Trittico Botticelliano Program Notes

Respighi : Trittico Botticelliano. Posted by gene in Program Notes. Program Notes (79) Reviews (5) Social Media (2) Software (1) iPad (1. A JACOBS MASTERWORKS CONCERT IN COLLABORATION WITH THE SAN DIEGO. OTTORINO RESPIGHI Trittico Botticelliano.

Responsibility Respighi. Uniform Title Deità silvane Language Italian. Mozart – Fantasia in F minor for Organ, K. WindSync Respighi – “L’Adorazioni del Magi” from “Trittico Botticelliano” arr. Respighi composed Trittico Botticelliano in 1927. It is scored for flute, oboe, clarinet, bassoon, horn, trumpet, percussion, harp, celesta, piano and strings.

Respighi Trittico Botticelliano Youtube

Listen to Trittico Botticelliano by Ottorino Respighi. Listening Library. Respighi is probably best known for his three increasingly garish pictorial suites for large orchestra: The Fountains of Rome (1. The Pines of Rome (1. Roman Festivals (1.

But, in tandem with this triptych, he was drawn increasingly to the musical approaches of the Baroque and Classical eras, and the attendant smaller orchestras. Beginning in 1. 91. Ancient Airs and Dances, as well as The Birds (1.

Baroque keyboard works. Though not based on older material in the manner of these pieces, the Three Botticelli Pictures share their more intimate atmosphere and their often delicate handling of musical material. Inspired by paintings by Sandro Botticelli (1. Uffizi Gallery in Florence, the Three Botticelli Pictures continue the pictorial strain of Respighi’s three most famous large- orchestra works (and others, such as Brazilian Impressions and Church Windows). The first, La primavera (The Spring), is rooted in the dance — a key element of this allegorical painting is the group of three graces dancing in its foreground. L’adorazione dei Magi (The Adoration of the Magi) depicts not only the meeting between the infant Christ and the three wise men (a moment of revelation marked by the sudden entrance of triangle, celesta, piano and harp), but also the journey to Bethlehem (the opening moments, dominated by a solemn Catholic hymn, “Veni Emmanuel”) and their departure.

The final movement offers a musical rendition of Botticelli’s masterwork “The Birth of Venus.” The gentle rocking motion of its opening, decorated with woodwind arabesques, conveys images of wind and sea. The music builds to a climax — the birth itself — before returning to its initial material.