Giovanni Benedetto
Chamber music Ensemble Cordia Alfredo Bernardini Stefano Veggetti Alberto Grazzi
Ensemble Cordia 1
Giovanni Benedetto
(1697-1763)
Sonata à Oboe, Violoncello e Basso in G minor
Sonata à Violoncello Solo e Basso Continuo in D minor
Trio con Oboe e Faghotto Obligato (e Basso Continuo) in C minor
Sonata à Violoncello Solo e Basso Continuo in G minor World premiere recording
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5 6 7 8
9 10 11 12
13 14 15 16
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Adagio.........................................................................................................................................4.48 Allegro.........................................................................................................................................3.26 Adagio.........................................................................................................................................2.53 Allegro.........................................................................................................................................3.26
Largo............................................................................................................................................1.59 Allegro.........................................................................................................................................1.52 Adagio........................................................................................................................................ 2.00 Fuga - a tempo giusto..................................................................................................................1.37
Adagio.........................................................................................................................................2.42 Allegro.........................................................................................................................................2.58 Adagio.........................................................................................................................................1.43 Allegro.........................................................................................................................................1.53
Adagio.........................................................................................................................................3.18 Non presto...................................................................................................................................2.27 Largo............................................................................................................................................2.50 Allegro.........................................................................................................................................1.32
Sonata à Oboe Solo e Basso Continuo in C minor
Sonata a tre cioè Violino overo Oboe, Violoncello e Basso in G major
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21 22 23 24
Adagio Assai................................................................................................................................2.08 Allegro Assai...............................................................................................................................3.30 Non tanto Adagio........................................................................................................................3.12 Giga Presto..................................................................................................................................1.51
Adagio.........................................................................................................................................2.54 Allegro.........................................................................................................................................4.22 Largo............................................................................................................................................2.36 Allegro.........................................................................................................................................3.50
Ensemble Cordia Alfredo Bernardini, Oboe
Oboe Paul Orriols, La Geltrù after Th. Stanesby Junior Londra around 1730
Stefano Veggetti, Violoncello
Violoncello Nicola Gagliano, Napoli 1737 kindly provided by the courtesy of Baroness Mariuccia ZerilliMarimò (track 5-8,13-16); Violoncello piccolo Johannes Jais, Bulsani in Tyrol 1776 (track 1-4, 21-24)
Alberto Grazzi, Basson
Basson P. de Koningh 1999 after J. H. Eichentopf, first half XVIII cent.
Franziska Romaner, Violoncello, Basso Continuo Italian Basset XVIII cent.
Anna Fontana, Clavicembalo
Clavicembalo G. Facchini - A. Martini , Ravenna 2000 after italian anon. first half XVIII cent. 3
