Italian Romanticists

Presentation

Some of the pioneers of the revival of Italian instrumental music in the nineteenth century are Stefano Golinelli, a still unknown figure, operating in the mid-century among those few musicians, such as the violinist Antonio Bazzini, “isolated and lost in the melodramatic vortex” (we are pleased to quote from the famous “Brief History of Music” by Massimo Mila); Giovanni Sgambati, Giuseppe Martucci and last Francesco Paolo Neglia, active in the second half of the century and beyond, among those who – without prejudice to their appreciation of their contribution to originality and artistic value – made “the first coherent effort for the restoration of instrumental conscience here in Italy “. Men of the “Bridge” were defined as the “Generation of the Ottanta”, that group of musicians born around 1880 (such as Respighi, Casella, Pizzetti and GF Malipiero), to whom ” the renewal of Italian music in the 20th century and its updating of the positions of European contemporary taste. ” Of the four Masters, I thought I had to talk about it, albeit briefly, without wanting to say – of course – new things, especially on Sgambati and Martucci (as new will not appear, all the compositions chosen to represent them in my site); but certain with the desire to attract more attention, among those who did not know them, to the other two musicians: Gonelli and Neglia. Everything, however, will be useful to young pianists, to the students, to whom this florilegio is addressed.

Authors and Works

STEFANO GOLINELLI (Bologna, 1818 – there, 1891), pianist, composer and teacher. Elected to only 17 years and without examination, member of the Bologna Philharmonic Academy (for which he has been Conservative and Adviser of Art for the last few months), he was from 1840 to ’71 professor in the high school of the same city, nominated by Honorary Advisor, Gioachino Rossini. Since 1842, but only for a few years (probably because of an illness already around 1849) he performed concerts in Italy and other European countries: this activity was encouraged by Ferdinand Hiller, who, having heard it in Bologna in 1842, he considered him the best Italian pianist of that time. Golinelli, who claimed to be a pianist “by force”, rejoiced the flattering judgment, devoting among other things to the German Master 12 Op.15 (1844) for piano, which were considered by Schumann (in the “Neue Zeitschrift Für Musik, N.34, Leipzig, 1844) are very interesting for the talent shown by the composer and, above all, important, because they mark the awakening of Italy in the almost neglected field of instrumental music.
If three quartets are excluded bows (Op.100), two sacred tracks (Introito and Kyrie , 1841), a youthful composition for piano and orchestra not yet well-identified, not vocal pages of various genres, though written over the years of study, the Golinelli opera is intended for solo piano: about 300 compositions, including six Toccate, some Fantasies and at least five Sonatas (which mark in Italy the return to a tradition); three series of 24 Preludes (the first, Op.23, dedicated to Rossini); several studies (in addition to those mentioned, deserves mention also the Utility and Delight collection, Op.37 consisting of 12 short exercises, each followed by a sonatina in the same tone, for very young pupils); variations, nocturnal, “melodies”, jokes, novels, mazurke, etc.; transcriptions of famous theatrical pieces. Giolinelli also cared for a review of Chopin’s works, published by the Ricordi publishing house in the “pianist’s library”. The Touched in Do Major (Op.145), dedicated to A. Angeleri, was composed in 1859 as one of the most fruitful for composer and teacher Golinelli; the Song in Sol Maggiore is part of a collection of 6 pieces (Op.231) titled “Remembering A Time It Was” while the Novelletta in Major Fa is in a group of three so-called compositions, appearing in “Pains and Joy” (no workmanship), a necklace in two books dedicated to “My Friends”; the Melody in Minor Tree (which also includes the Poor Heart Subtitle!) and The Allegro in Si Bemolle Minore are two pages belonging to the “Intimate Thoughts” .179), dedicated to A. Mariani. Of the Melody it is noteworthy that there is also a version – probably the first one – which has remarkable variations, which seem to constitute a brake on the free and expressive melodic melodic vocalization: with denser and more tedious chords, rather than controversial, of accompaniment at the beginning and end.

