Search - Charles Tomlinson Griffes, Erich Wolfgang Korngold, Simone Pittau :: Korngold: Symphonic Serenade, Op. 39; Griffes: Roman Sketches, Op. 7

Almost too much of a good thing

E. Weed | Houston, TX | 03/13/2007

(5 out of 5 stars)

"Oh, boy, this is luscious! Sometimes I don't make it past the Griffes (the first piece in line) before I've just about overdosed. That's about 23 minutes of first rate impressionistic escapism; if you like Debussy's Prelude to an Afternoon of a Faun, or Ibert's Escales, this is a must-buy. As noted elsewhere, this is the first recording of the completely orchestrated Roman Sketches, and the new orchestrations are excellent.



The Korngold...it's very good Korngold, but not everybody goes for Korngold. He can push right up to the edge of saccharine, and it's a matter of personal taste as to whether or not he crosses the line. I haven't completely decided on the Serenade presented here, although fans will adore it, I'm sure. But I don't care...I'm in for the Griffes 100%, and I recommend it heartily to you, too. If you don't know Korngold's music very well, this is also a pretty good place to start (although I like the Symphony better, myself).



Sound is, indeed, demonstration quality."

Gorgeous, nearly unknown music, deserving to be celebrated

Santa Fe Listener | Santa Fe, NM USA | 07/12/2006

(5 out of 5 stars)

"This wonderful record from ASV, in perfect sound, features an unknown (to me) Italian conductor, Simone Pittau, who rose from the ranks of orchestral musician specializing in movie music. That background comes in handy in Korngold's Symphonic Serenade, which contains music originally written for Hollywood film scores to Captain Blood and Anthony Adverse As you'd expect from the source, this is ripely melodic music with lush harmonies--if you're looking for a souped-up successor to the string serenades of Dvorak and Tchaikovsky, Korngold's is even more sweetly romantic. The strings of the LSO play beautifully.



Charles Griffes was a precocious American who died tragically young, at 35, leaving behind piano versions of four Roman Sketches that he was in the process of orchestrating. The White Peacock, which is the first sketch, is Griffes's best-known work, but the others, newly orchestrated, are equally lovely in their simplified Debussyan mode. Griffes already was a master of mood and atmosphere, and although his idiom is gentle, without many strong episodes, it's beautifully crafted.



In all, this overlooked and obscure disc contains some extremely enjoyable post-Romantic music that wears a velvet heart on its sleeve."