That Giuseppe Martucci wrote symphonies at all is remarkable given his rearing in the primarily vocal Italian musical culture of the 19th century. But the works themselves are especially striking for their decidedly Germanic sound, style, and temperament. Symphony No. 1 wears its Wagnerian colors proudly, beginning with a first movement that quickly brings to mind the Flying Dutchman, while the remaining movements variously evoke Tannhäuser as well as Schumann and Brahms (in the scherzo). Overall it’s an engaging work, with vibrant energy in the outer movements and fetching melodic content throughout.
With its echoes of Stenhammar (Symphony No. 1), Martucci’s Second Symphony takes us farther north into Scandinavia. The Second is the more accomplished and individual of these two symphonies, with its highly organic thematic development and its rich and distinctively brass-enhanced orchestration (the first movement’s octave motif is particularly compelling). And although this time around the melodic material is less memorable (there are precious few tunes, especially in the finale), Martucci’s developmental process–as well as the overall orchestral sound–is quite affecting.
Kees Bakels’ powerful and persuasive performances with the Malaysian Philharmonic (the brass playing is singled out for special mention) make these symphonies sound like true neglected masterpieces, making a strong case for Martucci’s revival. BIS’ recording sounds a bit opaque compared to the label’s usual ringing clarity, but it has satisfying impact nonetheless.
