Album Review: Semiraminde Overture, Symphony No. 4, Symphony No. 1
Alright, let’s dive into this gem of a classical album from 2017—Semiraminde Overture, Symphony No. 4, Symphony No. 1. It’s got Rossini, Schumann, Brahms, and the Philharmonia Orchestra under Guido Cantelli’s baton. The label? ICA Classics. And it’s all about that Romantic-era vibe with some seriously lush orchestration.
First off, kudos to Paul Spencer for the cover art—it’s simple but kinda draws you in. And Stephen Wright as the consultant? Solid choice. You can tell there was care put into how this album feels, not just sounds. Oh, and shoutout to Paul Baily for remastering this beauty because, man, it pops.
Now, onto the music itself. There are two tracks I keep coming back to, and they’re stuck in my head for different reasons.
The first is Symphony No. 1 in C Minor Op. 68 (III. Scherzo: Lebhaft) by Brahms. This movement hits hard right outta the gate. It’s punchy yet refined, like someone’s telling an epic story but doing it with perfect posture. The strings bounce around while the timpani adds these dramatic booms that feel like little heartbeats. Honestly, every time I hear it, I picture some grand ballroom scene where everyone’s dressed fancy but secretly plotting something juicy. It’s playful, intense, and super memorable.
Then there’s Symphony No. 4 in D Minor Op. 120 (II. Romanze: Ziemlich Langsam) by Schumann. This one’s slower, dreamier—like floating on a cloud made of nostalgia. The melody feels bittersweet, almost like remembering a love you lost but still cherish. The orchestra really leans into those emotional swells without overdoing it. It’s subtle, but wow, does it hit you when you least expect it.
And hey, props to Guido Cantelli for leading the Philharmonia Orchestra through these pieces. They sound tight, expressive, and totally alive. Like, you can tell they weren’t just phoning it in during recording sessions.
One thing I didn’t expect? How much I ended up loving Rossini’s Semiramide - Overture. I mean, sure, it starts off dramatic and bombastic, but then it sneaks in moments of pure joy. It’s basically the musical equivalent of walking into a surprise party—you think you know what’s coming, but then BAM! Confetti everywhere.
So yeah, this album isn’t just another collection of old-school symphonies. It’s vibrant, emotional, and full of life. Listening to it feels like stepping back in time but also being completely present. Weird combo, right?
Final thought: If you’re new to classical music or already a fan, give this one a spin. Just don’t blame me if you find yourself randomly humming along to Brahms at work. Trust me, it happens.
