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Music for flute and organ When musicians seek out rare musical gems to perform for the enjoyment of their audiences, they feel the need to explain not only how and why they came upon these works, but also the emotional effect such discoveries had on them. While performances of compositions for flute and harpsichord were common in well-to-do homes of the Baroque period, the combination of flute and organ during the Romantic period and the early 1900s was rather more unusual, which makes this particular release all the more enchanting.

For composers of the period, generally familiar with the complexity of the great cathedral organs, it was no easy task to bring out the elegance of the flute alongside the palette of sound and colour of the ‘new’ pipe organs. Nor would it have been entirely natural to transfer new musical images and sounds from the intimacy of the home to the austere formality of a place of worship. This probably accounts for the fact that the works for this particular combination of instruments are relatively few in number. In terms of content and quality, however, they are remarkable for their structure and atmosphere: not only the compositions of acclaimed academic composers, but also of various musicians whose names have faded with the passing years.

Distinctly European in reach are the works by Johan Peter Emilius Hartmann and Franz Lachner, two organists of great standing in their day. The former, an academic, was director of the Conservatoire in Copenhagen; the latter was a composer and conductor who directed the Munich Opera and was awarded honorary citizenship of the city in which he worked for over 30 years. While Hartmann was scholarly and conservative in approach, Lachner’s compositions for the flute accompanied by the gentle reedy pipes of the organ are more intimate. Another composer who showed great skill and originality in his works for this combination of instruments was Johannès Donjon, principal flautist with the orchestra of the Opéra de Paris, who had studied with Jean-Louis Tulou, author of a teaching method for the flute that shaped and 2

inspired generations of European musicians. The Eastern European equivalent of this school was personified by Franz Doppler, a friend of Liszt, whose Hungarian Rhapsodies he arranged for orchestra. Doppler came from Budapest, where he played principal flute in the city orchestra before moving to Vienna in 1865, teaching flute at the conservatoire there and conducting ballet in the main city theatre. The piece included on this recording features the use of onomatopoeia to evoke natural scenes of the sort dear to the Romantic musical tradition, conjuring up visions of freedom typical of the sweeping sylvan idyll.

The German composer Hans Hiller, on the other hand, turned to one of the most famous Lutheran hymns for inspiration, Wie schön leuchtet der Morgenstern, in which the joyful song entrusted to the organ comes to the fore towards the end of the piece.

As for the two French composers André Caplet and Noël Gallon, they manage to achieve a temple of mysticism and ‘religious painting’ particularly well suited to the vaporous colours of the combination of flute and organ. Caplet’s work is also interesting because it represents the rediscovery of a long-lost piece that was originally part of the Feuillets d’album, a collection of five compositions for flute and piano or organ. Following considerable professional success, including winning the Prix de Rome, conducting great orchestras (those of Boston and Paris among them) and enjoying the friendship of Debussy, many of whose works he actually premiered, Caplet decided to retire from active life and spend his last years at the Abbaye Sainte-Pierre de Solesmes in northern France, a religious retreat whose silence must have muffled the acclaim of his earlier activities. A sense of ecstasy informs the composition, with echoes of ancient sounds and voices delivered to praise the mystery of God. A counterpart of Caplet is to be found in the earnest measure and intimacy of Gallon, whose work is rarely performed and generally neglected in dictionaries of music. Gallon was a teacher whose pupils included great performers, such as Maurice Duruflé, Jeanne Demessieux and Olivier Messiaen.

