Uploaded September 2009 | Updated September 2026, 3 days ago
Respighi's "Canzone e Danza" ("Song and Dance") is a fitting tribute to the music of Brazil, as a whole, with its swinging rythyms, percussion and the inclusion of a Samba toward the end.
In 1927 Respighi (and his wife, Elsa) visited Brazil to perform - Elsa was a former pupil of Respighi's, a singer who performed with Respighi, a mezzo-soprano (also a composer) - and to conduct several of his compositions. During this trip, he was struck by the folk-music of the country. He promised to provide the Rio Philharmonic with a "Brazillian Suite" based upon the rhythms and folk-songs of Brazillian culture. He delivered upon his promise with three pieces, now known as "Impressioni Brasiliane" ("Brazillian Impressions").
The first piece from this triad is "Notte Tropicale" ("Tropical Night"), a warm and sensuous tribute to the Latin sounds he'd loved upon first listen (he, reportedly, called this a 'musical souvenir').
The second, "Butantan", is based upon a reptile research center, the Butantan Institute, which Respighi visited during his time in Brazil and where, obviously, he had a profound experience (one of the functions of the Institue was the raising of poisonous snakes for the production of serum), hence the sound of the piece. It would seem that, based upon the feel of the piece and Respighi's inclusion of the theme of "Dies irae" from the "Mass for the Dead", he was terrified of snakes.
Respighi's original intent was to have 5 pieces for this "Suite", but his work on completing "Feste Romane" and the strains of extensive travel did not allow for the final 2 pieces to be completed before the debut, which was performed in June of 1928 in Rio de Janeiro.
These three pieces are performed by the Cincinnati Symphony Orchestra, led by Jesus Lopez-Cobos, a wonderful interpreter of Respighi's works, in my humble opinion.
Enjoy!
Respighi's "Canzone e Danza" ("Song and Dance") is a fitting tribute to the music of Brazil, as a whole, with its swinging rythyms, percussion and the inclusion of a Samba toward the end.
In 1927 Respighi (and his wife, Elsa) visited Brazil to perform - Elsa was a former pupil of Respighi's, a singer who performed with Respighi, a mezzo-soprano (also a composer) - and to conduct several of his compositions. During this trip, he was struck by the folk-music of the country. He promised to provide the Rio Philharmonic with a "Brazillian Suite" based upon the rhythms and folk-songs of Brazillian culture. He delivered upon his promise with three pieces, now known as "Impressioni Brasiliane" ("Brazillian Impressions").
The first piece from this triad is "Notte Tropicale" ("Tropical Night"), a warm and sensuous tribute to the Latin sounds he'd loved upon first listen (he, reportedly, called this a 'musical souvenir').
The second, "Butantan", is based upon a reptile research center, the Butantan Institute, which Respighi visited during his time in Brazil and where, obviously, he had a profound experience (one of the functions of the Institue was the raising of poisonous snakes for the production of serum), hence the sound of the piece. It would seem that, based upon the feel of the piece and Respighi's inclusion of the theme of "Dies irae" from the "Mass for the Dead", he was terrified of snakes.
Respighi's original intent was to have 5 pieces for this "Suite", but his work on completing "Feste Romane" and the strains of extensive travel did not allow for the final 2 pieces to be completed before the debut, which was performed in June of 1928 in Rio de Janeiro.
These three pieces are performed by the Cincinnati Symphony Orchestra, led by Jesus Lopez-Cobos, a wonderful interpreter of Respighi's works, in my humble opinion.
Enjoy!