GIUSEPPE MARTUCCI (Capua, 1856 – Naples, 1909), pianist, conductor, composer and teacher. Started with music from his father, he had master piano, since 1867, Beniamino Cesi at the Conservatory of Naples. For a few years, however, he held piano “academies” in Naples and in neighboring countries, even in duo with his sister Teresa. After 1874, when he had the chance to be heard by Liszt in Rome and Rubinstein in Naples, he started a concert career that would lead him triumphantly to several European countries (he also played in complexes and in duo with cellist Alfredo Piatti and pianists, among them Cesare Pollini). In the pianist’s activity he later preferred that of conductor, who had started in 1881 as head of the orchestral society of Naples founded by Prince D’Ardore. Also in the field of didactics, after having been piano professor at the Conservatory of Naples (1880-86), he dedicated, at least officially, to the teaching of composition, as director of the Music Lyceum of Bologna (1886-1902), then of the Conservatory of Naples (from 1902 to death). In Bologna he was also a chaplain master in S. Petronio, but he worked mainly as an orchestra conductor, also going abroad. He devoted almost exclusively to the symphonic field, especially German, performing a constant and well-known work of divulgation in Italy of that repertoire; His great admiration for Wagner led him to head to the theater: memorable the “first” Italian of Tristano and Isotta, made by him in Bologna in 18888, and those in Naples, Tristan in 1907 and the Twilight of the Gods the following year, but it cost him an improper fatigue and perhaps fatal to his health, already undermined by an inexorable evil. They were Martucci’s students, for the composition, among others B. Mugellini, O. Respighi and G. A. Fano.
Of its vast and interesting production, we quote two symphonies; 2 concerts for piano and orchestra (No. 1, in King Min., 1878, unpublished; No. 2, in Si Bem Min., Op.66, 1885); theme with variations for piano and orchestra (1882, from Op.58 for solo piano; unpublished); the Samue oratory and a Mass of Glory (unedited); The song of memories, for voice and piano (then orchestra), and numerous other vocal guest rooms: a quintet and two trio for piano and bows; sonatas and various pieces for violin, or for cello and piano. For Piano: Easy Sonata Op.41 N.1; Tarantella Op.44 N.6; Fantasy Op.51; Theme with Variations Op. 58 (also transcribed for two pianos, as well as solo and orchestra); touched jokes, nocturnes, preludes, whims and many other pieces; studies including one, Op.47, for the Lebert and Stark method; Fantasy Op.32 for two pianos. Many transcripts (for piano, or for instrumental group, or for orchestra) of works by other masters or even their own (famous for orchestra, piano, Nightly Op.70 N.1 and Novelletta Op.82 N.2).
For the Jerk in La Magg., Op.29, let’s note with Fabio Fano that his theme recalls that of the 3rd time of Beethoven’s “Pastoral” symphony. The Easy Romance in Mi Magg.; which has no work number, is perhaps a youth composition. The Waltz in Do Min. And the Jerk in the following Min., Belong to a “Six-Piece Album”, Op.60, entitled “Sparse Leaves”. The Giga in Magg., Which closes a 3-piece collection, Op. 61, had a considerable time spread even in the orchestra version of the same author. The Improper in Fa Minus is a number in itself, such as Op.17; the Joke in Mi Magg., on the other hand, falls into a series of three compositions with the same title and structure, assembled in Op.53.

GIOVANNI SGAMBATI (Rome, 1841 – there 1914), pianist. composer, conductor and teacher. At first he had piano as a disciple of a pupil of Clementi and finally perfected with Liszt. Already at the age of six he performed public, but dates back to 1860 the beginning of his concert career, which would bring him to many countries, from Italy to England, to Russia. He had some particular affirmations as an orchestra conductor in 1866 in Rome, where, among other things, Liszt entrusted him with the execution of the Dante-Symphonie. Honorary member of the Academy of St. Cecilia after strict examination, since 1893 he was artistic director of the Roman Philharmonic. As a teacher, in 1869 he opened his own free piano school for poor pupils in the house, which was later recognized and hosted (with the violin by Ettore Pinelli) by the Accademia di S. Cecilia and that in 1877 transformed into Liceo Musica (the current Conservatory of S. Cecilia). He also made part of Roman chamber ensembles, with notable instrumentalists. His compositions were mainly appreciated abroad; Wagner himself, after a meeting in Rome in 1876, noted in him “an extraordinary and original talent.”
Let’s mention, among his works: 2 symphonies; 2 quintets with piano and 2 quartets for strings; Concert in Sol Min., Op.10, for piano and orchestra; sacred compositions, including Mass of Requiem; different songs, melodies and other pages for voice and piano; some pieces for violin and piano. For Piano: Flyers; 3 albums of Pieces; Gavotte; Prelude and Fugue in Mi Bem. Min.; some nights; Suite in Si Min; some nights; Suite in Si Min ,; 12 Poetry melodies; 2 concert concerts for the Lebert and Stark method; Touch (unedited); Serenata valsée; transcripts. Also: Didactic publications Notes and examples for the use of piano pedals (with F. Boghen) and Piano Formular; the review of 40 studies selected by Clementi’s Gradus to Parnassum. In this list we have omitted – except in a case of opera numbers, because, for the published compositions, it should be noted that their numbering, when indicated, is mostly different from that given by the Author: the same Concert for Orchestral Piano, for example, in the Schott edition appears as Op.15 (while for Op. 15 Op.15 was composed by Three Nightmares for piano, published as Op.20). The Giga and the Romance in Mi Magg belong to an album of 6 Lyric Songs, Op.23 (also appearing with French headings and with the addition for the second , the subtitle Rappelle-toi!); the triumphal triumphal, La Magg., was published only two years after the death of the composer, titled in French (Étude triomphale, Oevre posthume, with the dedication “La Signora Emma Mettler”).