This intensely mystical sphere comprised a liturgical vein exemplified by a number of 3

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Italian composers, especially in the 1900s. The musical language typical of such works tended to be simpler and more essential, but not for this less intense. A case in point is the Bolognese composer Sergio D’Aurizio, who studied piano, composition and choral music before taking up a teaching position at the specialist music high school in Ravenna, and whose sacred compositions were conceived for the church of Santa Maria della Misericordia in Bologna. As for the Savona-born composer Giuseppe Manzino, alongside his organ music – published during his own lifetime and recently the object of further critical study – there are also symphonic works, as well as theatrical compositions for piano and voice such as the piece included here: littleknown works that embody a succinct, almost severe personal style. Another remarkable rediscovery has been the compositions of Adriano Lincetto. The two pieces included here derive from the significantly named Messa degli artisti (Artists’ Mass), and are articulated in the form of a meditative prayer. A highly refined musician, Lincetto was widely appreciated as a pianist, as a teacher and as a performer in chamber ensembles.

Recordings of this sort encourage reflection on the wealth of music that is still to be rescued from oblivion for the enjoyment of those who set store by such dialogue with the art and artists of the recent past. In the present collection, Harald Genzmer, who studied with Hindemith, represents the chapter of modernity whose idiom reaches out in the direction of what is still to come. 훿 Gian Nicola Vessia Translation: Kate Singleton

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Musica per il flauto e l’organo Quando gli esecutori cercano tra le pagine rare della storia della musica e restituiscono al loro pubblico i giardini nascosti ritrovati, sentono l’esigenza di raccontare la loro esperienza non solo filologica ma anche sentimentale e di affetto per il mondo riscoperto e, come in questo caso, fatto di incanto sonoro. Un incantesimo insospettato poiché, lontani dall’uso domestico del flauto e del basso continuo eseguito alla spinetta da salotto delle famiglie dabbene del periodo barocco, sondare il connubio flauto e organo del periodo romantico e del ‘900 appena trascorso, non è facile.

Per i compositori di questo periodo che si trovavano dinnanzi a strumenti più complessi e completi come gli organi delle grandi cattedrali, non era semplice dare un’anima all’eleganza del flauto da concertare con la ‘nuova’ tavolozza organistica.

E, se vogliamo, non era così scontato trasferire dalle pareti di casa all’aula della spiritualità, il flusso sonoro di nuove immagini musicali. Quindi una letteratura non vastissima nei numeri ma densa di pagine comprendenti ‘grandi firme’ nei compositori di rilevanza accademica, così come sorprenderanno i ‘minori’ nelle loro pagine d’occasione capaci di strutturare una atmosfera del tutto particolare che è il risultato del mix tra flauto e organo.

Pagine di respiro europeo sono quelle di Johan Peter Emilius Hartmann e di Franz Lachner, due organisti caratterizzati da serietà artistica che rappresentarono, nel loro tempo, l’uno il mondo accademico danese con il suo incarico a direttore del Conservatorio di Copenhagen, l’altro il consesso della musica colta a Monaco di Baviera, città che volle conferire al Lachner compositore e direttore dell’Opera per più di trent’anni, la cittadinanza onoraria. Il salto tra questo dettato ‘di scuola’ e di grande conservazione della tradizione, a quello più intimo delle pagine flautistiche accompagnate dai tenui colori d’ancia dell’organo, appare immediatamente evidente.

Eppure anche per queste composizioni riaffiora la firma di chi sa trattare questa materia con originalità d’espressione come il francese Johannès Donjon, strumentista 5

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di riferimento dell’orchestra parigina dell’Opera e allievo della scuola di Jean-Louis Tulou che preparò, con il suo insegnamento e suoi metodi per flauto, generazioni di musicisti europei. A tale scuola risponde l’est europeo con Franz Doppler, amico di Liszt (del quale orchestrò sei Rapsodie ungheresi): proveniva da Budapest dove era primo flauto dell’orchestra cittadina e si installò a Vienna dal 1865 diventando professore del suo strumento al conservatorio oltre a dirigere i balletti del maggior teatro viennese. Non mancano, nel brano qui riproposto, accenni onomatopeici e descrizioni naturistiche che ci riportano a grandi esempi della storia musicale romantica dove l’idillio del bosco e dei suoi abitanti si trasforma in messaggio di libertà e di potente afflato romantico.

