Triple Concerto (Restani, Conti, Filarmonica 900 of the Teat

I hope you don't mind if I begin by quoting from my review of the recording of Casella's triple concerto conducted by Michael Sanderling on Capriccio:" Casella's concerto for piano trio and orchestra dates from 1930 and was written for himself and the other members of his "Trio Italiano" to play. It is an unusual but very effective blend of 20th century Romanticism with neo-Classicism. The lengthy introduction ( 3 ½ mins in a movement which lasts less than ten ) immediately introduces a striking and easily assimilated five note phrase which is to recur throughout the concerto in various guises. This gives way to two cadenzas for the two string instruments and then the piano which relate to the opening figure. The main allegro, though, is distinctly neo-Classical ( more correctly, neo-Baroque ) in style, rather in the manner of Hindemith. Although this movement, like so much neo-Classical music, impresses more by its technical proficiency and ingenuity than by the quality of its material, it makes for an enormously entertaining and invigorating listen. Again, Casella's ideas are easily assimilated. The composer said that he did not model his triple concerto on Beethoven's ( coincidentally, they share the same opus number ) but on the baroque "concerto grosso". The soloists, then, are to be regarded as a concertino group and, if there are elements of sonata form in this movement's structure, it is probably best to regard it as an alternation of passages highlighting the soloists and the orchestra. That opening five note phrase, by the way, is never far away and is often combined with the main allegro material.The neo-Classical element is less prominent in the ternary slow movement, certainly in its outer sections. Its sombre chorale-like principal theme, first heard on the piano, is of no great interest in itself but later provides a foundation for decorative writing for the soloists. A more rhythmically varied subsidiary idea for the string soloists follows and is soon taken up by the woodwind. The return of the main idea, now decorated by the soloists and then given to the brass leads to the central section. Both the motives of this section are clearly related to the five note idea. This music, more advanced harmonically, is stylistically very different to that of the outer sections. Next the subsidiary idea and the music of the central section are developed until, at 9 mins 32 secs, the principal and soon the subsidiary ideas return. A brief coda built on music from the central section concludes the movement.The finale returns to the neo-Classical busyness of the first movement. Its ideas are again related to the five note theme but there is a contrasting lyrical strain. Again you may feel that the music sounds a little manufactured, as does much neo-Classical music, yet it is easy to follow, eventful and doesn't outstay its welcome for a moment. I greatly enjoyed getting to know this concerto which seems to be Casella's most recorded work : there are no fewer than five other recordings, one, dating from 1936, by the "Trio Italiano" itself."Suggested by Stravinsky's "Pulcinella", "Scarlattiana" is also essentially neo-Classical in style. Dating from 1926, it is a divertimento for piano and 32 instruments based on no fewer than 88 themes taken from Domenico Scarlatti's keyboard sonatas. It is one of Casella's most frequently performed works. The first movement, the "Sinfonia", is essentially a ternary structure with a slow introduction. As you would expect, the ensuing " Minuetto" is also ternary in form. The "Capriccio", another ternary structure, has an opening idea which is clearly related to the opening theme of the "Minuetto". The most attractive movement is the "Pastorale" a gentle 6/8 movement far more Romantic in mood than the others. The slow introduction to the finale gives way to tarentella-like music. This is interrupted at one point by a fugato. All-in-all, "Scarlattiana" is enjoyable for as long as it lasts but none of it really sticks in the memory. The epigrammatic nature of the themes and the sheer number of them counts against this. It is not the sort of piece I would return to frequently but it is lively and inventive."A Notte Alta" (" Deepest Night" ) dates from 1917. At this time, the booklet which comes with this disc says, Casella "had adopted a more exploratory approach to harmony" than had been evident in his earlier works which "were much influenced by the French Impressionists and by Richard Strauss". Similarly, there is no trace of neo-Classicism and it is hard to believe that this music was written by the same composer who wrote the triple concerto or "Scarlattiana". The booklet also suggests that "A Notte Alta" is "to some extent an Italian counterpart to "Nights in the Gardens of Spain" by Casella's friend Manuel de Falla" and " to Arnold Schoenberg's "Verklarte Nacht"". This, though, refers to the inspiration behind the music rather than to its content. Poised between Impressionism and Expressionism and even showing the influence of Satie, it is a highly individual work, certainly for its time. "A Notte Alta" inhabits a dissonant and gloomy sound world though one often enlivened by shafts of colour. Except for an outburst a little over half way through, the music rarely rises above "piano". Tempi are also predominantly slow yet this "poem for piano and orchestra" makes for a compelling listen. Two lovers meet in a garden on a winter's night. There are two principal themes, introduced successively by the piano, one representing the man and the other the woman. The music is loosely constructed but there is what could be called a "recapitulation" beginning at 13' 27". "A Notte Alta", the booklet note says, "has always been recognised as one of Casella's finest achievements". It needs to be heard by anyone who thinks he doesn't like "modern" music.These are all excellent performances which have been very well recorded and this disc deserves an enthusiastic recommendation especially as it can often be had at a very reasonable price. However, for the main work, the triple concerto, the Capriccio disc is preferable if only the best will do. The recording is better balanced and the orchestral contribution superior. I also preferred the faster tempo adopted in the slow movement. The Naxos performance is a good one but is slightly spoilt by a recording which places the piano too far forward in relation to the string soloists. The recording featuring Casella's own trio is now of only historical interest and is oddly coupled with Ireland's piano concerto and 'cello sonata. There are also performances on the Dynamic and Koch labels which I have not heard.