Ottorino Respighi was one of the most imaginative orchestrators of the first part of the twentieth century. While most of his musical studies were undertaken in Italy, he spent two crucial years in Russia where he took lessons in orchestration from Nikolay Rimsky-Korsakov. Respighi developed a masterful technique in the use of instrumental colors and sonorities. Firmly rooted in the late-Romantic tradition, he maintained this style with only marginal influence from the revolutionary changes in music that occurred during his lifetime. 

Respighi was a musical nationalist, keenly interested in reviving Italy’s musical heritage, especially its instrumental music. Beginning in 1906 he undertook the transcription and arrangement of music from the seventeenth and eighteenth centuries, editing the works of Claudio Monteverdi and Tomaso Antonio Vitali. In 1917 he published the first of his three suites of Ancient Airs and Dances, based on Italian and French lute music, mostly from the early seventeenth century. In 1927 he composed Gli uccelli (The Birds), a five-movement suite using eighteenth-century keyboard works imitating birdsongs. 

Composed in 1914-16, Fontane di Roma is the first of a trilogy celebrating Rome’s unique history and culture. The others are Pini di Roma (Pines of Rome) and Feste romane (Roman Festivals.) They are scored for a large, diverse orchestra that includes bass clarinet, two harps, celesta, piano, optional organ and, of course, glittering percussions.

Respighi noted in the introduction to the score that he tried to express in music the sentiments and visions suggested to him by four of Rome’s iconic fountains, at the hour in which the character of each is most in harmony with the surrounding landscape or appears most enchanting to the observer. He also added some descriptive remarks to
each section. 

The Fountain of Valle Giulia at Dawn: Muted rustling in the violins and soft woodwinds give an impressionistic and bucolic picture of early morning. Respighi wrote in the score: “Droves of cattle passing and disappearing in the fresh and damp mists of the Roman dawn.” The modal oboe melody and open fifths recall the music of the Middle Ages. Birdcalls also punctuate the musical image. 

The Triton Fountain at Morn: A sudden loud blast on the horns above a brilliantly orchestrated trill for piccolo and triangle introduce the Triton Fountains “...like a joyous call, summoning troops of naiads and tritons, who run around, pursuing each other and mingling in a frenzied dance amidst the jets of water.” 

The Trevi Fountain at Mid-day: An undulating solemn theme introduces the image of the Fountain. The theme passes from the woodwinds to the brass, assuming a triumphal character. “Trumpets ring; across the shimmering surface of the water passing Neptune’s chariot drawn by sea horses and followed by a train of sirens and tritons. The procession vanishes while faint triumphal blasts are heard in the distance.” 

The Villa Medici Fountain at Sunset: The final movement opens with a dreamlike English horn melody, accompanied by trickling water, depicted in the glockenspiel and celesta. “It is the nostalgic hour of sunset, with the air full of tolling bells, birds twittering and leaves rustling. Then everything dies peacefully into the silence of the night.”

Joseph & Elizabeth Kahn
Wordpros@mindspring.com
www.wordprosmusic.com