Ernesto CAVALLINI
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Ernesto CAVALLINI
Ernesto CAVALLINI Capriccios for Clarinet Three Duos for Clarinets Nicola Bulfone • Marco Giani Ernesto Cavallini (1807–1874) 30 Capriccios for Clarinet • Three Duos for Clarinets CD 1 30 Capriccios for Clarinet: Nos. 1–13 33:20 1 No. 1 in A minor, Op. 2, No. 2: Allegro mosso 1:54 2 No. 2 in C major, Op. 2, No. 5: Andante 2:26 3 No. 3 in C minor, Op. 1, No. 3: Agitato 1:27 4 No. 4 in B minor, Op. 4, No. 2: Andante 2:23 5 No. 5 in G minor, Op. 5, No. 2: Allegro 2:11 6 No. 6 in D major, Op. 4, No. 5: Allegro assai 1:58 7 No. 7 in B flat major, Op. 2, No. 1: Andante mosso 2:04 8 No. 8 in F major, Op. 1, No. 1: Allegro moderato 1:24 9 No. 9 in C major, Op. 5, No. 1: Allegro risoluto 5:45 0 No. 10 in A minor, Op. 3, No. 2: Allegro assai 2:01 ! No. 11 in F major, Op. 3, No. 1: Moderato 3:32 @ No. 12 in D minor, Op. 1, No. 5: Allegro 1:50 # No. 13 in G major, Op. 3, No. 3: Adagio sostenuto 4:00 ) II. Tempo di romanza ¡ III. Allegro 2:31 5:12 CD 2 30 Capriccios for Clarinet: Nos. 14–30 14:15 7:23 2:36 4:12 14:36 7:38 6:57 16:03 8:19 77:08 1 No. 14 in E minor, Op. 3, No. 4: Andante sostenuto 5:09 2 No. 15 in C major, Op. 4, No. 1: Moderato 3:37 3 No. 16 in C major, Op. 2, No. 3: Adagio – Allegro – Presto 3:32 4 No. 17 in A minor, Op. 3, No. 5: Maestoso 4:55 5 No. 18 in E Major-minor, Op. 4, No. 4: Andantino – Allegro mosso 3:56 6 No. 19 in F major, Op. 4, No. 6: Tema e variazioni: Maestoso 7:48 7 No. 20 in D major, Op. 5, No. 5: Andante sostenuto 3:32 8 No. 21 in B minor, Op. 5, No. 4: Andante 3:25 9 No. 22 in G major, Op. 2, No. 6: Tema e variazione: Andante 5:17 0 No. 23 in E minor, Op. 2, No. 4: Moderato 6:08 ! No. 24 in C major, Op. 1, No. 6: Moderato 2:51 @ No. 25 in B flat major, Op. 1, No. 4: Adagio 3:16 # No. 26 in B flat major, Op. 3, No. 6: Allegretto 3:23 $ No. 27 in G major, Op. 5, No. 3: Adagio 5:03 % No. 28 in G major, Op. 1, No. 2: Allegro moderato 4:10 ^ No. 29 in B flat major, Op. 4, No. 3: Adagio sostenuto 4:44 & No. 30 in F major, Op. 5, No. 6: Allegro moderato 5:44 Ernesto Cavallini was born in Milan on 30th August 1807. At the age of nine he won a place at the Milan Conservatory, where he studied with Benedetto Carulli. He graduated in September 1824, and was appointed second clarinet alongside his former teacher at Milanʼs Teatro Re where, in 1827, he also appeared several times as a soloist. That same year, he was highly praised for a performance of his Concerto in E flat major in one of the foyers of the Teatro alla Scala. He then took up a post at La Fenice in Venice and towards the end of the decade performed at La Scala several times as both soloist and orchestral musician. Having served for a while as first clarinet of the band of Piedmontʼs Grenadier Guards, he was appointed first clarinet of the La Scala orchestra (1831). Over the next two years, he gave many performances around Italy, alongside his violinist brother Eugenio, and flautist Giuseppe Rabboni. In 1839 he appeared to great acclaim in Venice, Trieste, Vienna, Bratislava and Budapest. Two years later he played in Milan with the virtuoso cellist Alfredo Piatti and, in Novara, gave a much-praised performance of his Variations on a theme of Mercadante, under the baton of Mercadante himself. Soon afterwards he played in Paris, where he was made a member of the Académie des Beaux-Arts. In the wake of his Parisian success, Cavallini travelled to London and performed for the cityʼs Philharmonic Society. In 1844 he undertook a new concert tour, visiting Geneva, Paris and London. In Brussels he gave a