La generazione dell’Ottanta or “Generation of 1880” may not been as well known as the “Mighty Handful” or “Les Six”, but in his programme based around four Italian composers, Daniele Rustioni brought a highly innovative concert to Belfast, snapshotting these composers. Like a postcard, Rustioni focused the aperture a seldom performed quartet of intriguing compositions, bringing into focus fine works worthy of more exposure.
Ildebrando Pizzetti was a new composer to me. His suite La Pisanellla opened the evening. Written in 1913 it was given its premiere at the Théâtre du Châtelet. Its brief movements reference Stravinsky’s Petrushka and Puccini’s La bohème. The Quayside at Famagusta bustled with rhythmic energy, Rustioni carefully shaping the phrasing and episodes in this highly evocative opening. The Ulster Orchestra’s strings, modest in number, brought much colouration to the central Dance of Poverty and of Perfect Love, whilst the Dance of Love and Perfumed Death demonstrated how Rustioni views silence as important as the music itself.
In Alfredo Casella's Concerto romano for organ, brass, timpani and strings, the orchestra was joined by organist Martin Riccabona. Composed in 1926 for the world’s largest organ in Wanamaker’s Department Store, Philadelphia, it worked tremendously well in the modestly sized auditorium. This three movement concerto was balanced perfectly by both conductor and organist bringing a performance of tight precision. The range of colours Riccabona drew from the instrument at his disposal was remarkable. He not only showed his virtuosity in the highly accomplished playing but also with his insight and appropriate choice of stops; it is very easy to pull all the stops out on the beast of an instrument that is the Mulholland Organ. With Casella's unusual choice of instrumentation, the brass shone out with its distinctive interjections. The ensemble was delicately handled by Rustioni, making both organ and orchestra judiciously and superbly equal.