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The first 12 songs of the 15 in I canti dell'esilio - originally written for voice and small orchestra - were composed in the early months of 1945 before the Allied forces' arrival in Venice in April at the end of the War. They are a clear reflection of an ideological choice that guided Ennio Porrino: selecting texts linked to a 'tradition' and crafting a musical language retaining the clarity of melody, in harmony with the prosody of the text. This was supported by harmonies both modal and chromatic, within the boundaries set by Debussy and his influence. All 15 of the Canti dell'esilio follow this structure, but especially the first 12, where the classical sources (Greek poets, newly translated in Salvatore Quasimodo's now-famous versions) and the pseudo-troubadour medieval sources (in old French, German and Spanish) intersect with Italy's poetic heritage. Organized according to a historical principle, these works suggest that Porrino intended to create a cycle representing different epochs of Italian literature.

The first part of the collection comprises the three Greek songs, the three troubadour songs, and the three ancient Italian songs (from the 13th to 15th centuries). These stand out for their liveliness and charm, though simple modal processes occasionally hint at melancholy. The second part opens with the Italian songs from the 16th and 18th centuries, where a vital, extroverted energy prevails in movement, sound and gestures that border on the theatrical. Then the last three songs revisit the theme of 'exile' in their titles. While in the overall title of the collection the word 'exile' might imply the solace sought by the exiled and found through poetry, in this final subset of three it assumes a more personal meaning of nostalgia and sorrow, inevitably evoking the composer's own fate in that tragic spring of 1945. The texts are by Porrino himself and are deeply expressive of personal despair.

The other collection on this recording, the Canti di stagione (Songs of the Seasons), belongs to a more joyful period in Porrino's life in his early 20s. Composed in 1934, this work coincided with his attendance at Respighi's advanced composition course and with the emergence of Francesco Santoliquido's chamber songs, whose tragic influence would deeply shape Porrino's later choices. The collection opens with Notte d'inverno (Winter Night), set with dark and sombre tones and heavy ostinatos supporting dramatic declamation. In stark contrast, Mattino d'aprile nel bosco (April Morning in the Woods) is a light, sunny dance. The third piece, Afa (Heat), conveys the exhaustion of summer's oppressive heat through a monotonous, heavy rhythm. The fourth piece, Autunnale (Autumnal), is broad and complex, it's rhythm vibrant and engaging.

Other information:

- Recorded June 2024 in Rome, Italy

- Bilingual booklet in English and Italian contains liner notes by the composer's daughter, Stefania Porrino

- The sung texts are available at www. Brilliantclassics. com

- Ennio Porrino (1910-1959) was an Italian composer known for his deep connection to Sardinian musical traditions and his ability to blend them with modern compositional techniques. Born in Cagliari, Sardinia, Porrino studied composition under Ottorino Respighi, which influenced his rich and evocative orchestration. His works often reflected the landscapes, folklore, and cultural identity of Sardinia, making him a significant figure in 20th-century Italian music.

- One of his notable compositions is I canti dell'esilio (Songs of Exile), written in 1945. This work, composed at the end of World War II, is deeply emotional and reflects themes of longing, displacement, and nostalgia. The title itself suggests a sense of exile-possibly symbolic of the broader displacement caused by the war or a more personal reflection on isolation and identity. The piece is characterized by expressive melodies, poignant harmonies, and an underlying sense of melancholy.

- Performed by Angela Nisi (soprano) and Enrica Ruggiero (piano).