private concert at the home of the composer Fétis, along with Piatti and other virtuoso colleagues. A year later he returned to London, giving a performance at the Theatre Royal which included a Three Duos for Clarinets No. 1 in C major $ I. Moderato % II. Adagio sostenuto ^ III. Rondo: Allegretto No. 2 in A minor & I. Allegro moderato * II. Tema (Andante sostenuto) e Variazioni No. 3 in B flat major ( I. Allegro moderato rendering of his Canto greco variato with the eminent violinist Vieuxtemps; that same year, back in Brussels, he directed an Italian opera company in a number of productions. In 1846 he returned to La Scala for a concert promoted by publishers Ricordi to celebrate the inauguration of a bust of Rossini at which he performed a work he had written especially for the occasion, the Capriccio ʻFiori rossinianiʼ. Cavallini left Italy in 1851 on a long tour that took him to Spain, France, Belgium, Holland, Germany, Poland and, finally, Russia. He reached St Petersburg in 1854, where the Tsar appointed him soloist of the newly founded Imperial Theatre, a position which, among other things, gave him the opportunity to perform with the composer Glinka in Berlin. In June 1854 he also began teaching clarinet at the St Petersburg Conservatory. In 1862 Cavallini took part in the première of Verdiʼs La forza del destino, whose famous clarinet solo at the opening of Act Three had been written expressly for him by the great Italian composer. Three years later he returned to Milan to give some performances and in 1869, having been granted a pension by the Tsar, decided to return to Italy on a permanent basis. That same year, in Milan, he published a series of works he had written in Russia, including a number of vocal pieces with piano accompaniment (he had taught singing as well as clarinet while in St Petersburg). He continued his solo career thereafter in Milan, Florence and Naples and, in late 1871, taught clarinet for a brief period at the Milan Conservatory. Cavallini gave his final public concert at the Teatro Carcano in Milan in 1872. He died following a stroke on 7th January 1874. Cavalliniʼs great technical and interpretative gifts are described in many press articles and reviews of the day. He was particularly praised for the beauty of his sound, and for his dazzling performances. As regards his personal style, we know that his staccato was notable for its soft tone and that he was a master of circular breathing. The music journals often reported the popularity of his concerts: in 1842 the Gazzetta Musicale di Milano declared: ʻCavallini is the Paganini of the clarinetʼ. The Revue de Paris dubbed him ʻthe best clarinettist in the universeʼ, while for LʼItalia musicale, Cavallini was the ʻLiszt of the clarinetʼ. It is worth noting that throughout almost his entire career, Cavallini played a six-key boxwood clarinet made in Milan in the early 1800s, and was sometimes criticised for the less than precise intonation of this obsolete instrument. In 1860, the Tsar decided that the imperial orchestras should adopt the French clarinet, and it was only at this point that Cavallini decided to order a new twelve-key instrument from the Milanese instrument-maker Piana. Thirty Capriccios for Clarinet Cavalliniʼs five collections of Capriccios, Opp. 1-5, are unquestionably his most significant didactic works, and are still used in music schools around the world today. They cover everything from Paganini-esque virtuosity to operastyle cantabile writing, and push the performer to the limits of what was technically possible in the first half of the nineteenth century. The