Ottorino Respighi (1879-1936)

Respighi chose a different route - his work often infused with the music of a halcyon past. Many of Respighi's work look back to the Italian Baroque - some even to Gregorian chant. Yet they remain charmingly, distinctively blended with his own 20th-century musical language. Respighi's 'Roman Trilogy' - comprising the colourful orchestral pieces 'Fountains of Rome', 'Pines Of Rome' and 'Roman Festivals' - are amongst the most-performed concert showpieces of the last 100 years, and notoriously were among Benito Mussolini most cherished pieces of music. Yet his other works are largely unknown to the general public.

This week Donald Macleod - like Respighi - takes a path less trodden as he presents a series of lesser-known masterpieces from the pen of this Italian master.

In the first programme of the week, he explores Respighi's rise to fame in the first decade of the 20th century, and his relationship with his lifelong muse, his wife Elsa.

Donald Macleod explores Respighi's rise to fame in the first decade of the 20th century.

Respighi chose a different route - his work often infused with the music of a halcyon past. Many of Respighi's work look back to the Italian Baroque - some even to Gregorian chant. Yet they remain charmingly, distinctively blended with his own 20th-century musical language. This week Donald Macleod - like Respighi - takes a path less trodden as he presents a series of lesser-known masterpieces from the pen of this Italian master.

Today, Donald explores Respighi's dark days during the First World War, and the influence of his new wife, Elsa. Including music from his delightful 'Boutique Fantasque', based on the music of Rossini.

Ancient Airs And Dances Suite no.1: II. Gagliarda

Boston Symphony Orchestra

Seiji Ozawa, conductor

Deita Silvane

Robert Tear, tenor

Argo Chamber Orchestra

Lကszl　 Heltay, conductor

La Boutique Fantasque (excerpt)

Orchestra Symphonique De Montreal

Charles Dutoit, conductor

Three Preludes On Gregorian Themes, for piano

Sonya Hanke, piano

Ancient Airs and Dances Suite no.2: I. 'Laura Soave'. Balletto con Gagliardo, Saltarello e Canario

Seiji Ozawa, conductor.

Donald Macleod follows Respighi through the Great War and his early years of marriage.

Respighi chose a different route - his work often infused with the music of a halcyon past. Many of Respighi's work look back to the Italian Baroque - some even to Gregorian chant. Yet they remain charmingly, distinctively blended with his own 20th-century musical language. This week Donald Macleod - like Respighi - takes a path less trodden as he presents a series of lesser-known masterpieces from the pen of this Italian master.

Today, Donald Macleod sees Respighi enjoying success at home and abroad during the 1920s, including music based on Botticelli's famous painting 'The Birth of Venus'. However, disputes wtih the managers of the La Scala theatre in Milan threaten to scupper his latest opera project.

Dance Of The Gnomes

Philharmonia Orchestra

Geoffrey Simon, conductor

Adagio Con Variazioni, for cello and orchestra

Mischa Maisky, cello

Orchestre De Paris

Semyon Bychkov, conductor

Belfagor (excerpt from Act I)

Lajos Miller (Ipsilonne), baritone

Sylvia Sass (Candida), soprano

Magda Kalmကr (Fidelia) ,soprano

Mကria Zempl退ni (Maddalena), soprano)

Lကszl　 Polgကr (Mirocleto), bass

Hungarian Radio and Television Chorus

Hungarian State Orchestra

Lamberto Gardelli, conductor

Trittico Botticelliano: I. Spring, III. The Birth Of Venus

Orpheus Chamber Orchestra.

This week, we're invited to explore the richly evocative musical landscape of Ottorino Respighi. The colourful inventiveness of his most popular music was often inspired by images, places or stories, like his trio of ‘Tone Poems': Pines of Rome, Fountains of Rome, and Roman Festivals. These works and others were frequently championed by celebrated conductor, Arturo Toscanini, and Respighi rose to become one of the leading Italian composers of the 20th century. He remains hugely popular with orchestras and audiences today. Respighi's trademark orchestral brilliance betrays the influence of his Russian mentor, Rimsky-Korsakov. He was also fascinated by early music and sometimes incorporated antique styles into his works. In this series, Donald Macleod explores Respighi's life and music from different perspectives, including his associations with Bologna, Rome and the USA, the important presence of his wife, Elsa, and also his complicated relationship with Toscanini.

