Caracciolo: Malipiero Symphony No. 6 / Petrassi Suite - Columbia QCX 10162

$

85

ITEM DESCRIPTION:

This beautiful and rare LP, a fine collector’s copy, from Italian Columbia (QCX 10162, Italian pressing, blue/silver label, mono – no stereo edition exists, glossy laminated flipback jacket) features two seldom heard 20th Century masterpieces by composers Malipiero and Petrassi.

They are heard here with the Orchestra “Alessandro Scarlatti” under the direction of Franco Caracciolo. Both works were made in October 1955 and are fascinating scores that should be heard in these world premiere recordings.

The exact contents are as follows:

Gian Francisco Malipiero: Sesta Sinfonia (Sixth Symphony)

Goffredo Petrassi: Ritratto di Don Chisciotte (Suite for Orchestra)

Wrote the critic D.S. in his review for the March 1957 issue of The Gramophone:

“Malipiero wrote his first symphony in 1933, and its original title was "First and Last Symphony ". But the composer realised that this was going too far (or possibly not far enough) and accordingly changed the title. Since then he has written six more symphonies, many of them characterised by a special title or programme. The Sinfonia sesta: degli archi was completed in Venice on November 26th, 1947 (dedicatee Paul Sacher) and as its title suggests, the work is for strings only. Nevertheless Malipiero skilfully exploits the many and varied timbres and effects of which a string body is capable, and there is no doubt that Caracciolo and the Orchestra Alessandro Scarlatti do full justice to the score.

“The orchestra's excellent soloists are heard more frequently than in the normal symphonic texture. Indeed there is more than a hint of the concerto grosso in Malipiero's ground plan, and this (for me) is one of its most attractive features. There is an azure warmth, a Latin nobility in this music, and even those who know little of Malipiero will find it immediately attractive.

“Petrassi's ballet is not highly esteemed by Italian critics, but its Parisian premiere on November 21st, 1947, was a fair success, and it must be admitted that parts of the suite here recorded fall pleasantly upon the ear. Although by no means the most graphic of composers, Petrassi has a subtle grasp of the fantastic element in this variation by Aurel Milloss of the Don Quixote story. For those who do not know the ballet, the following synopsis, with timings, may be of assistance.

“After a brief Introduction, the First Dance begins (1'49") and the stage reveals a man reading a large book about the adventures of Don Quixote. As he reads on, his enthusiasm grows, and the sound of knightly brass is heard as he pictures for himself the derring-do and the dash of this fabulous character. Servants appear on the scene and dress him up : he no longer reads about Don Quixote, he is the Don. With obvious significance, a bassoon ushers in (4'53") the first of his adventures. But pride goes before a fall, and a resounding thud at the end of this section depicts the Don dismounting with more than his customary alacrity. After this Second Dance comes an Intermezzo (7'51") with a flute fancifully portraying the lady Dulcinea. Then (9'12") mutes for the strings and brass while the Third Dance shows Don Quixote, a mock-monk, at his religious and ascetic exercises. The Fourth Dance (13'21") deals with his last adventures and death. He comes to his senses, and realises that everything has been a dream. He cannot find Dulcinea, but Sancho Panza is there encouraging him to return once more to his adventures. But he tears up the great book, and as the pages are scattered he dies. Sancho. covers the body and kneels down ; Dulcinea at last appears, carrying a bunch of violets. Then, lo and behold, the spirit of Don Quixote rises up, takes the violets, and places them upon the corpse. The Finale (18'12") depicts the hero's apotheosis.

“This may not be Petrassi at his best, but it certainly shows how versatile a man he is, and the music is undoubtedly above the average modern ballet score. Again, Caracciolo secures a lively performance, and apart from the brass section the ensemble is clean and precise. The recording acoustic is spacious without being over-resonant.”

Incidentally, there are superlative liner notes on the reverse side of the jacket by Luigi Pestalozza, printed in Italian only. The striking cover art on the jacket front is uncredited.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the glossy laminated flipback jacket is near-MINT. There is slight wear to the lower-right corner and some very minor scuffing to the lower front panel, but that is all. Otherwise, the album appears almost as new. There are no, bends, or owners' markings, and the jacket remains solid, bright, glossy, and very attractive – overall, this rates as a truly fine collector’s copy.

The condition of the LP itself is near-MINT. Although the surfaces are not completely silent (and thus I have rated it NM vs. MINT), really this is a very fine copy and playback is superb. However, if you must have absolutely perfect surfaces, then please do not buy this LP. Overall, this rates as a lovely collector's copy.