The first twelve of the fifteen songs in I canti dell'esilio - originally written for voice and small orchestra - were composed in the first months of 1945, before the arrival of the Allied forces in Venice in April, the end of the war. They are a clear reflection of an ideological choice that guided Ennio Porrino: he chose texts with links to a "tradition" and developed a musical language that preserved the clarity of the melody and harmonized with the prosody of the text. This was supported by modal and chromatic harmonies within the limits set by Debussy and his influence. All 15 Canti dell'esilio follow this structure, but especially the first twelve, in which the classical sources (Greek poets, retranslated in Salvatore Quasimodo's now famous versions) and the medieval pseudo-troubadour sources (in Old French, German and Spanish) intersect with the poetic heritage of Italy. The works, arranged according to a historical principle, suggest that Porrino wanted to create a cycle of different periods of Italian literature.

The first part of the collection comprises the three Greek songs, the three troubadour songs and the three old Italian songs (13th-15th century). These are characterized by their liveliness and charm, although simple modal progressions occasionally seem melancholy. The second part begins with the Italian songs of the 16th and 18th centuries, in which a vital, extroverted energy prevails in movement, sound and gesture, bordering on the theatrical. The last three songs then take up the theme of "exile" again in their titles. While the word "exile" in the overall title of the collection could suggest the solace that the exiles sought and found in poetry, in this final sub-group of three works it takes on a more personal meaning of nostalgia and mourning, inevitably recalling the composer's fate in that tragic spring of 1945. The texts are by Porrino himself and deeply express his 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, when he was in his early 20s. Composed in 1934, this work coincided with his participation in Respighi's advanced composition course and the creation of Francesco Santoliquido's chamber songs, whose tragic influence would strongly shape Porrino's later choices. The collection begins with Notte d'inverno (Winter Night), set with dark and sombre tones and heavy ostinati that support a 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 the oppressive summer heat through a monotonous, heavy rhythm. The fourth piece, Autunnale (Autumn), is broad and complex, its rhythm lively and engaging.

Further information:
- Recorded in June 2024 in Rome, Italy
- The bilingual booklet in English and Italian contains liner notes by the composer's daughter, Stefania Porrino

- Ennio Porrino (1910-1959) was an Italian composer known for his deep attachment to Sardinian musical traditions and his ability to combine them with modern compositional techniques. Porrino was born in Cagliari, Sardinia, and studied composition with Ottorino Respighi, which influenced his rich and impressive 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) from 1945. This work, written at the end of the Second World War, is deeply emotional and reflects themes of longing, displacement and nostalgia. The title itself suggests a sense of exile - possibly symbolic of the wider 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 melancholy.

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