YOUNG ARTISTS OF THE ROME CHAMBER MUSIC FESTIVAL - MAHLER: SYM NO. 1 VERSION FOR CHAMBER ORCH

Since the end of the nineteenth century, the large Wagnerian orchestra reached unprecedented dimensions, pushing listeners' expectations toward a gigantic sound overloaded with colour. Mahler continued this tendency, further enlarging the ensemble: additional winds, triple brass, and a rich percussion section became the norm. Today we naturally expect overwhelming power from Mahler's Titan, as if the very title evoked an immense orchestra. Scogna, by contrast, overturns this expectation through subtraction: he does not like to speak of arrangement, but rather of chiselling work. His idea is to reduce excessive doublings while leaving intact the principal lines chosen by Mahler, almost as if carving from marble only the contrapuntal skeleton of the work. Arnold Schoenberg (1918-21) had already theorized a similar idea with the Society for Private Musical Performances: the aim was to 'create a thinned-out sound in order to examine the essence' of symphonic works. In transcribing the First Symphony for only fifteen instruments, Scogna carries out a subtraction of the utmost rigor. Mahler's commanding orchestra dissolves into a small chamber ensemble, yet each fundamental timbre remains 'typically Mahlerian.' The result is a revelation, as if hearing Mahler with a new set of ears. Played by a select group of young Italian instrumentalists, conducted by Flavio Emilio Scogna himself.

Pre-order. Ships within 10 working days of the official release date. Release dates are set by labels and may change.