FRANCESCO PAOLO NEGLIA (Enna, 1874 – Intra, 1932), composer and conductor. He began his career as director of works, but, driven by a particular German instrumental attraction and favored by marriage with a young Germaner, moved to Hamburg in 1901, where he founded a large music school, the “Neglia-Konservatorium” and worked as an orchestra conductor in the municipal theater, alternating with F. Weingartner. He also appreciated in many other German cities, especially in Berlin, so that he could be considered one of Beethoven’s most eminent interpreters. He bravely accepted in his repertoire scores that were considered difficult and revolutionary, such as Strauss, Bruckner and Mahler. Born in the First World War, he returned to Italy, but remained ignored by the official circles and by many musicians, despite personalities such as Puccini, Bossi and Strauss. Established in Legnano, you were forced to teach in elementary schools in the surroundings, until in 1929 he established a musical high school in the city where he played a precious and passionate activity. Severely ill when his noble aspirations began to become reality in Italy, he moved to his son’s house, on Lago Maggiore, where he died. Since 1963, the city of Enna has been organizing an international competition for pianists and lyric singers annually. Among his compositions are reminders: the work in three acts Zelia (represented posthumously in Catania in 1950), 2 symphonies and symphonic poems; sacred music, including 2 messes; a Quartet and a Trio with piano; violin pieces: Toccata (Fantastic harpist) Op. 93, for piano; lyric and romance. Also public Harmony, with its bass and song appendix (3rd ed. Torino, 1961, with Biographical narration by L. Perrachio ). The Escape to 4 parts in Do Min .; so far unpublished, it is “in free style” according to the same author.

BIBLIOGRAPHY INDICATIONS
Books and Articles:
E. PIRANI, S. Golinelli, in “Gazzetta Musicale di Milano”, 1891, pp. 452-454; A. DE ANGELIS, Contemporary Italian Musicians: G. Sgambati, in “Italian Music Review” XIX (1912), pp. 141-164; F. FANO, G. Martucci. Biographical-critical essay, Milan. 1950; PANNAIN, Italian musical nineteenth century. Essays and Notes, Milan, 1952; The great anniversaries of the 1960s and the symphonic and chamber music in the nineteenth century in Italy, Siena, 1960 (written by M. Rinaldi on Sgambati and G. A. Fano on Martucci), City of Enna. Celebrations of F P. Neglia in 30th Anniversary of Death, Enna, 1962 (with biographical and artistic notes by V. Cardaci); S. MARTINOTTI, Chronicles of the nineteenth century on instrumental music in Italy, in “The musical convention” I (1964), pp. 211,235; ID., Poetics and Presences in Italian Piano Music of the nineteenth century, in Quaderni of the “Musical Review” 3, Turin, 1965, pp. 181-194; Legnano at F. P Neglia, in “Legnano – Municipal Review and Bulletin of Statists”, year XII – N.4 – 1966, pp. 8-17 (written by A. Mandelli and text of a speech by G. Confalonieri).

Encyclopedias:
“Encyclopedia of the Show”, vol. VII (Martucci by Mr Righini); “Encyclopedia of Music”, ed. Remember, vol. III (Martucci and V. Vitale); “Die Musik in Geschichte und Gegenwart”, vol. 8 (art Martucci of D. Di Chiera) and vol. 12 (Sgammati of S. Martinez).

Romantic Italians comment by Aysun Estefany

When I was very young, I paid close attention to the historical part about the Italian nineteenth-century concerts that took place in sumptuous, elegant lounges, where art, music and literature in general took shape in an intense activity, bringing within them international musicians; for this reason during my career I decided to devote myself with great attention to the Italian romantic music. Extremely expressive, full of virtuosity and pianistically with a great personal identity.
Among the many poets who frequented these musical salons is Gabriele D’Annunzio.
Thanks to the reading of this great poet I learned to love the Italian language, thus beginning to link his poetry to the interpretation of the Italian Romantics and especially to my CD “Compositions for piano by Francesco Cilea”. Among his most important works I would like to mention the novel “Il Piacere” and the poem “Il Centauro”, as they have helped me to connect what is the sound of the piano and its of the word.