Review: Orchestra SMS ‘Musica Sparpagliata’
The first time I encountered the intriguing fusion of rock music and orchestral arrangements was back in 1970, while tuned into a radio program dedicated to the rock genre. A Philadelphia-based ensemble known as The Assembled Multitude, comprised solely of session musicians and masterminded by the late producer Tom Sellers, caught my ear with their rendition of The Beatles I Want You (She’s So Heavy). While undeniably catchy, the lush strings and soaring brass couldn’t quite capture the raw energy and grit that I craved from a proper rock cover performed by a true rock outfit.
In the years since, I’ve found myself consistently underwhelmed by attempts to elevate classic rock anthems through collaborations with esteemed orchestras like the Royal Philharmonic. For me, the magic of rock lies in the electrifying interplay between guitar, bass and drums, driven by the passion and swagger of the band members themselves. Layering on a symphony, no matter how skilled, often serves to dilute rather than enhance the music’s primal power. I’ll always prefer my rock unadulterated – straight from the amplifiers and into my eager ears, without unnecessary orchestral embellishments.
That said, I couldn’t deny my utter amazement when I first heard classic rock covers brought to light by a remarkable ensemble of talented young musicians hailing from the renowned Sinfonia Music School of Lucca called Orchestra SMS. This is a real orchestra guided under the visionary direction of avant-garde composer, media artist and performer Stefano Giannotti, who meticulously crafts the arrangements, brings together students deeply rooted in the realms of classical and chamber music, while fearlessly venturing into experimental musical territories.
Their approach evokes the spirit of contemporary composers who have assembled orchestras with the audacious intent of reimagining song covers, breaking free from conventional frameworks. The result is a captivating listening experience akin to eavesdropping on intimate orchestra rehearsals yet imbued with an undeniable sense of resonance and artistic daring.
The collective’s extraordinary album, Musica Sparpagliata (Scattered Music), is a testament to their unique vision, having taken shape over the course of a decade before its recent completion. Imagine a more classically-oriented and compact version of Keith Tippett’s Centipede, as opposed to an experimental free jazz outfit, delivering ‘classic covers’ with a sublime blend of tranquillity and energy, deviating from the original arrangements through profoundly intimate interpretations – a hallmark of their utterly intriguing artistic and musical pedagogy.
The covers, performed with a disarming simplicity and superb execution, transport the listener to previously unexplored dimensions of the original versions. Meticulously curated to imbue the entire album with a vast expanse and breadth of diverse musical genres, the selections seamlessly traverse various styles, encompassing esteemed Italian artists such as Lucio Battisti, Bruno Lauzi and Franco Battiato.
an unequivocal recommendation for all who appreciate the art of the cover, reimagined through a classical and experimental lens…
On the international front, their choices, which I would characterise as delightfully ‘bizarre’ include the timeless and legendary Sea Song by Robert Wyatt. They make of this warm and intimate song something out of the ordinary through their classically acoustic and utterly spellbinding approach. The calm and beautiful voice of singer Giada Del Grande gives you a shiver down the spine. Simply magnificent.
Delving into Third Ear Band‘s oeuvre, they present a Baroque-infused interpretation of Water from the band’s eponymous 1970 debut album. Their take on The Velvet Underground‘s Venus In Furs assumes the form of a funeral march, yet retains a hauntingly penetrating quality. Tuxedomoon‘s Some Guys receives an intriguing and operetta-like treatment blended with a tango moves. While Young Marble Giants‘ Choci Loni from their seminal debut album Colossal, is reimagined through a classical experimental minimalist lens and quite fascinating too.
Their version of Pink Floyd’s Sysyphus Parts 1-4, from their 1969 experimental opus Ummagumma, undergoes an experimental symphonic transformation, culminating in a resplendent and contrasting cacophony that at times may bring to mind Frank Zappa’s Lumpy Gravy or 200 Motels giving an Edgar Varese treatment. Their rendition of Battiato‘s Il Re Del Mondo (The King Of The World), from his landmark album L’era Del Cinghiale Bianco (The Age Of The Boar), would undoubtedly have made the maestro himself beam with pride, given its darkly experimental nature.
The album closes with a thoughtful and inventive interpretation of David Bowie‘s Memory Of A Free Festival, a composition that holds a special place in my heart for a myriad reasons, its musical complexity adroitly captured and celebrated. The voice of Gabriele Stefani mimicking Bowie‘s is quite thrilling.
By resurrecting the past through these ‘classic’ songs, Orchestra SMS fills the soul with indelible memories, making this album an unequivocal recommendation for all who appreciate the art of the cover, reimagined through a classical and experimental lens.
Label: AltrOck Productions
Band Links: Official | Facebook | Spotify | Instagram
Scribed by: Domenico ‘Mimmo’ Caccamo
