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Rome Symphony Orchestra conducted by Francesco La Vecchia. Part I. I - In Church: Prelude and Canticle. Adagio cantabile - Andante sostenuto - Un poco animato - Un poco agitato - Andante sostenuto - Adagio: 0:00 Part II. II - In the Garden: Popular Festivities and Nocturne. Allegro vivace - Moderato - Reprise and Children’s Dance. Allegro vivace - Molto vivace (alla breve) - Un poco tranquillo - Tempo I (molto vivace) - Un poco meno mosso - Tempo I (molto vivace) - Un poco tranquillo - Meno mosso - Tempo I: 8:11 Part III. III - At Court: Minuet. Allegretto - Più moderato - Tempo I - Un poco più mosso - Tempo I - Procession. Allegro agitato - Meno mosso, un poco maestoso - Un poco meno mosso - A tempo, ma tranquillo Un poco meno mosso - Un poco più sostenuto e maestoso - Un poco sostenuto - Animato: 24:36 Sgambati's Symphony No.3 was intermittently composed between 1882-8, being premiered in Turin on September 12 of 1888, on the occasion of the wedding of Duke Amedeo d’Aosta to Princess Letizia Bonaparte. The work, unlike Sgambati's previous two symphonies, is descriptive in nature. It is divided in three parts of five defined sections with subtitles, employing cyclical procedures found in symphonic poems. Curiously enough, just as the music was adapted to suit this particular royal occasion, the wedding itself was the result of a change of plan. Born in Paris towards the end of the Second French Empire, Princess Marie Laetitia, a great-niece of Napoleon Bonaparte, was originally intended to marry Prince Emanuele Filiberto of Savoy-Aosta, but instead ended up as bride to his father, Amedeo, Duke of Aosta and brother of the Italian king, Umberto I. Amedeo was 43 and had been widowed some years earlier. His second marriage caused a scandal because not only was he 22 years older than his bride, he was also her uncle (Marie Laetitia was the daughter of his sister Maria Clotilde) which meant they had to get a papal dispensation in order to marry. The first part, in church, comprises a single movement structured in ternary form. It begins with a contemplative and peaceful introduction evoking ecclesiastical solemnity. It evolves into an andante sostenuto with a lyrical main theme of great beauty. The music culminates in an expressive climax, before the opening adagio is recapitulated. A peaceful coda ends the movement. The second part, in the garden, is also written in ternary form. It opens with a lively, dance-like main theme, depicting the people’s celebrations. After a grand climax, the music gives way to a nocturne as a slow movement. The main motif, presented by clarinet and bassoons, recalls the adagio of Sgambati’s Symphony No.1. It is taken by violins, unfolding in a deeply lyrical manner and culminating in a romantic climax. The rhythmic main theme is then recapitulated, fused with elements of the middle section. After a melodic passage, an energetic coda ends the part. The third part, at court, is divided in two large sections. It begins with a gentle and moderate minuet, a courtesan dance popular in the XVIII century, but out of fashion by the late XIX. References and quotes of previous material reappear through the movement in a manner reminiscent of Liszt and Wagner, composers with whom Sgambati was friends, and whom he greatly admired. After a brief pause, the second section begins with a processional that grows more intense and brilliant, before a more melodic second theme offers contrast. A triumphal coda ends the work brightly. Picture: "The Bride" or "Family from Radymno" (1852) by the Polish painter Leopold Loeffler. Sources: https://bit.ly/3W5F64m and https://bit.ly/3MaOKOC To check the score: https://bit.ly/3M0IzfB