While the fourth and sixth movements require the trumpeter to play for a majority of each movement, the trumpet is tacit during the fifth movement, providing time for rest in preparation for the last movement. This piece is easy to program and is always warmly received by audiences.Įndurance in this piece should not prove to be an issue, as all passages are relatively short and interspersed with rest. There are handful of wonderful works for trumpet in a chamber setting, and there are definite nods to these pieces by Martinu, Shostakovich, and others in Casella’s Serenata.

The Serenata has several historical influences from the French and Italian Baroque and Classical periods. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. Structurally it may derive from César Franck’s Prélude, choral et fugue and Prélude, aria et final, but Stravinsky is there too: in the stylistic inspiration for the main theme of the Introduzione in particular, and also within the melodic material and tempo changes in the concluding Marcia.Alfredo Casella’s Serenata, op. Stravinsky’s influence is present also in the final work on this disc: Introduzione, Corale e Marcia for large orchestral forces. It was through his admiration for Stravinsky that Casella later discovered neoclassicism, a style which is strongly evident in the driving rhythms, tunefulness, and colourful orchestration of his third Symphony.

In this one-movement work, the composer focuses on just two contrasting destinations in Italy: Sicily – impoverished, sun scorched, and superstitious – and Naples – bustling and carefree. The orchestra plays its collective heart out, and the Chandos recording is stunning in its realism and impact.’Ĭasella was a fervent Italian patriot, as his Symphonic Rhapsody Italia so aptly demonstrates. McConnell of MusicWeb International commenting: ‘I am once again dumbstruck by how engaging and wonderful this music is. The two previous volumes have been very well received by reviewers and the buying public alike, David A. This is the third volume in Chandos’ survey of orchestral works by Alfredo Casella, which forms part of the ongoing Italian Music series with the BBC Philharmonic and Gianandrea Noseda.

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