“[...] This first-class oboist Giovanni Benedetto Platti from Würzburg, called Platti, has been here three days ago, and I would be pleased to have this truly fine chap’s art be heard in every possible way as a member of the court orchestra. [...]” This is a statement about Giovanni Benedetto Platti! And the one who speaks so highly of him is Rudolf Franz Erwein Graf von Schönborn, who is portrayed on the cover of this CD. The fact that these two people should have met in their lifetimes is to be considered a fortunate twist of fate. Giovanni Benedetto Platti (who was presumably born in or near Padua, around 1697) had enjoyed a thorough musical education in Venice, and he subsequently went north – just like many of his compatriots. Being a virtuoso musician, he was employed at the court of the Prince-Bishop of Würzburg, Johann Philipp Franz von Schönborn (an older brother of Rudolf Franz Erwein); on 2 April 1722, he was appointed ‘oboista’ of the orchestra. Rudolf Franz Erwein von Schönborn, one of the seven sons of Melchior Friedrich von Schönborn, had been born in 1677. He was given the opportunity, like his older brothers, to study in Italy. In addition to theological studies, young noblemen occupied themselves with music: they learned to play a musical instrument. Rudolf Franz Erwein had decided to engage in the playing of the – then still quite young – violoncello. It would become very important to him; for decades, he endeavoured to acquire “something new for the violoncello”; he seemed to have an uncontrollable longing for making music himself, with his brothers, with friends or travelling musicians. He had a broad musical interest: the catalogue of the older repertoire in the music collection of Schönborn-Wiesentheid, and in some degree his personal music cabinet as well, contains 150 prints and nearly 500 handwritings by various composers, in various arrangements and for several ensemble line-ups. The period of study in Italy – in Rome, where the Schönborn sons apparently heard Corelli, in the city theatres on their route (Venice, Bologna, Lucca), where they got acquainted with works by Vivaldi and others – had left its mark on the musical firmament. Johann Philipp Franz, who was elected Prince-Bishop of Würzburg in 1718, definitely wanted to employ Italian players for his court orchestra, and thus, in the spring of 1722 Giovanni 4
Benedetto Platti arrived, together with other musicians (like e.g. Kapellmeister Fortunato Chelleri or castrato Raffaele Signorini). The court was delighted to have them – these “musicos from Italy”. Unfortunately, this state of affairs did not last long. The sudden death of the Prince-Bishop in 1724 quickly ended this musical concord. His successor had no particular interest in court music. Many of the musicians were dismissed or left on their own accord. Platti, however, stayed on. He did get a new, less favourable contract, but it seems as though a commitment to Rudolf Franz Erwein, the passionate cellist, began to develop more clearly. In 1725, two volumes of six violoncello sonatas each, outline the beginning of the great collection of compositions (more than 60) that Platti must have composed for this ardent lover of music, Count and Lord of the Wiesentheid manor, which was next to Würzburg: the 28 Concerti for violoncello and the 21 Trio Sonatas, in which the violoncello is the second melody instrument, chamber music settings of Corellis Violin Sonatas, Op. 5, as well as several sacred works, were all written during the period in which Platti was not terribly busy as a musician at the Würzburg court, and in which he could spare the time to meet the wishes of the Count in Wiesentheid. When, in 1729, Friedrich Carl von Schönborn, another brother, became Prince-Bishop of Würzburg and Bamberg, the temporary extra space to comply with the wishes of Rudolf Franz Erwein must have shrunk again: before, Platti had played together with the Count (a number of handwritings indicate that single parts from scores have been made by him) or had helped him with attempts at composing (a Miserere attests to such shared efforts ), but from 1731 onward, he was clearly much more occupied through new arrangements in the court orchestra of Würzburg. Platti was now also employed as a violinist, singer and singing teacher. Printed works from the 1740s (by Ulrich Haffner in Nuremberg) state he was a ‘keyboard’ composer and maker of flute sonatas – he must have been an extraordinarily versatile musician. In January 1763 Platti died in Würzburg, ten years after his wife (court singer Theresia Platti – maiden name Lambruckerin), as the head of a large family. 5
Up to now, there is no known picture of Platti, so we do not know what he looked like. However, we can meet his musical personality in his compositions. His very own ‘voice’, noted down by the ‘oboista’ himself, is available in just a few manuscripts: an Oboe Concerto and a Sonata for Oboe have been preserved (the latter is kept in Dresden). In the Wiesentheid Trio Sonatas, the oboe occasionally replaces the violin, presenting, in combination with the count-cellist, the personal colour of the musician. Platti’s very diverse composing style generally displays tunefulness but also a love for counterpoint; he sets the verve and lightness of fast fragments against the moving, expressive slow ones; the composer has predominantly shaped his music in two-movement forms (the first movement generally leads to a dominant or major parallel conclusion, and in the course of the second movement the key of departure is regained). Rudolf Franz Erwein could have easily introduced this musician at the Imperial court in Vienna. However, for Würzburg and the members of the House of Schönborn, it was better that he stayed, since for them, it was “ein bluthspiel, so ettwaß wieder zu ohren zu bekommen.” [(freely translated:) difficult to find such a delight to the ear again.] Frohmut Dangel-Hofmann Translation: Ireen Niessen „[...] The music is really good there; two Viennese female singers were present; they sang truly beautifully. The oboist is fine as well, but the cellist is unequalled, owing to the refinement of his playing. Count Rudolf Franz Erwein von Schönborn, the Prince-Bishop’s brother, is a splendid man and a great music lover. He is a fine accompanist on the violoncello, and we have often played music together [...]” Rudolf Franz Erwein von Schönborn can be considered one of the main patrons of the violoncello and its repertoire, due to his enthusiasm, his talent – plus of course his inexhaustible financial means – but above all thanks to a fortunate occurrence: the arrival of Giovanni 6
