ALFREDO CASELLA
Concerto for Cello and Orchestra op. 58
PËTR IL’IČ ČAJKOVSKIJ
Symphony No. 2 Little Russia op. 17
Violoncello
Federico Romano
Conductor
Donato Renzetti
Opera Carlo Felice Genova Orchestra
Composed between 1934 and 1935, Alfredo Casella’s Concerto for Cello and Orchestra, Op. 58, represents a fascinating synthesis of the Turin composer’s diverse musical sensibilities. In a period of historical transition and artistic ferment, Casella distils a language that looks fondly to the past without renouncing the restless sounds of his time.
TheAllegro molto vivace first movement opens with propulsive rhythmic energy, woven into the intense dialogue between the soloist and the orchestra. The clarity of the lines, as well as a certain structural severity, give this movement a fundamentally neoclassical feel, onto which the cello’s often lyrical and passionate melody introduces an element of vibrant emotion.
In the introspective Largo centrale, the expressive heart of the concerto, the cello unfolds an intense and melancholic melody, almost like an aria from an opera. The communicative qualities and rich sound of the instrument are enhanced and supported by a delicate orchestral texture rich in tonal nuances.
The Presto vivacissimo finale recaptures the rhythmic energy of the first movement, with a lighter, more carefree character, where the virtuosic intent is evident in the brilliant, dynamic passages that highlight the soloist’s technical abilities. In contrast, there are moments of lyricism and cantabile that confirm the fundamental dual nature of the work.
Overall, the composer develops the new demands of the musical language of his time in a highly personal manner. The cello writing is idiomatic, varied and passionate, making this work – although not one of the composer’s most frequently performed – a precious gem in the cello repertoire.
The Symphony No. 2 in C minor, Op. 17, composed and significantly revised by Pyotr Ilyich Tchaikovsky between 1872 and 1880, is a charming and warm tribute to Ukrainian folklore: hence the subtitle ‘Little Russia’, according to the name given to Ukraine at the time by the Tsarist Empire. The most distinctive feature of the symphony lies in its extensive use of authentic Ukrainian folk songs: this derivation, which can already be heard in the opening theme of the first movement, Andante sostenuto, conveys a sense of familiarity and deep cultural roots to the listener.
L’Andante marziale, quasi moderato serves as a slow movement, but with an unexpectedly rhythmic and solemn character. The main theme, also of folk origin, is treated with a nobility and intensity reminiscent of processions or ritual dances. The orchestration, rich in colour and dynamic contrasts, contributes to creating a suggestive and deeply evocative atmosphere.
Lo Scherzo. Allegro molto vivace is an explosion of energy and vitality. The pressing rhythm of the brilliant, dancing themes restores the joyful, dynamic character of the original folk material. The Trio section offers a moment of lyrical and melodic contrast until the initial rhythmic energy returns with a vengeance in the Scherzo, culminating in a sweeping conclusion.
The finale, Moderato allegro ma non troppo, represents the apotheosis of the homage to Ukrainian folklore. The main theme is taken from a famous folk song, ‘The Crane Flies Away from the Sea’, which is presented through a series of variations, each characterised by a different orchestral treatment. Tchaikovsky’s skill in transforming a simple folk melody into a grandiose symphonic fresco, which develops and intensifies through contrasting moods, culminating in a triumphant and festive conclusion, is extraordinary.
