiences.
"How the sensitive ear receives a work." So, if that's how you want to rationalize a taste for simpler music with a prominent melodic line and chordal accompaniment, go ahead. You could stop making excuses for your preference -- it seems, for simpler musical textures, and say instead, ya know, "I like it."
alger3041 He studied in Rimsky-Korsakov class of composition.
I love the glockenspiel theme. It’s so sweet and endearing.
Danza Cosacca 14:27
Canzone Armena 1:31
Danza della seduzione 17:09
Danza degli Arcieri Tartari 9:16
It seems a bit Tchaikovsky or at least Russian ballet inspired
@maverickbay154 I think it's modern. The romantic era was from the 1870s to 1920? I'm not sure though.
I just noticed this: at 25:00 it falls silent. No more music. Hmmmm.
Concordo pienamente ma purtroppo spesso vale anche per altri compositori.
1:31
メンデルスゾーン「歌の翼に」や、フォーレ「慈悲深い主イエス」みたいなボーイソプラノ
Why all the blank space on the end of the video?
ma quanta musica ha composto respighi? e a noi ci rifilano sempre i soliti pini di roma...
hai detto niente....
Could someone please add a track listing?
Oh relax and enjoy the whole thing!
14:27 sounds so sweet
Starts out similar to the Chopin butterfly etude, or the third movement of Beethoven's piano sonata no.25.
1:35
アルメニアの歌
ボーイ・ソプラノが美しい
Faure Pie Jesus風
La pentola magica
14:27
コサックダンス
私のお気に入り
師匠のライバルのチャイコフスキーの「金平糖の踊り」を意識したのかな
Generally I've categorised all Respighi's works into the transitional period between the Romantic and Modern eras. I, for one, would rather refer to Respighi as a Romantic composer, due to the influence of Romance on his works.
埋もれた名品
リムスキー・コルサコフに作曲を教わった
It ends at 25:20
ストラビンスキーの師匠リムスキー・コルサコフに教わった
似たような管弦楽法
近代管弦楽法の大巨匠
ロシアのオーケストラでヴィオラを弾いていた
Marco Polo LabelのCDを持っている