L’autore tedesco Hans Hiller è invece ispirato da uno dei inni luterani più conosciuti Wie schön leuchtet der Morgenstern, il cui canto gioiso, affidato all’organo, affiora solo alla fine del brano. Ma è nelle pagine dei francesi André Caplet e Noël Gallon che si compie il piccolo miracolo di un tempietto del misticismo e di una ‘pittura religiosa’ che flauto e organo esaltano per la vaporosità dei colori. Il brano di Caplet ha anche un valore di documento poiché rappresenta il recupero di una pagina che faceva parte di Feuillets d’album, una raccolta di cinque pezzi per flauto e pianoforte o organo andati perduti nel peregrinare di questo musicista che desiderò chiudere i suoi giorni al Abbaye Sainte-Pierre de Solesmes nella Francia del nord, un riparo religioso e silenzioso che quasi cancellava la precedente attività iniziata con un prestigioso Prix de Rome, con la direzione di grandi orchestre (fra loro quelle di Boston e Parigi), con la condivisione dei successi dell’amico Debussy che gli affidava la direzione delle sue più importanti prime. Tutto si ricompone in un rivivere estatico la composizione, con la volontà di far riaffiorare il suono di antichi discanti e di organa che cantavano compunti il mistero di Dio. A Caplet fa eco il raccoglimento di studiatissima misura di Gallon nella sua pagina di rara esecuzione e sconosciuta ai dizionari. La sua è la figura di un docente dalla cui scuola uscirono grandi interpreti quali Maurice Duruflé, Jeanne Demessieux e Olivier Messiaen.

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Su questa atmosfera di intenso misticismo, si innesta la riproposta di un filone liturgico che i compositori italiani ben rappresentano, soprattutto nel ‘900. Il linguaggio si fa più semplice, essenziale, ma non per questo meno intenso come nel caso dei brani di Sergio D’Aurizio, bolognese, diplomato in pianoforte, composizione e musica corale, docente per anni al Liceo Musicale di Ravenna, le cui composizioni sacre sono pensate per la chiesa felsinea di Santa Maria della Misericordia. Sul savonese Giuseppe Manzino sono da poco usciti nuovi contributi a commento dell’opera organistica, già a suo tempo edita, ma non va dimenticata la parte sinfonica, teatrale pianistica e vocale di questo compositore qui rappresentato da una pagina poco conosciuta che ne mette in risalto lo stile personale e quasi severo nella sua asciuttezza. Più sorprendente la riscoperta di Adriano Lincetto con due brani già evocativi nel titolo perché compresi nella Messa degli artisti e declinati in forma di preghiera meditativa. Si va dunque a conoscere la raffinata compostezza di un musicista che fu concertista di caratura internazionale, pianista e camerista, docente di valore. Ci si chiede, in questo tipo di incontri, quanta e quale musica aspetti ancora di riaffiorare per essere riconsegnata all’ascolto, all’emozione, a nuovi viaggi di poesia per nuove persone disposte al confronto con l’arte e con gli uomini che l’hanno prodotta. Al più conosciuto Harald Genzmer, allievo di Hindemith, il tratto stilistico di una modernità che lascia, con il suo linguaggio, la porta affacciata su nuovi sentieri di ricerca. 훿 Gian Nicola Vessia

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Daniele Ruggieri ‘… Rarely will you hear the flute flutter around a concert hall in such a beautiful and playful display of virtuosity’ The Times Daniele Ruggieri completed his studies in Venice, where he graduated with the highest marks under Guido Novello, and subsequently in Geneva, where he was awarded the first Prix de Virtuosité in the class of Maxence Larrieu. He has since been awarded several prizes at international competitions for chamber music in Stresa, Trapani, Caltanissetta and Casale Monferrato.

