When the Colorado Symphony and Music Director Peter Oundjian open their 2025/26 season, they’ll do so with a piece as grand and evocative as the Rockies themselves: Ottorino Respighi’s Pines of Rome.
More than just music, Pines of Rome is an immersive experience. Composed in 1924, Pines of Rome is the second installment in Respighi’s celebrated Roman trilogy, which also includes Fountains of Rome and Roman Festivals. In this tone poem, Respighi invites us to experience Rome through its iconic umbrella pines, which stand as silent witnesses to centuries of human history and imagination. But rather than simply depicting nature, Respighi uses the pines as a poetic lens through which he evokes memories of the past, the energy of the present, and the myths of ancient Rome.
In four movements, he takes listeners on a journey through time and space: children at play in the Villa Borghese gardens, a solemn and mysterious catacomb at dusk, the shimmering, moonlit pines of the Janiculum hill, and finally, in one of the most thrilling finales in all of orchestral music, the pines of the Appian Way resound with the march of a Roman legion at sunrise.
In the opening, the pines of the Villa Borghese seem to sway above children at play, as Respighi channels his wife’s childhood memories of the gardens into bright melodies and mischievous rhythms. In the second movement, we descend into the catacombs, where the hushed tones of muted horns and organ-like chords echo like a solemn chant of bygone centuries.
The third movement is perhaps the most dreamlike: atop the Janiculum Hill under moonlight, the orchestra shimmers with quiet beauty, highlighted by a haunting clarinet solo that Respighi marked come in sogno, which translates to “as in a dream.” What follows is one of the most unique moments in all of orchestral music: a recorded nightingale, played over the hushed orchestra, filling the concert hall with birdsong. At the time, this was groundbreaking, an innovative use of technology that deepened the spellbinding atmosphere.
The finale is nothing short of electrifying. As dawn breaks on the Appian Way, the ancient Roman road comes alive. Out of the mists of history, a mighty legion begins its march toward the Capitol. With the massive sound of brass, organ, and percussion, the orchestra builds to a resplendent, overwhelming conclusion, evoking the grandeur and might of the Roman Empire.
What else makes Pines of Rome fascinating 101 years after it was composed?
- Cinematic before cinema: Written decades before film music became popular, it evokes clear, dramatic imagery through sound.
- A showcase for the orchestra: Every section of the ensemble, from woodwinds and strings to massive brass and percussion, shines in this work, demonstrating the full power and color of a symphony orchestra.
Whether you’re a longtime fan of Respighi or hearing his music for the first time, Pines of Rome is a work that reminds us why live music matters. No recording can replicate the awe of those final, resounding brass chords reverberating through the hall as the Roman legion marches inexorably toward glory.
Peter Oundjian’s Debut as Music Director
Don’t miss this thrilling start to the Colorado Symphony’s 2025/26 season from September 19-21 and celebrate Peter Oundjian’s inaugural concerts as music director with a musical journey that will transport you to the Eternal City.