Benedetto Platti from Venice in Würzburg, a gifted virtuoso on the oboe, a singing teacher, violinist and composer. The meeting of the two, in the summer of the year 1722, in due course resulted in a worthwhile collaboration, and maybe even friendship. A friendship between a brilliant diplomat at the high point of his career and a young Italian virtuoso, who had migrated in search of prosperity. The results of this connection consist of a few letters and a great deal of music, fully dominated by the violoncello. These belong to the sizeable collection of manuscripts and prints that the Count had acquired in the course of the fifty years of his life, and that are still kept in some cabinets in the Castle of Wiesentheid. Give free rein to our imagination. Probably this happened… Rudolf Franz Erwein to the Prince-Bishop of Würzburg: “… I owe you, my brother, deepest thanks, for giving your wonderful virtuosos permission to visit Castle Wiesentheid on their way back from Gaibach. We have made music all day long, and this morning they arose again at five o’clock...” Some time later – the Count to Platti: “Dear Giovanni, I vividly remember the day that we spent making music together with your friends. I would very much like to enjoy your company longer. Hove you got Sonatas for Violoncello and Basso Continuo that I could use for practise?” Platti: “ Yes, Your Excellency, I do have sonatas for Violoncello, which, I hope, will meet with your approval. I will send them to you right away.” The Count: “Dear Giovanni, do not send them to me, bring them to me as my welcome guest, come to Wiesentheid.” Platti: “ Your Excellency, as you very well know, I am in service of the Prince-Bishop, and my duties oblige me to stay in the residence.” The Count: “I will talk to my brother. In May, I will return from Vienna, and stay at my residence for two weeks. For the trip, I will put a horse at your disposal.” The new connection entailed very positive developments for our protagonist. Both characters were exceedingly enthusiastic. The Count: “Giovanni, your sonatas are marvellous. Would you be so kind to let me keep them?” Platti: “I have copied them as a gift for Your Excellency.” The Count: “Giovanni, I will compensate you for this.” Platti: “I have Your Excellency to thank 7
for your generous help, since I ran the risk of having to return to Italy, following the death of the Prince-Bishop. Because of you, I could stay on at the court. Your wish is my command.” The Count: “Giovanni, I need sacred music for the new church that Balthassar Neumann will build in Wiesentheid. Furthermore, I would like to extend my library, and I require your assistance to finish some of my compositions. You are welcome to bring your family. You would be required to compose masses, and, if you like, works for Violoncello as well. What would you say about Sonatas for Oboe or Violin, Violoncello and Basso Continuo?” Platti: “ Your Excellency, how should we handle the difference in tessitura between the two instruments?” The Count: “As you know, Giovanni, in Rome a fifth string for Violoncelli has been used. My collection includes several superb violoncelli of this type, and first-class strings from Abruzzi.” The history of the two, which lasted at least a decade, included sojourns of Platti at Wiesentheid, journeys of the Count together with virtuosos of the ensemble of Würzburg to the thermal spas of his uncle and brothers, special evenings at the Castle in Pommersfelden, produced pleintful and unexpected results. In 1733 when Rudolf Franz Erwein, tired of travelling and intervening conciliatory where conflicts and disputes between people occurred withdrawal from all diplomatic duties, he had at his disposal an abounding music library where to choose pieces for his diletto and where Platti’s work helped him to mitigate the grief over the loss of his wife. Now what is the use of opening these old cabinets and taking out compositions that miraculously survived the bombings of World War II? Is it merely a fortunate opportunity for music scientists and Baroque musicians, who can indulge themselves in studying unpublished material, and thus in realising world premiere recordings or rare publications? In reality, this cabinet offers us access to a past that we can learn a lot from. It concerns a past in which music still played a fundamental role, in which music encompassed a moment of reflection. In those days, music was everything and at the same time simply what is was. It was listened to and loved, without any preconceptions about places or people. Platti’s music touches the heart. It was not just favoured by the Count because it was written for his beloved instrument, but because he was able to fully understand the profound 8