five collections were published at various different points during that period. Interestingly, the composer was to reuse many of his capriccio themes in other studies and concert pieces over the years. The first six Capriccios, Op. 1, dedicated to his pupil Cristoforo Ballabio, were issued in Milan by the publishers Bertuzzi in 1827, when Cavallini was still studying at the Milan Conservatory. The second collection, Op. 2, was published ten years later, also in Milan, but by the Lucca company, and was dedicated to another of his pupils, Antonio Urio. Opp. 3, 4 and 5 were all issued by Ricordi in 1840, dedicated to Benedetto Carulli, Cavalliniʼs brother Pompeo, and Prospero Barigozzi respectively. Decades later, in 1904, Ricordi published the full set of thirty capriccios in a single volume for the first time. Italian clarinettist Alamiro Giampieriʼs later edition was also issued by Ricordi: in it the capriccios are presented in an entirely different sequence, apparently in order of increasing difficulty. Giampieri corrected a number of incongruities and typographical errors, as well as altering many of the dynamic and accent markings. His remains the best-known edition; Italian conservatories still set five of Cavalliniʼs capriccios as mandatory exam pieces: Nos. 3, 5, 14, 23 and 29 (Giampieriʼs numbering). This recording, however, is primarily based on the 1904 Ricordi edition. I perform Capriccio No. 2 (Op. 2, No. 5), for example, with gruppetto, and Andante, as in the original version, rather than following Giampieriʼs Allegro brillante marking; similarly in No. 14 (Op. 3, No. 4) I go by the articulation marks printed in the 1904 edition. Three Duos for Clarinets The three duets, of which this is the world première recording, were dedicated to Cavalliniʼs brother Pompeo, ʻBandmaster Photo: Pierfranco Argentiero Nicola Bulfone Photo: Sergio Giani of His Britannic Majestyʼs 18th Regimentʼ, and published by Lucca in 1836. Cavallini composed another set of three duets, dedicated to Edward Berti, issued by Ricordi in 1845/46 and a set of Six Grand Duets dedicated to composer Saverio Mercadante and published by Ricordi in 1849. All of these works were written for teaching purposes, and all are written in sonata form, rather different from the Marco Giani then fashionable operatic style, and are comparable to some of Alessandro Rollaʼs stylised compositions. That said, the melodies, many of which recur, are clearly inspired by Italian bel canto vocal music. Nicola Bulfone English translation by Susannah Howe Nicola Bulfone was born in Hässleholm (Sweden) in 1963. He studied clarinet at the Udine Conservatory and continued his music studies at the Stuttgart Hochschule für Musik under Ulf Rodenhäuser, obtaining an Advanced Diploma. Among other awards, he won first prize at the International Music Competition in Stresa. He also attended master-classes held by Karl Leister, Antony Pay and Giuseppe Garbarino. He has played in the orchestra of the Teatro alla Scala in Milan and other leading Italian orchestras, and has participated in various music festivals and concert seasons with distinguished chamber music ensembles. As a soloist he has appeared with the Slovak Philharmonic Orchestra, the Orquesta Sinfónica del Estado de México, the Orquestra do Norte (Portugal), the Sofia Philharmonic Orchestra, the Bjalistok Philharmonia (Poland), the Rijeka Chamber Orchestra, the Vogtland Philharmonie, the Krasnoyarsk Symphony Orchestra (Russia), and the Minsk Orchestra. He has recorded for SWR, RAI, ORF, BR, and many renowned composers have written solo pieces for him. He has