Con­duc­tor Joann Fal­letta on three mu­si­cal rar­i­ties from her record col­lec­tion

BBC Music Magazine - - The Full Score -

Weiner Hun­gar­ian Folk­dance Suite

Phil­har­mo­nia Orches­tra/neeme Järvi Chan­dos CHAN6625

Weiner is hardly known at all, de­spite teach­ing some very fa­mous peo­ple at the Liszt Academy in Hun­gary: János Starker, Fritz Reiner and Ge­org Solti.

His mu­sic is deeply Hun­gar­ian, and this piece has the most ex­tra­or­di­nary se­lec­tion of Hun­gar­ian dances, all filled with colour and vi­brancy. Weiner has a way of cre­at­ing a haunt­ing, mys­te­ri­ous land­scape in the midst of a fan­tasy world. He uses blaz­ing vir­tu­osic so­los with clar­inet and vi­o­lin, which are com­pletely cap­ti­vat­ing.

Pizzetti Rondò veneziano

BBC Scot­tish Orches­tra/osmo Vän­skä Hype­r­ion CDA67084

Pizzetti is from the pe­riod in the early 1900s when Ital­ians were look­ing back to the

17th and 18th cen­tury and re­dis­cov­er­ing their or­ches­tral roots. This piece is an im­pres­sion­ist por­trait of Venice, and Pizzetti is a mas­ter of or­ches­tral colour. Re­flect­ing on the Baroque pe­riod in Venice, it has echoes of the past, fea­tur­ing dances like the Sara­bande and us­ing the harp­si­chord in a very unique way. Toscanini cham­pi­oned Pizzetti and this piece, con­duct­ing its US pre­miere in 1930.

Sch­midt ‘In­ter­mezzo’ from Notre Dame

Nether­lands Phil­har­monic Orches­tra/yakov Kreizberg

Pen­ta­tone PTC5186015

Some­times there are real jew­els em­bed­ded in op­eras, par­tic­u­larly in the or­ches­tral scores. The In­ter­mezzo is a por­trait of the gypsy Es­merelda, and her tragedy and com­pas­sion come through so well in this short piece. It’s ab­so­lutely glow­ing, yet tinged with sad­ness. You feel her yearn­ing and melan­choly with the use of Hun­gar­ian ru­bato. Although Sch­midt was Aus­trian he was clearly very in­flu­enced by this style. He achieves with his string writ­ing a kind of ra­di­ance that is very rare.

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