The concert works of film composer Nino Rota, best known for his scores for the Godfather trilogy and for a long series of films by Federico Fellini, have increasingly often been finding space in classical recording catalogs. Here's a nicely recorded rendering of Rota's two numbered symphonies, virtually unknown until perhaps the turn of the century, issued on a major British label, Chandos. Both are attractive pieces that could be profitably programmed by any symphony orchestra. They were composed in the 1930s, when Rota was as much American as Italian; he won a scholarship to the Curtis Institute in Philadelphia and studied there for several years. Both reflect the French neo-classic trends that flourished in the U.S. between the wars, and, although Rota sounds nothing like Copland, you do experience in these works an evocation of what annotator Michele Rene Mannucci aptly calls "landscape in sound." Each work is in the conventional four movements, with a slow movement placed second in the Symphony No. 1 in G major and third in the Symphony No. 2 in F major.
Le grandi imprese, la leggenda ma anche i retroscena, le curiosità, i ricordi, i piccoli e grandi drammi, gli accordi proibiti, il doping, nella leggendaria corsa che nel prossimo mese di maggio celebra uno storico Centenario sulle strade del nostro paese. Dai pionieri dell'inizio Novecento, alle sfide fra Girardengo, Binda e Guerra, poi l'epopea di Bartali e Coppi, le gesta di Merckx e di Gimondi, gloria e miserie di Pantani, sino alle controverse vicende del ciclismo del terzo millennio. Cento racconti per rivivere un mito.