taught in international master-classes in Italy, the Czech Republic, Latvia, Russia and China, and has been a member of the jury at the Jeunesses Musicales International Clarinet Competition in Belgrade and at the Saverio Mercadante International Clarinet Competition. He is clarinet professor at the Udine Conservatory and plays Herbert Wurlitzer Reform Boehm Clarinets. Marco Giani was awarded his clarinet diploma with top marks and honours in Nicola Bulfoneʼs class, and continued his studies with Luigi Magistrelli at the Giuseppe Verdi Conservatory in Milan, passing with full marks and summa cum laude. He also studied in summer courses with Fabrizio Meloni, Ulf Rodenhäuser, Johannes Peitz and at the 2009 Schleswig-Holstein Music Festival Orchestral Academy in 2009. He made his name winning prizes in twelve competitions in Italy and was semifinalist at the prestigious 2012 ARD International Music Competition in Munich and at the 2009 Aeolus International Music Competition in Düsseldorf. He has been a member of the Gustav Mahler Youth Orchestra, Schleswig-Holstein Music Festival Orchestra, Verbier Festival Orchestra, Orchestra Filarmonica of the Teatro Verdi in Trieste, and the Orchestra Cherubini of Piacenza and Ravenna, performing with distinguished conductors. Since 2010 he has worked as solo clarinet with I Pomeriggi Musicali Orchestra in Milan. Marco Giani has played in well known concert halls in Europe and North America, and has collaborated with distinguished colleagues in chamber music. He plays Herbert Wurlitzer Reform Boehm Clarinets. Ernesto Cavallini (1807–1874) 30 Capricci per clarinetto • Tre Duetti per clarinetti Ernesto Cavallini nacque a Milano il 30 Agosto 1807. Allʼetà di nove anni, fu ammesso al Conservatorio di Milano nella classe di Benedetto Carulli. Il 30 Settembre 1824 si diplomò completando i propri studi al Conservatorio di musica milanese. Fu poi secondo clarinetto assieme al suo maestro al Teatro Re di Milano, dove, nel 1827, si esibì più volte come solista. Nello stesso anno fu molto apprezzato per lʼesecuzione del suo Concerto in mi maggiore per clarinetto e orchestra al Ridotto del Teatro alla Scala. Nel 1828 lavorò al Teatro La Fenice di Venezia e, durante lʼanno successivo, suonò più volte a Milano come solista ed in varie formazioni orchestrali. Successivamente fu primo clarinetto nella banda della Brigata dei Granatieri Guardie del Governo piemontese. Nel 1831 venne nominato primo clarinetto nellʼOrchestra del Teatro alla Scala di Milano. Durante i due anni successivi, assieme al fratello violinista Eugenio e il flautista Giuseppe Rabboni, suonò in diverse città italiane. Nel 1839 si esibì con successo a Venezia, Trieste, Vienna, Bratislava e Budapest. Nel 1841 suonò a Milano assieme al grande virtuoso del violoncello Alfredo Piatti e, a Novara, fu apprezzato per lʼinterpretazione delle sue Variazioni su un tema di Mercadante per clarinetto assieme a Saverio Mercadante che in quellʼoccasione diresse personalmente lʼorchestra. Suonò poi a Parigi dove fu eletto membro dellʼAcadémie des Beaux Arts. Cavallini, dopo i successi parigini, viaggiò alla volta di Londra dove si esibì per la Philharmonic Society. Nel 1844 intraprese una nuova tournée di concerti suonando a Ginevra, Parigi e Londra. A Bruxelles tenne un concerto privato a casa del famoso compositore Fétis, assieme a Piatti e altri virtuosi. Nellʼanno seguente si produsse come solista nel teatro reale di Londra dove, con il celeberrimo violinista Vieuxtemps, suonò il suo Canto greco variato; nello stesso anno a Bruxelles diresse una Compagnia operistica italiana in varie