Respighi was born in Bologna in 1879, and the city would have a lasting influence upon the composer, even after he'd moved to Rome. It was here, as a young man, that Respighi first discovered his interest in the music of the Renaissance and Baroque, which would have a great impact on his future compositions. Also in Bologna, he began performing in the Theatre Orchestra, a job which eventually led him to St. Petersburg where he encountered, Rimsky-Korsakov. Bologna also boasted a number of second-hand bookshops, where Respighi enjoyed spending his time. Over the years he amassed several thousand volumes, some of which inspired operas and songs.

Adagio con variazioni, P. 133

Sol Gabetta, cello

Danish National Symphony Orchestra

Mario Venzago, conductor

Violin Sonata in B minor, P. 110 (Moderato)

Tasmin Little, violin

Piers Lane, piano

Burlesca per Orchestra, P. 59

BBC Philharomonic

Gianandrea Noseda, conductor

Notte. P. 55a

Pia Heise, mezzo-soprano

Roger Vignoles, piano

Nebbie, P.64

Angela Gheorghiu, soprano

Malcolm Martineau, piano

Aretusa, P. 95

Linda Finnie, mezzo-soprano

BBC Philharmonic

Richard Hickox, conductor

This week, we're invited to explore the richly evocative musical landscape of Ottorino Respighi. The colourful inventiveness of his most popular music was often inspired by images, places or stories, like his trio of ‘Tone Poems': Pines of Rome, Fountains of Rome, and Roman Festivals. These works and others were frequently championed by celebrated conductor, Arturo Toscanini, and Respighi rose to become one of the leading Italian composers of the 20th century. He remains hugely popular with orchestras and audiences today. Respighi's trademark orchestral brilliance betrays the influence of his Russian mentor, Rimsky-Korsakov. He was also fascinated by early music and sometimes incorporated antique styles into his works. In this series, Donald Macleod explores Respighi's life and music from different perspectives, including his associations with Bologna, Rome and the USA, the important presence of his wife, Elsa, and also his complicated relationship with Toscanini.

Respighi became frustrated with the lack of opportunities in Bologna, so when he was offered a new teaching post in Rome, he snapped it up. Even so, he frequently returned to Bologna, where he found the peace of mind he needed to compose. Rome would influence Respighi in many ways, not least as the place he first encountered his future wife Elsa. The city also served as the inspiration for several tone poems. The initial reception for his Fountains of Rome was poor, but once it was taken up by Toscanini, interest in Respighi began to grow.

Ancient Airs and Dances, Suite No 1, P. 109 (Balleto detto `Il conte Orlando`)

Sinfonia 21

Richard Hickox, conductor

Il tramonto, P. 101

Anna Caterina Antonacci, soprano

Orchestre Philharmonique de Li耀ge

John Neschling, conductor

Fountains of Rome, P. 106

Sinfonia of London

John Wilson, conductor

Violin Sonata in B minor, P. 110 (excerpt)

Tasmin Little, violin

Piers Lane, piano

Donald Macleod follows Ottorino Respighi as he moves to Rome.

This week, we're invited to explore the richly evocative musical landscape of Ottorino Respighi. The colourful inventiveness of his most popular music was often inspired by images, places or stories, like his trio of ‘Tone Poems': Pines of Rome, Fountains of Rome, and Roman Festivals. These works and others were frequently championed by celebrated conductor, Arturo Toscanini, and Respighi rose to become one of the leading Italian composers of the 20th century. He remains hugely popular with orchestras and audiences today. Respighi's trademark orchestral brilliance betrays the influence of his Russian mentor, Rimsky-Korsakov. He was also fascinated by early music and sometimes incorporated antique styles into his works. In this series, Donald Macleod explores Respighi's life and music from different perspectives, including his associations with Bologna, Rome and the USA, the important presence of his wife, Elsa, and also his complicated relationship with Toscanini.

In 1915, Ottorino Respighi found he had a new student in his composition class, Elsa Olivieri-Sangiacomo. They fell in love and, a few years later, were married. Elsa's support and encouragement proved crucial for Respighi, with Elsa sacrificing her own artistic ambitions in favour of her husband's career. Soon after their wedding, Elsa sparked Respighi's interest in Gregorian Chant, which led to the composition of his Concerto Gregoriano for violin and orchestra,. It was also in the early years of their marriage that Respighi produced another of his most famous works, the Pines of Rome.

