Gian Francesco Malipiero (1882-1973) originally composed his Seven Inventions and Four Inventions as a score for the 1932 Italian film Acciaio (Steel). The music’s intended function as an accompaniment to visual storytelling perhaps explains its consistent use of a basic melodic idea, which sounds deceptively like a novice at the piano playing up and down the white keys. That Malipiero creates interesting and beautiful musical moments from this raw and unadorned device is most impressive, as is the ever-captivating orchestration, which at times reminds us of the colorful works of Respighi (especially in the dramatic opening and concluding movements).
The Four Inventions, though slightly more tuneful, follow the same melodic principle as the Seven, which can lead to an impression of sameness if played in succession. Malipiero’s 1925 opera Il finto Arlecchino evoked the world of 18th-century Venice, and the music ranges from neo-classical to near parody of the period. For some of today’s “authenic performance”-trained ears this will seem quite anachronistic, as will Malipiero’s Vivaldiana (1952), a loving tribute that is true to the text of Vivaldi’s concerto movements while imbuing them with newly vivid and vibrant orchestral colors. Peter Maag’s insightful and committed conducting makes the most of these elements, which are wonderfully realized in brilliant performances by the Veneto Philharmonic Orchestra, recorded in clear, full sound by Naxos. Do give this a try.