produzioni. Nel 1846 si esibì al Teatro alla Scala in un concerto promosso dallʼEditore Ricordi per celebrare lʼinaugurazione di un busto di Gioachino Rossini dove suonò il celebre Capriccio “Fiori rossiniani”, da lui composto per lʼoccasione. Nel 1851 Cavallini partì per una lunga tournée che attraverso Spagna, Francia, Belgio, Olanda, Germania e Polonia lo portò in Russia dove, giunto nel 1854 a San Pietroburgo, venne nominato solista del neo-fondato Teatro Imperiale dallo Zar stesso. Ebbe quindi modo di suonare assieme al celebre compositore russo Mikhail Glinka col quale si esibì a Berlino. Dal Giugno del 1854 accettò lʼimpiego come docente di clarinetto presso il Conservatorio di musica di San Pietroburgo. Nel 1862 suonò alla prima rappresentazione dellʼopera La forza del destino di Giuseppe Verdi. Il famoso lungo assolo per clarinetto allʼinizio del terzo atto di questʼopera fu composto dal grande compositore italiano espressamente per il suo amico clarinettista. Nel 1865 Cavallini tornò a Milano per esibirsi come solista e nel 1869, ottenuta la pensione dallo zar, decise di ristabilirsi in Italia. Alla fine dellʼanno pubblicò a Milano una serie di composizioni che aveva scritto in Russia tra le quali figurano anche pezzi vocali con accompagnamento di pianoforte, Cavallini in Russia aveva infatti anche insegnato canto. Negli anni successivi proseguì la sua carriera solistica suonando a Milano, Firenze e Napoli. Alla fine del 1871 ricevette per un breve tempo un incarico come supplente di clarinetto al Conservatorio di Milano. Nel 1872 tenne il suo ultimo concerto pubblico al Teatro Carcano di Milano. Morì a causa di un ictus il 7 gennaio 1874. Numerosi articoli e recensioni del tempo descrivono le grandi doti tecniche e musicali di Ernesto Cavallini. Veniva particolarmente apprezzato per la bellezza del suo suono e per le sue brillanti esecuzioni e, in merito al suo personale stile, sappiamo che il suo staccato era particolarmente dolce e che era in grado di eseguire la respirazione circolare. I giornali musicali riportarono spesso i successi che i suoi concerti riscuotevano. Nel 1842 la Gazzetta Musicale di Milano scrive: “Cavallini è il Paganini del Clarinetto” e la Revue de Paris lo definì “primo clarinetto dellʼUniverso”. Nel giornale LʼItalia Musicale Cavallini era considerato il “Liszt del clarinetto”. È interessante anche sapere che Cavallini per quasi la sua intera carriera musicale suonò un vecchio clarinetto in bosso a sei chiavi prodotto a Milano agli inizi del Novecento. Talvolta fu criticato per lʼintonazione imprecisa di questo strumento obsoleto. Nel 1860 lo Zar decise di fare adottare lʼintonazione francese alle Orchestre Imperiali e solo allora Cavallini si risolse ad ordinare alla ditta milanese Piana un nuovo strumento a 12 chiavi nella nuova intonazione più bassa. 30 Capricci per clarinetto Le cinque raccolte di Capricci Opp. 1-5, rappresentano senzʼombra di dubbio la sua opera didattica più importante e tuttʼora i Conservatori e le Accademie musicali di tutto il mondo ne prevedono lʼimpiego nei loro programmi di studio. Queste opere coprono, condensandole assieme tutte le possibilità tecniche del clarinetto della prima metà dellʼOttocento, dal virtuosismo “alla Paganini” allo stile cantabile operistico. A non tutti però è noto che in realtà furono pubblicati in diversi periodi. I primi Sei capricci Op. 1¸ dedicati al suo allievo Cristoforo Ballabio furono pubblicati a Milano dallʼEditore Bertuzzi nel 1827; a quel tempo Cavallini era ancora studente del Conservatorio di Milano. LʼOp. 2 fu pubblicata solo nel 1837 dallʼEditore Lucca a Milano