Trevi Fountain at noon, yes! Not even a glimpse of indifference or doubt, solely music of most reassuring joy, of life-affirming euphoria. Respighi merits much, much more recognition.
As in Scriabin, there is something magical about this work. I lack words to describe the beauty of this song. Just thank you for bringing us quality music for our life.
Give a listen to Charles Dutoit and the OSM (Montreal symphonic orchestra) recorded in the 80s. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5Eea2cXkd6c.html
Why? It's not a trombone solo, or a trombone section solo. It's a bass line consisting of organ pedal, double basses, trombones, tuba, and bassoons. The Berliners balance it perfectly as a combination of all those colors. To favor only the trombones would give a false impression of what Respighi wrote. And if you're referring to the first trombone's melody, again it's doubled at the octave with the trumpets. It's not a trombone solo. The Berliners balance it wonderfully.
Nicholas Fox I disagree. It is the low brass there who have the moving line at dynamic FFF with marked accents on each note. I would not consider it “just a bass line.” You should listen to some other recordings for more reference. Clearly either the recording was not well balanced as it can barely be heard or it was underplayed (which I doubt).
@@Luigi17891 Thank you for your reply. I urge you to look at the score for this piece, which you can find for free on IMSLP (under the Italian title, Fontane di Roma). There are four musical elements occurring at this moment in the piece: sustained chords in the horns and organ manuals, fast figuration in the winds (except bassoons), keyboard, harps and strings (except basses), a soaring tune played by first trombone and trumpets in octaves, and a repetitive, oscillating bass line (yes, it's a bass line, or figure, or ostinato, or whatever you'd like to call it), marked fff and played by the following group: 3rd trombone and tuba, organ pedal, bassoons, and double basses. To say that this bass figure is a low brass section solo is patently false; it's a combination of those listed colors, and as a representation of what Respighi intended, Karajan and the Berliners demonstrate it magnificently. If there are other recordings that have the third trombone and tuba playing dramatically louder than everyone else, well that's fine, but that is an insensitive, somewhat arrogant misrepresentation of the music by brass players and conductors who would rather have a crude distortion of the timbres rather than an insightful blending of those timbres.
Nicholas Fox Not sure where exactly you saw me say it was a “low brass section solo” anywhere. And to be quite frank that wasn’t what I was saying at all. I just did not think the recording was well balanced enough to hear the moving line in the low brass section over the blaring trumpets. Arguably that line is supposed to be around the same volume as the trumpets and it is quite evident it is not in this recording. Don’t get defensive, we understand you clearly have an affinity towards Karajan and his interpretation, which is within reason. Be open to contrary opinions...
@@Luigi17891 Not defensive at all! If one wants to hear more third trombone and tuba at that moment in the piece, one has every right to feel that way. I would just urge again to that person: look carefully at what Respighi wrote!
Too glossy and not enough attention to the marvelous solos and details Respighi composed. Listen to Reiner and the Chicago Symphony to hear what is missing here. Ansermet and Galliera are also quite wonderful in this music. I feel as if the piece has been euthanized by Karajan.
If this universe were completely empty, we will be eternally nothing, that is better than any life, that is the best safest luckiest and most perfect situation, ever. ✌😎 💔