Ruggieri has been intensely active on the concert circuit for several years, taking part in major European festivals such as SettembreMusica (Turin), Settimane di Musica d’Insieme at the Scarlatti Association (Naples), Musica ’88 (Strasbourg), Eco & Narciso (Milan), Concerts Ville de Genève, Gulbenkian (Lisbon), the Venice Music Biennale, Huddersfield Contemporary Music Festival (UK), RomaEuropa (Villa Medici), Warsaw Autumn Festival, Akademie der Künste (Berlin), Gaudeamus Foundation (Amsterdam), Italia-España (Madrid), Festival d’Avignon, Ars Musica (Brussels), Time for Music (Finland), and the chamber music seasons of the Munich Philharmonic Orchestra, the Salzburg Mozarteum, La Scala (Milan), the Teatro di San Carlo (Naples), the Hamburg Musikhalle, the Kaufmann Concert Hall (New York) and the Chicago Cultural Center. In addition, he recently premiered Salvatore Sciarrino’s Adagio accompanied by the La Fenice Orchestra, also making his Japanese debut at the Denki Bunka Kaikan in Nagoya accompanied by the Central Symphony Orchestra.

Ruggieri actively collaborates with the Ex Novo Ensemble of Venice, of which he is a founding member. As both an ensemble member and a soloist he has recorded more than 20 albums for ASV, Black Box, Denon, Dynamic, Naxos, Resonance, 8

Ricordi, Stradivarius, Tactus and Brilliant Classics, among other labels. He has also recorded concerts and programmes for all the principal European radio stations: BBC, Rai, Radio France, Westdeutscher Rundfunk (WDR), Belgian Radio (RBFT), the Swiss-German language Radio (DRS) and Swedish Radio.

He currently teaches flute at the Padua Conservatoire, and has given lectures, masterclasses and concerts at several prestigious colleges and universities, including Boston University, Rowan University, Haverford College (USA), Mainz Hochshule für Musik (Germany) and Conservatorio Superior de Murcia (Spain).

Andrea Toschi Andrea Toschi was born in Bologna, where he attended the Conservatorio di Musica ‘Giovan Battista Martini’ and earned his Organ Diploma in 1982, having participated in many masterclasses with renowned organists. In the same year he also graduated from the University of Bologna with a degree in Agricultural Sciences. Since 1983 he has taught organ in several Italian music academies; currently he teaches at the ‘G. Nicolini’ Conservatoire in Piacenza. He maintains a busy concert schedule, both in Italy and abroad (including Europe, South and North America), mostly as a soloist but also performing chamber music with violin, flute, trumpet, cello and orchestra. His repertoire ranges from early to modern music, and he is often invited to inaugurate restored Italian historic instruments. He also frequently premieres contemporary music dedicated to him, such as the new organ work Kyrie Eleison written for him by the pianist and composer Andrea Padova.

In 2002 Toschi became organist at St Agostino Church, Modena (historic organ

by Facchetti, 1517–19) and two years later at the Church of Santa Maria della Misericordia in Bologna. He has given masterclasses across Italy and abroad, mainly on modern repertoire; particular highlights include lectures at the prestigious 9

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Hochschule für Musik in Detmold, Germany, with trumpeter Marco Tampieri in 2008, at the Lithuanian Academy of Music and Theatre in Vilnius in 2009, and in Mainz, Germany, with Daniele Ruggieri in 2013. He also gives advanced courses and masterclasses on contemporary music with particular reference to Italian repertoire, and is frequently invited to participate in juries in national and international organ competitions such as the Prix d’Orgue Bach (France) in 2007, the San Guido d’Aquesana Organ Competition (Italy) in 2009 and 2013, and the Mikael Tariverdiev Organ Competition (Russia) in 2011.

Radio Russia and Italian Rai Radio 3 have broadcast Toschi’s performances, and Pizzicato Verlag Helvetia has published his vocal and organ music. In 2004, the American label Calcante released his album Organ Music of Today. Two years later he released Cesare Arresti’s Organ Sonatas for the Milanese label Bottega Discantica.

