Martucci Complete Orchestral Music, Vol. 2
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Martucci
Label: ASV
Magazine Review Date: 5/1990
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: DCA689

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 2 |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Colore orientale |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Andante |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor George Ives, Cello Giuseppe Martucci, Composer Philharmonia Orchestra |
Composer or Director: Giuseppe Martucci
Label: ASV
Magazine Review Date: 5/1990
Media Format: CD or Download
Media Runtime: 66
Mastering:
DDD
Catalogue Number: CDDCA689

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 2 |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Colore orientale |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Andante |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor George Ives, Cello Giuseppe Martucci, Composer Philharmonia Orchestra |
Composer or Director: Giuseppe Martucci
Label: ASV
Magazine Review Date: 5/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: ZCDCA689

Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 2 |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Colore orientale |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor Giuseppe Martucci, Composer Philharmonia Orchestra |
Andante |
Giuseppe Martucci, Composer
Francesco d' Avalos, Conductor George Ives, Cello Giuseppe Martucci, Composer Philharmonia Orchestra |
Author: Michael Oliver
The process causes no pain; heard in crosssection, so to speak, his music sounds reassuringly mainstream-romantic. And he does reward the attentive listener (or console the baffled inattentive one) with beautiful textures (the very opening of the work, a Sibelian hushed murmur; the wonderful haunted, shadowed music for low strings towards the end of the slow movement) and with the occasional overt isolation of a long melodic line. But the need to be continually aware of background becoming foreground, to be as absorbed as Martucci obviously was with music as process (simultaneous process as often as not: three things happening at once and all three changing) does not make him an easy composer, grateful though his surfaces often are. Some listeners, inevitably, will find him needlessly complex and will be insufficiently rewarded by the fascination of his endlessly fertile combinatorial skill.
A turn-of-the-century Italian Bax? A late romantic Berwald? He is a similarly acquired taste, at all events (I am acquiring that taste rapidly). The B flat Andante is archetypal, densely developed Martucci, but with a long, plangently lyrical cello solo to hang on to and guide the ear; the very early Colore orientale is a colourful genre piece, a concert march with a somewhat Russian flavour to it. Excellent performances and recordings (the thickness of some of the climaxes is not d'Avalos's or ASV's fault).'
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