Ancient Airs and Dances, Suite No 2, P. 138 (Danza Rustica)

Sinfonia 21

Richard Hickox, conductor

Tre preludi sopra melodie gregoriane, P. 131 (excerpt)

Konstantin Scherbakov, piano

Pines of Rome, P. 141

Orchestra Filarmonica della Scala

Riccardo Chailly, conductor

Concerto Gregoriano, P. 135 (Finale)

Lydia Mordkovitch, violin

BBC Philharmonic

Sir Edward Downes, conductor

Donald Macleod examines how Respighi's life changed following his marriage to Elsa.

This week, we're invited to explore the richly evocative musical landscape of Ottorino Respighi. The colourful inventiveness of his most popular music was often inspired by images, places or stories, like his trio of ‘Tone Poems': Pines of Rome, Fountains of Rome, and Roman Festivals. These works and others were frequently championed by celebrated conductor, Arturo Toscanini, and Respighi rose to become one of the leading Italian composers of the 20th century. He remains hugely popular with orchestras and audiences today. Respighi's trademark orchestral brilliance betrays the influence of his Russian mentor, Rimsky-Korsakov. He was also fascinated by early music and sometimes incorporated antique styles into his works. In this series, Donald Macleod explores Respighi's life and music from different perspectives, including his associations with Bologna, Rome and the USA, the important presence of his wife, Elsa, and also his complicated relationship with Toscanini.

In 1925, American arts patron, Elizabeth Sprague Coolidge, who was responsible for supporting some of the world's greatest living composers, took an interest in Respighi. Ottorino and his wife joined her on holiday in Europe, where they were introduced to the likes of Ravel, Stravinsky and Bartok. In December, Respighi made his first visit to the USA, a watershed moment for the composer leading to a contract with the Welte-Mignon recording company, as well as future tours and commissions. Respighi was becoming a truly international musician.

Belfagor overture, P. 140

Orchestre Philharmonique Royal de Li耀ge

John Neschling, conductor

Poema autunnale, P. 146

Julia Fischer, violin

Orchestre Philharmonique de Monte Carlo

Yakov Kreizberg, conductor

Deit

This week, we're invited to explore the richly evocative musical landscape of Ottorino Respighi. The colourful inventiveness of his most popular music was often inspired by images, places or stories, like his trio of ‘Tone Poems': Pines of Rome, Fountains of Rome, and Roman Festivals. These works and others were frequently championed by celebrated conductor, Arturo Toscanini, and Respighi rose to become one of the leading Italian composers of the 20th century. He remains hugely popular with orchestras and audiences today. Respighi's trademark orchestral brilliance betrays the influence of his Russian mentor, Rimsky-Korsakov. He was also fascinated by early music and sometimes incorporated antique styles into his works. In this series, Donald Macleod explores Respighi's life and music from different perspectives, including his associations with Bologna, Rome and the USA, the important presence of his wife, Elsa, and also his complicated relationship with Toscanini.

Respighi first met the conductor Toscanini in 1904 in Bologna. It would be a crucial relationship for Respighi, although it was sometimes a tempestuous one as well. Toscanini could be a challenging friend, who wasn't above criticising Respighi's music in public. However, when Toscanini was threatened by a group of Fascist youths, after refusing to play their anthem, it was Respighi who stepped in to negotiate the conductor's safe passage home.

Gli uccelli, P. 154 (The Hen)

San Francisco Symphony

Edo de Waart, conductor

Ancient Airs and Dances, Suite No. 3, P. 172 (excerpt)

Munich Radio Orchestra

Henry Raudales, conductor

Bach Arr. Respighi

Prelude and Fugue in D major, P 158 (after J.S. Bach's BWV 532)

Orchestre Philharmonique Royal de Li耀ge

John Neschling, conductor

Notturno, P. 44

Polina Osetinskaya, piano

Roman Festivals, P. 157

Philharmonia Orchestra

Yan Pascal Tortelier, conductor

Respighi encounters the famously fiery conductor, Arturo Toscanini. With Donald Macleod.