In March 2010 his album devoted to modern Italian repertoire Equi-voci, with the trumpeter Marco Tampieri, was released, and the following year he released Prece ad un Angelo, rare works of Italian Romanticism for violin and organ with Roberto Noferini on the Tactus label. This was followed by a new disc dedicated to music for harmonium and violin by Giuseppe Antonio Ellena with Roberto Noferini for Bottega Discantica, and the album Elegien ohne Worthe – an overview of original modern and Romantic music – together with cellist Luca Paccagnella in collaboration with the Conservatorio di Musica ‘Francesco Venezze’ in Rovigo, where he taught for more than ten years.

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Organ of Chiesa di Sant’Antonio Abate, Collegio Universitario Don Nicola Mazza, Padua (Francesco Zanin, 2006) Hw. (Hauptwerk) 56 notes (C–g5) Bordone Principale Ottava Ottava Mixtur V Flauto Flauto Nazardo Flauto in XVII Viola da Gamba Tromba Rp. (Rückpositiv) 56 notes (C–g5) Bordone Quintadena Principale Flauto Tappato Ottava Flautino Zimbel III Sesquialtera II Dulzian

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16’ 8’ 4’ 2’ 1’1/3’ 8’ 4’ 2’2/3’ 1’3/5’ 8’ 8’

8’ 8’ 4’ 4’ 2’ 2’ 1’1/3’ 8’

P. (Pedal) 30 notes (C–f3) Subbasso Principale Ottava Trombone Tromba Accessories Tremulant Hw./P. Rp./P. Rp./Hw. Tuning: A=440, 20°C Mechanical tracker action

16’ 8’ 4’ 16’ 8’

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Harmonium of Chiesa di Santa Maria della Misericordia, Bologna (Aloys Meier Fulda) Real stops (Four full ranks of reeds) Fagott 8’ (bass) Viola 4’ (bass) Bourdon 16’ (bass) Diapason 8’ (bass) Melodia 8’ (treble) Violoncello 16’ (treble) Flöte 4’ (treble) Oboe 8’ (treble)

The musicians wish to thank the following people for their support and assistance: Father Francesco Massagrande (Director General of Collegio Universitario Don Nicola Mazza, Padua) Father Mario Manara (Director of Collegio Universitario Don Nicola Mazza) Father Mario Fini (Parish Priest of Chiesa di Santa Maria della Misericordia, Bologna)

Derived (muted) stops Viola d’Amour 4’ (bass, from Viola 4’) Bassflöte 8’ (bass, from Diapason 8’) Fernflöte 8’ (treble, from Melodia 8’) Vox Celeste 8’ (Oboe 8’ and muted Melodia 8’) Mechanical stops Bass coupler Treble coupler Forte I (front swell, for Bourdon 16’, Diapason 8’, Bassflöte 8’, Fernflöte 8’, Melodia 8’, Violoncello 16’) Forte II (rear swell, for Fagott 8’, Viola 4’, Viola d’Amour 8’, Flauto 4’, Vox Celeste 8’, Oboe 8’) Vox Humana (treble fan, mainly affecting Flöte 4’, Vox Celeste 8’, Oboe 8’)

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Ruggero Livieri (Organist-in-Residence at Collegio Universitario Don Nicola Mazza) Ivan Furlanis, for the English translation of the harmonium specification Marco Dore and Elia Guglielmo, registrants Knee swells Left for Grand Organ Right for both Forte Keyboard compass: F-1 to f5 Transposer: +4/-4 semitones Bass/treble break: e2/f2 Recording: 24–25 April 2013, Chiesa di Sant’Antonio Abate, Collegio Universitario Don Nicola Mazza, Padua, Italy (organ); 29 October 2013, Chiesa di Santa Maria della Misericordia, Bologna, Italy (harmonium) Recording & editing: Prof. Fabio Feggi Artists’ photo: Elia Guglielmo  & 훿 2015 Brilliant Classics

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