meaning of its contents. Platti’s music is neither pompous nor contaminated with the falseness of the Roman-catholic Church apparatus. It goes straight to the soul of the listener, and there, with its human touch, it fights every inhuman emotion. In this music, we perceive the slow stroke of oars of the vallesana (the characteristic boat in the Venetian Lagoon), which, swathed in wisps of fog, threads it way through the calm, smooth water. The idyll is completed by the wing beat of a bird. The created image emanates endless peace, and every dismal dissonance is dissolved. The music carries us away from noise and bad thoughts; suddenly, we are surprised and entirely overwhelmed by the rhythm of a dance, in the way a painting by Tiepolo can sweep you away with its clear and bright light, its vitality and its joie de vivre. After all the turmoil in Count Erwein’s life, the noble violoncellist finally simmered down, now that his great passion for music and his ceaseless search for new works for his instrument, had, at last, yielded result: he had found his music – and Platti had found his interlocutor as well as the ideal ambience in which he could flourish. Thanks to this Count and his sensibility, the repertoire for cello enlarged with new and beautiful pages. We hope to find other “Counts” with the same our passion and love for Platti’s music and that of the other great composers. Stefano Veggetti Translation: Ireen Niessen
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Born in Rome in 1961, Alfredo Bernardini moves to The Netherlands in 1981 to specialize in baroque oboe and early music with, among others, Bruce Haynes and Ku Ebbinge. In 1987 he receives his soloist diploma from the Royal Conservatory of The Hague. He has performed all over Europe, in Russia, U.S.A., Japan, China, Korea, Malaysia, Egypt, Israel, South America and Australia as a member of some major baroque ensembles such as Hesperion XX, Le Concert des Nations, La Petite Bande, The Amsterdam Baroque Orchestra, Das Freiburger Barockorchester, The English Concert, Bach Collegium Japan, Balthasar Neumann Ensemble and others. In 1989 he founded the ensemble ZEFIRO together with the brothers Paolo and Alberto Grazzi. He has taken part to some 100 recordings. Among others, his CD featuring Vivaldi oboe concertos was acknowledged with the Cannes classical 10
Award 1995. In 1999 he realized together with ZEFIRO a documentary-film on Antonio Vivaldi for the Belgian Television. As a director, he has worked with several orchestras in Italy, France, Germany, Spain, Portugal, Holland, Denmark, Norway, Poland, Australia and with the European Union Baroque Orchestra. Besides, his research on the history of woodwind musical instruments has resulted in several articles published by important international magazines. Since 1992 he teaches baroque oboe at the Conservatory of Amsterdam and from 2002 also at the Escola Superior de Musica de Cataluùa in Barcelona. Stefano Veggetti obtined his diploma as violoncellist at the Conservatory of L’ Aquila. He subsequently won a scholarship to continue his studies in Philadelphia with Orlando Cole. After returning to Europe, fascinated by the sound of pe-
riod instruments, he attended master-classes with Anner Bijlsma and has since then played as a soloist and in chamber music ensembles with musicians who are specialized in period instruments (A. Bijlsma, S. Ritchie, A. Bernardini, O. Dantone, l’ Archibudelli, l’ Astrée, G. Cooper) in Europe, Mexico, Canada and the USA. He has appeared on both radio and television (RAI, Italy; RDF, Germany; RDP Antena2 Portogal) and has recorded for Nuova Era (Italy) and Opus 111 (France). Since the year 2000, along with his Cordia Ensemble, he has worked on newly discovered chamber and orchestra music from the Baroque and Classic periods, which will be recorded by the label Brilliant. Stefano Veggetti teaches baroque cello at the Conservatory in Verona and at various masterclasses across Europe and plays on the violoncello Nicola Gagliano (1737) ex Oblach, which is kindly provided to him by the courtesy of Baronessa Mariuccia ZerilliMarimo. Alberto Grazzi studied bassoon at the Civica Scuola di Musica in Milan where he graduated under the guide of Prof. Virginio Bianchi. In 1985 he was asked to join the European Baroque Orchestra, marking his
introduction to the early music world. Freelance with the main European baroque orchestras (Concentus Musicus Wien, The Sixteen Choir and Orchestra, Les Musiciens Du Louvre, Concerto Italiano and other) he has been for 12 years principal bassoon with “Il Giardino Armonico”. In 1990 he became principal bassoon of “The English Concert” with which he toured all over the world both as orchestral player as well as soloist. In 1989 he, together with his brother Paolo and Alfredo Bernardini, founded “Ensemble Zefiro”, group devoted to explore music repertoire in which winds have an important role. With Ensemble Zefiro he has recorded the awarded cd of Zelenka sonatas W.A.Mozart complete winds chamber music, Handel Water music and Fireworks music and Mozart bassoon concerto which is due to be released during 2009. He is regularly invited by Trevor Pinnock 11
to join his newly formed group “European Brandenburg Ensemble”. Alberto Grazzi teaches in Milano at the Civica Scuola di Musica, at the Conservatory of Verona, and during summer courses around Europe. As soloist with The English Concert and Ensemble Zefiro, he recorded bassoon concertos by Vivaldi, Fasch and Mozart for the labels Sony BMG; Deutche Harmonia Mundi; DG Archiv; Teldec Classic; Astree Naive; Opus 111 and Ambroisie. Franziska Romaner, after graduating from the Bolzano Conservatory with Giuseppe Momo, focussed on Baroque violoncello, studying at the Schola Cantorum Basel with Christophe Coin, and in masterclasses with Anner Bijlsma. In 2000, after auditioning for the European Union Baroque Orchestra (EUBO), she was 12
engaged as its principal cellist and performed in many European Festivals, playing with Ton Koopman and Lars Ulrich Mortensen among others. Having collaborated with many ensembles specializing in Baroque and Classical repertoire, she now performs and records with the Tirolean group Ensemble Cordia, and teaches at the Music School of Brunico.
