Respighi: Ancient Airs & Dances

A partir da década de 1870, a cena musical italiana passou por um processo de renovação. De um lado, autores ligados à ópera buscavam superar a influência de Giuseppe Verdi, num movimento que desaguou no verismo. De outro, alguns compositores mudaram seu foco em direção à escrita sinfônica. Surgiu, assim, a chamada geração 1880, que se refere a músicos nascidos nessa década e que, anos depois, estariam na linha de frente desse processo de renovação. Ottorino Respighi é um deles, e sua obra é marcante. Entre tantos caminhos por ele empreendidos, um foi o retorno à música antiga como inspiração. Foi assim que nasceram peças como Árias e danças antigas e a Suíte “Os pássaros”. O que Respighi faz, no entanto, não é apenas emular o estilo da época, mas, principalmente, emprestar a ele elementos da criação da passagem do século XIX para o século XX, como a ironia e um sentido bastante particular de nostalgia, elementos que parecem ainda mais flagrantes quando ouvimos a transcrição para órgão feita por Rodolfo Bellatti, formado pela Academia de Música da Basiléia, na Suíça. O álbum traz, assim, a chance de ouvir uma versão da música antiga recriada, por sua vez, pela sonoridade do órgão. O resultado é fascinante.

Though not strictly born in the 1880s (1879), Respighi belonged to a group of composers known as the generazione dell’ottanta (The 80s Generation), who strived to assert, as they saw it, a renewed musical expression of authentically Italian musical culture. It was a conservative stance in terms of both musical approach and nationalism, but it resulted in Respighi and colleagues recovering unjustly neglected treasures from their Italian heritage. Respighi’s first international success, an arrangement of Monteverdi’s Lamento d’Arianna, may be seen as the natural forerunner to the four suites of arrangements and transcriptions on this album.

While the intent may have been conservative, Respighi’s approach to what we now call ‘early music’ was notably liberal by our standards, marked as much by nostalgia and irony as erudition. Orchestration is much too weak a term to do justice to the process of subtle recomposition to which Respighi subjected his chosen originals.

Suite no.1 of the Ancient Airs & Dances consists of four pieces, yet Rodolfo Bellatti has moved its concluding Passo mezzo e Mascherada to the very end of the three suites in order to bring an authentically lively and upbeat close to the sequence as a whole. Many critics have singled out the Third Suite as the finest, perhaps because of its melancholy and reflective character. Between composing the Second and Third of these Suites, Respighi produced another small masterpiece of affectionate neoclassicism with his Gli Uccelli (The Birds). Five avian-themed pieces of harpsichord and lute music supply Respighi with his originals, to which he gives a stylised gloss.

Rodolfo Bellatti has made these Respighi transcriptions while bearing in mind their suitability for organs of different ages, styles and sizes. He has aimed to respect both the colours and form of Respighi’s suites as well as the nature of the original pieces with their older tuning systems and affective idiom. He has also chosen to confine himself to the range of pitches afforded by organs of the 16th and 17th centuries.

Recorded on the Serassi and Grisanti Organs at the Cathedral of Santa Maria Assunta, Asti, Italy, the specifications of which are included in the booklet