Search - Sgambati, Caramiello, Venture :: Piano Concerto

Mildly interesting music in decent performances

G.D. | Norway | 04/13/2009

(3 out of 5 stars)

"Giovanni Sgambati (1841-1914) is perhaps most famous for being one of the few Italian 19th century composers (the most famous being probably Martucci) to eschew opera in favor of instrumental music. While Beethoven and Schumann are clear models, there are, however, several stylistic and melodic reference points to his contemporary opera composer. The works here overall reveal a composer able to spin a nice, memorable theme but with less of an ability to sustain interest over longer spans - one is lead to suspect that Sgambati might be a better composer of small-scale works rather than symphonies and concertos.



The Berceuse-Rêverie (orchestrated by Massenet) brings out that suspicion by being the most memorable piece here, and it is a truly beautiful and hauntingly memorable little gem. The large-scale piano concerto is reminiscent of Brahms in layout, but not in execution, with a busy, virtuosic solo part. The first movement is full of pyrotechnics that unfortunately don't seem to be headed anywhere. The second movement, on the other hand, is beautifully serene - at least for a while - but it does, in the end, outstay its welcome as well. With a frenzied, but jaunty, finale, the work is overall a flawed and intermittingly interesting one that is certainly worth a listen, but hardly anything more (though I want to record a slight regret that Sgambati - or someone else - didn't make more out of the thematic material for the second movement). The long, Mendelssohnian Cola di Rienzo overture is an early work and far too ambitious for its modest materials.



The Nuremberg Philharmonic acquits themselves well under Fabrizio Ventura, and in particular in the Colas di Rienzo I can hardly imagine more spirited and fresh playing (although I can, on the other hand, imagine a somewhat more refined performance). The playing in the other works is good as well, but a little lacking in fire. Caramiello certainly has the measure of the solo part of the piano concerto (no mean feat), and plays with a good ear for the various contrasts and textures. Unfortunately the recording balance in the concerto is way off, with the orchestra put at a ridiculous distance and sounding muffled compared to the solo part (the balance is far better in the other works however). To sum up, the music here comprises a worthwhile encounter for the adventurous, but - apart from the Berceuse-Rêverie, which really has the potential to become a classic - there is little here beckoning a second acquaintance or further exploration of the composer's large-scale works."