PAOLO MARCHETTINI (b.1974): Concertino for Clarinet and Orchestra (Paolo Marchettini [clarinet], MSM Chamber Orchestra; Kyle Ritenauer), Notturno (MSM CO; David Gilbert), The Months Have Ends for Soprano and Orchestra (Alda Caiello [soprano], Orchestra della Toscana; Carlo Rizzari - texts included), Mercy (OdT; Fraancesco Lanzillotta), Aere Perennius (Orchestra Roma Sinfonietta; Gabriele Bonolis).
Catalogue Number: 01W059
Label: New Focus Recordings
Description: The Italian composer-clarinettist (who has worked as performer with many European luminaries of this avant-garde) has lived in the USA for the past decade, which he suggests has made his music more multicultural and cosmopolitan than it was previously. These sophisticated, sinewy works, serious and dramatic, are nonetheless entirely approachable, which may also be a result of his move - all are from his American years. Mercy is a powerful instrumental Miserere, beginning with angular tension, passing through a turbulent central section, unexpectedly vehement, even violent, and on a larger scale than the supplicatory nature of the prayerful subtext might suggest, before arriving at a serene but strained chorale. This arch structure, with a tumultuous central climax bracketed by an ‘introduction' and ‘postlude', is a favourite device of the composer’s, applying to the Nocturne, which builds a terrifying nightmare which erupts out of mysterious shades of night and recedes into them; and Aere perEnnius, a 90th birthday tribute to Ennio Morricone, which, while not sounding like Morricone's music nevertheless has something of the lush, neo-romantic textures of a film score. The Concertino suggests the journey of a protagonist through seven 'scenes' enacting a darkness to light narrative, progressing from darkness and ambiguously tonal (rather Wagnerian) melancholy to a warm, tonal resolution. The song cycle assembles a narrative on the impermanence of human existence from five of Emily Dickinson's strangely, richly symbolic poems, beginning with almost expressionistic dramatic vehemence and continuing in late-romantic chromaticism to a resigned conclusion.