Aldo Finzi

Cirano di Bergerac, symphonic poem (1929). “The form of symphonic poem, not very frequent in the catalogue of Italian composers, was greatly favoured by Finzi who loved vast musical frescoes, a many-coloured orchestra and the splendour of timbric contrast….   Cirano di Bergerac, performed in world première at the Maggio Musicale in Florence in 1929, conducted by Gui, was enthusiastically welcomed by the audience that asked insistently for an encore, which, however, was not granted. The audience proved to share the favourable judgement that a commission, including Toscanini, Alfano and Pizzetti, had given of the work.”… Gian Paolo Sanzogno

L’infinito, symphonic poem (1933). “Beyond any literary suggestion that the title of Aldo Finzi’s poem might imply, L’infinito reaches the modern listener in its purely musical significance, since the author had no other aim but writing a lyrically open page, richly expansive in its felicitous melodic invention, which doesn’t shirk the ample phrasing of late romantic derivation.” … Gian Paolo Sanzogno.

Pastoralina, (1920). “This work is originally written for violin and piano, however, in the faithful and loving transcription for orchestra by Gian Paolo Sanzogno it creates an atmosphere of dreamy tenderness, sweet melancholy and regrets for lost time.”… Bruno Finzi.

                                                               Dmitry Shostakovich.  
Piano Concerto No.2 is definitely more traditional than Shostakovich’s Piano Concerto No.1. Piano Concerto No.2 delivers vigorous first and third allegro movements - leaning towards early Prokofiev compositions. The lyrical and harmonious second movement, andante, casts a spell of contemplation upon its listeners. Premiered in the Great Hall of the Moscow Conservatory on May 10, 1957, the piano solo was performed by the composer’s son, Maxim, in celebration of his graduation from the Conservatory.