e dedicata al suo allievo Antonio Urio. Gli ultimi tre gruppi di capricci, Op. 3 dedicati a Benedetto Carulli, Op. 4 dedicati al fratello M. Pompeo Cavallini e Op. 5 “a Prospero Barigozzi”, furono pubblicati da Ricordi nel 1840. Nel 1904 lʼeditore Ricordi pubblicò i 30 Capricci per clarinetto solo tutti uniti assieme per la prima volta. Successivamente i 30 capricci furono editi nuovamente da Ricordi nella revisione dal clarinettista italiano Alamiro Giampieri. In questa versione i capricci appaiono in una sequenza completamente diversa seguendo apparentemente un ordine di crescente difficoltà. Alcune incongruenze ed errori di stampa furono corretti e Giampieri aggiunse numerosi cambiamenti nella dinamica e nellʼagogica. Questa è attualmente la versione più conosciuta. Negli esami dei Conservatori di musica italiani cinque sono i Capricci richiesti come studi dʼobbligo: i numeri 3, 5, 14, 23 e 29 (numerazione di Giampieri). È interessante anche notare che molti temi tratti dai capricci furono impiegati in numerose altre composizioni e pezzi da concerto da Cavallini stesso. La presente registrazione si basa prevalentemente sullʼedizione Ricordi del 1904. Il capriccio n. 2 (Op. 2, n. 5) ad esempio viene da me eseguito con il gruppetto e nel tempo Andante come previsto dalla versione originale, anziché nel tempo di Allegro brillante di Giampieri, mentre nel Capriccio n. 14 ( Op. 3, n. 4 ) sono riprodotte le articolazioni stampate nellʼedizione del 1904. Trois Duos I tre duetti, registrati per la prima volta su questo CD, furono dedicati al fratello Pompeo Cavallini, “Musicien en chef du 18me Regiment de S. M. Britannique” e pubblicati a Milano dallʼeditore Lucca nel 1836. Cavallini compose anche altri Trois Duos, dedicati a Edward Berti, pubblicati da Ricordi negli anni 1845/46 ed i Sei gran duetti dedicati a Saverio Mercadante e pubblicati da Ricordi nel 1849. Tutte queste composizioni che si possono considerare opere didattiche, furono scritte in Forma Sonata, piuttosto distanti dallo stile operistico in voga, e possono essere paragonate a talune composizioni manierate di Alessandro Rolla. Le melodie spesso ricorrenti in queste opere sono comunque ispirate fortemente dal “bel canto” italiano. Nicola Bulfone Renowned throughout Europe, Ernesto Cavallini became known as ‘the Paganini of the clarinet’ for his beautiful tone and dazzling performances. The Capriccios are unquestionably his most significant didactic works and are still used as mandatory exam pieces at Italian conservatoires. They push the performer to the technical limits of the time, ranging from Paganini-esque virtuosity to operatic cantabile writing. Recorded here for the first time, the Three Duos were also composed for teaching purposes, placing animated musical conversations and elegant Italian bel canto vocal style into classical sonata form. Ernesto CAVALLINI (1807–1874) CD1 (78:19) 1–# 30 Capriccios for Clarinet: Nos. 1–13 Three Duos for Clarinets* $–^ No. 1 in C major &–* No. 2 in A minor (–¡ No. 3 in B flat major 33:20 44:59 14:15 14:36 16:03 CD2 (77:08) 1–& 30 Capriccios for Clarinet: Nos. 14–30 77:08 A detailed track list will be found in the booklet * WORLD PREMIÈRE RECORDING Nicola Bulfone, Clarinet Marco Giani, Clarinet * Recorded at the Auditorium Bratuz, Gorizia, Italy, August 2005 (Capriccios) and at Fraferu’s Studio, Tricesimo, Italy, October 2012 (Duos) Producer: Nicola Bulfone • Engineers: Franco Policardi (Capriccios) & Franco Feruglio (Duos) Booklet notes: Nicola Bulfone • Publishers: Edizioni Ricordi (Capriccios); Edizioni Lucca (Duos) Cover photo © Stuart Blyth / Dreamstime.com