Study Music 17 October

Through a range of links I clicked on Spotify to follow random curiosities I landed on an album of music for clarinet performed by Evgeni Petrov. Before getting to the music, I have to say it was not his album alone; every piece features Tatiana Tarasevich on piano. I know there's a view that the piano part is "accompaniment" but the works do not work without it. I've seen albums that acknowledge the "accompanist" on the cover and frame them as duos, and I think that is a more accurate representation than this -

The album was bookended by Bizet's Carmen, which sounds strange but really isn't. The first piece is Fantasie Brilliant on the themes of the opera Carmen by Bizet, a long title, and was arranged by Francois Borne. It's a lovely trip through all the themes, as it says, and reminds me of Liszt rewriting whole operas and symphonies for solo piano concert pieces. At the other end is Alexander Rosenblatt's version with the slightly shorter title Fantasie on the themes from the opera Carmen by Bizet. It's short and livelier too and a great way to round off the album.

Camille Saint-Saens' clarinet sonata is the meat in the sandwich. I don't know that it's going to become a favourite of mine but it does demonstrate the highs and lows of the clarinet as it goes through most, if not all, of its register. The slow movement didn't quite do it for me, but the two allegros were fun.

As condiments there were also some other pieces. Debussy's Premiere rhaspsodie which was indeed rhapsodic and a good listen; and Ravel's Pavane pour une infante defunte, arranged by Petrov himself it was still a ho-hum number for me, it's either too maudlin or just lack-lustre in my mind, although I think there are some exceptional performances of it about. Maybe it's just the typical translation of the title that puts me off: Pavane for a Dead Infant.

A final dash of spice came in the form of a miniature by Alexander Ilyinsky called Butterfly. It does indeed float and flap and dance along and, together with Rosenblatt's Carmen fantasy, was the real highlights of what is a solid, nice album, if not a humdinger.

Baroque Composers V - Tartini

Giuseppe Tartini (1692-1770) was an Italian composer and violinist just like Corelli and Locatelli before him. It appears however that music was not necessarily his first choice for a career. While he likely had basic music instruction in his youth it’s possible he only took up the violin when he was forced to flee Padua and seek protection in a Franciscan monastery.

The reason for this sudden departure was his marriage to a young woman, technically below his station, but a favourite of the local cardinal who promptly accused him of abduction. At least that’s what Wikipedia says, so it must at least be a story associated with him. Another is that after hearing a violin virtuoso he became so inspired to improve his own playing he fled the town he was in, where he had a job in the opera orchestra, to practice more freely.

The biggest legends around Tartini however are related to his most famous composition, the ‘Devil’s Trill’ Sonata. Its use of double-stop trills make it difficult to play even on modern instruments. Legend has it he wrote it after hearing the Devil play it at the end of his bed in a dream. A 19th century legend had it that he could play it because he had six fingers. I'm actually somewhat ambivalent towards it to be honest. The opening movement is slow and full of longing, then it launches into the virtuosity and it's just a nice bit of violin playing for a while, then some more longing with notes that hold you as they stretch and fade. I don't really get it as a whole piece.

I do enjoy his violin concertos though. Particularly this one in A, D96 which is here performed by Accademia Bizantina on period instruments. with Carlo Chiarappa on violin and conducting. It's not as showy as many concertos and mostly just a nice piece of music, but the second movement is a gorgeous adagio rather reminiscent of a leaf floating on a sunlit river if you go for such imagery.

The legends are fun but the music is better and well worth exploring - get listening!

Baroque Composers IV - Corelli and Locatelli

Arcangelo Corelli (1653-1713) was an Italian composer and violinist whose style of playing greatly influenced the performance of the instrument for years to come. He was born into a wealthy family and raised by his mother – since his father died a few weeks before he was born. Much of his life is confused by legend and anecdotes that have no evidence to back them up. We know he was in Rome by 1675 and there built an impressive career as a highly respected violinist. Interestingly however he didn’t like the high register and refused to play it.

Finding that out explains a fair bit about his Violin Sonatas, Op 5 which I recently bought the second half thereof from Classicsonline (it’s a set of 12 so there are two volumes). While demonstrating virtuosic elements throughout, they are much lower in tone than most violin pieces, which I find quite refreshing to be honest. The most famous part of them is No 12, which is known as La Folia, it is a one movement but as long as the others and it explores as much ground – if not more. It is a truly remarkable piece.

The lower register of the works also makes the slow movements that much more beautiful to my mind. He works the violin gently over the accompanying continuo or harpsichord to create a real sense of swoon (if you take my meaning). He even has a Sarabanda Largo; sarabandes are usually dances so this slow version is quite remarkable. It sounds at times like the violin part is being broken over the knee of the harpsichord, only gently.

His most famous composition however is his Concerto Grossi, a set of 12 concerto grossi which influenced a number of composers including Handel who wrote his own set instead of following the more modern (at the time) Venetian concerto popularised by Vivaldi. They’re best known because of the so-called Christmas concerto which is brilliant but the rest of them work equally as well. Here’s No 1 from the set. It opens with all the regal pomp you could expect of the age but soon goes into a questioning yet spritely phase that loses nothing of the ornamental beauty but is rich in feeling, if not deep emotion.

Pietro Locatelli (1695-1764) was another Italian violinist and composer who possibly studied under Corelli for a very short time just before Corelli’s death. He spent his early career in Rome , then spent five years travelling Italy and Germany before settling in Amsterdam for the last 30 odd years of his life. Strangely most of his compositions are from his travelling years; in Amsterdam he worked mostly as a teacher and performed publically and privately. In a nice quirk, he never allowed professional musicians into his performances lest they learn too much from him.

There aren’t a whole lot of works by Locatelli and they’re certainly not widely known these days. His Violin Sonatas and Concertos were virtuosic standards in Europe at the time however and he was quite famous as a consequence. I haven't heard much of them to be honest. This concerto (Op 3, No 12) is certainly very nice to begin with, then a couple of minutes in the violin begins some very interesting playing, quite unlike anything else I can think of in the Baroque/Classical repertoire. If that's typical of his works there's much to be explored here.

The first work I knew of his was actually his Opus 1, 12 Concerti Grossi. Of course, this was based on Corelli’s Concerto Grosso but there is a difference. Locatelli makes great use of the violin and string section, usually underpinned by harpsichord. There’s at least one movement where the organ and violin swim together through some beautiful refrains.

Both these composers are very Baroque, with precise playing and rich ornamentation. Corelli does evoke some emotions, particularly in his slower movements, but don’t have the depth shown in later periods. But the music is undeniably beautiful and rich. Well worth taking the time to explore, they also inspire me to find out more about similar composer/violinists of their day like Geminani, Torelli and Tartini who’s my next profile.