Anna Fontana. After graduating in pianoforte, she got an harpsicord degree with pride, at the Verona Conservatory. Thanks to a fellowship from the Dutch Government, she studied later on at the Koninklijk Conservatorium of The Hague, obtainig a “ Certificaat of Advanced Study”. She attendend then a four year course of harpsicord and basso continuo studies at the Schola Cantorum Basiliensis with Jesper
B. Christensen and followed seminars with Bob van Asperen, Emilia Fadini, Andreas Staier. She won prizes in national and international concourses both for harpsicord and chamber music She concertizes all over the world as soloist, in chamber music groups and in baroque orchestras. She has played with Ensemble Aurora, Accademia per Musica, Cappella della Pietà dei Turchini, Ensemble Zefiro, Ensemble gli Incogniti, La Venexiana, Ensemble Café Zimmermann, taking part in important Ancient Music Festivals as: Festival di Musica Antica di Urbino, Musica e Poesia a S.Maurizio di Milano, International Haendel Festspiele Gottingen, Festival di Montreaux, Festival Cervantino Mexico City, Festival Sablè, Barokfest Munster, Vancouver Festival . She is titled harpsicordist of the Orchestra Academia Montis Regalis di Mondovì, playing under the direction of B.Kuijken, J.Christensen, E.Gatti, J.Savall, M.Huggett, C. Rousset, A De Marchi etc. She has recorded for various European Broadcasts and for the labels “Opus 111”, “Agorà” , “Naxos”, “Capriccio”, “La Bottega Discantica”, “Arion”, “Zig Zag Territoire”, “Hyperion”.
The Cordia Ensemble, founded and conducted by Stefano Veggetti, is dedicated to the performance of Baroque and Classic music. The Ensemble is based in Bruneck (South Tyrol) and is composed of musicians from South Tyrol and the neighbouring German and Italian speaking regions, strengthened, according to the project, by famous European soloists such as Stanley Ritchie, Alfredo Bernardini, Erich Höbarth, Monika Mauch, Roberta Invernizzi, Christian Hilz, Gemma Bertagnolli, Gary Cooper, Dorothee Oberlinger. The Concert programmes like to vary between well-known componists (Bach, Telemann, Vivaldi) and newly discovered pieces (Platti, A. and P. Wranitzky), which will now be released by the label Brilliant. The use of valuable original instruments the Ensemble to combine its own conception of an „authentic sound“ with a young, fresh performance. In 2003 the Cordia Ensemble was invited on a tour with „Les Musiciens du Louvre“ and in the same year the Ensemble had its debut at the Wiener Konzerthaus in Vienna. The Cordia Ensemble is supported by the Municipality of Bruneck.
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The Ensemble Cordia wishes to thank for their kind help and support of this project
S.E. Graf Paul von Schönborn the owner of the library Schönborn – Wiesentheid Baronessa Mariuccia Zerilli-Marimò Sources: tracks 1-4 D-WD 692, 5-8 D-WD 698/2, 9-12 D-WD 695, 13-16 D-WD 698/1, 21-24 D-WD 676, Musiksammlung der Grafen von Schönborn-Wiesentheid; tracks 17-20 Sächsische Landes Biblioteck Mus 2787 S-2 Tracks 21-24: first edition presented by Edition Walhall Concept & music project: Stefano Veggetti Recording producer, balance engineer, digital editing: Jens Jamin Recording location: Verein Haus St Georgen (Südtirol) 2-4 /11/2005 Cover picture: Rudolf Franz Erwein Graf von Schönborn Kaiserlicher Geheimrat und Ritter des Goldenen Vliesses, 1677-1754 detail from the altarpiece of the church of Gaibach - Franz Lippold, 1748 Photo: Marco Klüber Photos : Martin Tinkhauser © Cordia except Bernardini © Steven Godbee and Grazzi © Glauco Ongari 15
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