First recordings of unpublished instrumental works by a master of verismo.

Several recent albums on Brilliant Classics have expanded our understanding of Francesco Cilea beyond his status as the composer of L’Arlesiana and Adriana Lecouvreur. His piano music, chamber music and songs all bear witness to a quintessentially Italian voice and aesthetic philosophy.

Cilea abandoned writing for the stage after the failure of his opera Gloria in 1907, despite the presence of Toscanini in the pit, and his lyric gifts cut against the grain of the prevailing trends of modernism. He turned to teaching, but he did not entirely abandon composition. Instead, he turned back to instrumental music, and the works on this album are among the fruits of this revived inspiration.

Apart from Cilea’s celebrated melodic vein, the Suite for Violin and the Piccola Suite for Orchestra reveal his (perhaps un-Italian) talent for counterpoint, as well as an approach to tonal harmony that reflects his awareness of innovation, especially among French composers of the period. Cilea orchestrated the Suite in 1946 from his Suite for violin and piano of nine years earlier. The four brief movements are cast in a neoclassical vein, enclosing an elegant minuet followed by an Andante sostenuto in the very un-classical key of C sharp minor.

The Piccola Suite (1931) more thoroughly absorbs the idioms of French music of the period such as the early works of Messiaen, with its modal harmony, whole-tone scales and sequences of seventh and ninth chords: again, far from what we would expect from the composer of Adriana Lecouvreur. The arrangement, revision and scoring of the Concerto in D major for cello by Leonardo Leo (written in 1737) bears witness to Cilea's deep connection with the Conservatoire in Naples where he had studied and where he became director until his retirement in 1935. Its generous orchestration, and yet respect for the 18th-century idiom of the writing, makes an intriguing and almost unknown parallel to the Cello Concerto in D recomposed by Schoenberg in 1931 after a 1746 work by Georg Matthias Monn.

Completing this unique survey of Cilea’s output is a modern work, the first recording of the Canto dell’amore by Raffaele Cacciola, born in 1965. The style of this sinfonia concertante in all but name is a homage to the example of Cilea: tonally unpredictable, yet always melodic. These Milanese musicians draw out its intrinsically Italian character in the tradition of Cilea’s verismo.