The CD booklet for this release refers to Nino Rota as an “old-fashioned composer” and one who had the “courage to go his own way in his works” despite the mid-20th century’s modernist trends. In this he can be compared to the unabashedly romantic Howard Hanson. However, unlike Hanson, Rota (on evidence of this disc) relied less on his own originality and instead drew upon musical archetypes and gestures from the past. This worked wonderfully in his film scores for Fellini, but in the nakedness of the concert hall Rota’s derivations are more readily apparent. Thus, the sweeping beginning of the Concerto in E (1978) calls Robert Schumann immediately to mind. Rachmaninov enters to heighten the tension, then yields to Grieg for the poignant second theme. After a climactic passage in the development, Liszt begins the recapitulation with his characteristic playfulness and bravura. Tchaikovsky has his say in the melancholy opening of the Andante, and Prokofiev rounds out the work with a finale not too estranged from his own Third Piano Concerto.
Prokofiev also features prominently in the earlier (1960) Concerto in C, dedicated to Michelangeli. A beguiling tune of Mozartean simplicity and grace begins the first movement, which is in a decidedly neo-classical vein. The second movement, Arietta con variazioni, does feature a haunting English horn solo that winds through some very Italianate contours, but the finale is clearly in the style of Prokofiev’s Classical Symphony. Now, does all of this make Rota’s music bad? Absolutely not. It is exceptionally well crafted, the melodies are attractive, and the piano writing is brilliant. And although Rota’s concertos don’t challenge the intellect while enchanting the heart the way Rautavaara’s do, they fit comfortably in their own harmless little niche. Giorgia Tomassi clearly has given herself over to this composer’s idiom, playing as she does with passion, imagination, and unerring musicianship. Riccardo Muti, a dedicated Rota advocate, brings the orchestral part to life with his characteristic romantic flair, and EMI captures the performances in appropriately lush sound. So, if you’d like a recording to which you can just kick off your shoes, sink into your easy chair, and sip your Chablis, this one’s for you.
