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Ries CELLO SONATAS Gaetano Nasillo cello Alessandro Commellato fortepiano
In the shadow of the giant Ferdinand Ries was born into a family of musicians in Bonn (Godesberg), the same city as Beethoven - a sign of destiny? - on November 28, 1784. He was therefore only 14 years younger than the author of the Ninth Symphony. After moving to Vienna in 1801 his life intersected relentlessly with that of Ludwig van Beethoven. Attracted by the aura of the Master, he studied piano with him and remained ever devoted to him. His devotion inspired him (in collaboration with F. G. Wegler) to write a well-known biography of Beethoven, an invaluable source of useful, first-hand information, published in Koblenz in 1838. Beethoven, whose character – it is well-known – was not particularly open with regard to personal relationships, was grouchy, and yet benevolent towards Ries, considering him affectionately his famulus, and helped him in various ways. However, Beethoven refused to teach him composition, preferring to recommend the meek and deferential Ries to Johann Georg Albrechtsberger, distinguished teacher of counterpoint, imperial court organist and former teacher of Beethoven himself. And, at the time, one of the most famous teachers in Vienna. After spending two years in Paris and becoming a noteworthy pianist, Ries was acclaimed in various European countries, and arrived as far as Russia and Scandinavia. As a composer, of the same age of Czerny, he gravitated in the beethovian orbit as a kind of reassuring satellite. He offered his services as a copyist beginning in 1813, and was the interpreter of the piano concerto No.3, Op.37. Of the group of eleven sonatas and sonatines for piano which he composed, the first two (published as Op.1 in 1806), were dedicated to Beethoven. His musical production includes two operas (Die Räuberbraut and Liska), two oratorios, and notably seven symphonies, eight piano concertos, one violin concerto, a conspicuous number of chamber music works, and much more. He died in Frankfurt am Main on January 13, 1838, undermined by a grave liver condition (even in this circumstance he ended up being, by chance, related to Beethoven). His works show undeniable traces of beethovian stylistic influence. To cite one 2
example in the piano repertory, he used the Waldstein as a model for his Grand Sonata Fantaisie intitulée L’infortunée. Sonata in C Major Op.20 Dedicated to the virtuoso Bernard Romberg, and indicated expressly (with anachronistic diction) “for pianoforte and cello obbligato” where the two instruments, in close dialogue, appear to be treated in a manner of more or less equal importance. The C Major Sonata opens with an “Allegro con brio” with an assertive attack of a somewhat military allure, punctuated with energetic octave figures in the piano along with flashing scales, which amplify the brilliance even more. Vigor and fluidity characterize the pace from the very beginning, but then melodic, “cantabile” elements also begin to appear. Some disturbances, for example in the “development” section, with sudden modulations in minor and certain exhibitions of diminished seventh chords, do not, in fact, tamper the substantial optimism and the glowing atmosphere of this movement. An atmosphere of frowning and flashing dominates, by contrast, the following Adagio in g minor, which is soaked in patheticism and immersed in a considerably “beethovian” atmosphere. Nonetheless, there are also here distended melodic areas as well as the exploration of dark colours in the low register. A suspended cadence leads into the final section, Allegretto Moderato (Polonaise). He alternates with grace not devoid of charming, agreeable pleasantries, sharp-witted diversions and “fashionable” characteristics, with a more moody middle section, developed in a dark C Minor key. Vague similarities with Beethoven’s Op.13, as well as the Third Concerto and Op.53 do not diminish the genial brilliance of this truly captivating section, with its virtuoso excursions and the calibrated and continuous exchange of roles between the two interpreters. Sonata in A Major Op.21 An almost Schubertian colour is rooted in the opening of the first movement Allegro 3
of this Sonata in A Major, characterized by pleasant cantabile melodies and at times surprising modulations. Qualitatively superior with respect to the precedent, this sonata asserts itself especially through the quest for effects regarding harmony and timbre as well as the amazing symbiosis between the two instruments, and not less, through the high level of virtuosity required by both interpreters. It is significant, by the way, that the piece is called Grand Sonata not only because of its length and scope, but above all as an announcement of the profuse commitment involved in its execution. The central Andantino, though lovely, is somewhat traditional. With its sighing appoggiature and languorous melodic turns, it seems to focus more on effusion than patheticism, in contrast to the C Major Sonata. Still, there are a few passages, which are breath-taking. The third part is a Minuette, in an atmosphere of simplicity and good humour distinctly Viennese, in which the theme seems to anticipate certain aspects of Schumann (within the movement is a brief, expressive Trio). The final movement is a Rondo in minor with an almost Hungarian colour, not lacking in light dialog and dance-like motifs, as sometimes found in Weber. Conceived to be proposed in the context of middle-class, by now Biedermeier society which fully appreciated the linear, sparkling profile way down to the brilliant epilogue, artfully placed so as to win the applause of even the most distracted and reluctant audience. Sonata in G Minor Op.125 With the G Minor Sonata (the manuscript of which is preserved in the National Library in Munich, Germany), we find ourselves in the presence of a work belonging to the full maturity of Ries. It bears the date of 1823, and the dedication in English confirms that it belongs to his period in London. An introduction in Grave draws a landscape of dark desolation, with the cello wrapped in thick coils at the bottom. This atmosphere is then tempered by the appearance of splinters of melodies, here again of clear beethovian descent. Then we have an Allegro of a distinctly romantic origin, turbulent and extremely Sturm und Drang. The organization is the regular sonata 4
form, but with freedom (notice the reappearance of Grave). While the potential of the cello is exploited to the fullest in its entire range of timbre and registers with masterful wisdom and security, showing a complete dominance of the instrument, it is the piano part which presents a level of difficulty which is truly extraordinary. This is further proof of the exceptional musical capacities of Ries who was a first-class pianist and highly acclaimed during his lifetime. The first Movement is of vast proportions, therefore ambitious and clearly of a “concerto” character, and we can imagine that it was conceived for the dimensions of a great concert hall in London, rather than for a salon. There are many melodic moments, in some cases “lunar” as in certain distended parts of the Beethoven piano concertos (such as the Fourth and the Fifth). The second movement is a Larghetto, which at the outset seems to vaguely echo the corresponding movement in Beethoven’s Second Symphony, but then takes another direction. Of great value are his melodic excursions, the use of pizzicato, a certain atmosphere of night-time or dreaming and many other details. The highest peak is the warm, amber coloured cello cantabile. Incisive rhythms, poised between various stylistic idioms such as the dance and Hungarian assonances, arise in the final robustly sonorous Rondo. It is also very concerto-like, brilliant and basically extroversive, despite the minor key, and calibrated to achieve an impressive effect. This reveals a clever musician of cunning mastery, captivating inventiveness, gifted with a fine sense of form and who was able to anticipate certain striking aspects of the advent of romanticism. © Attilio Piovano Translation: Mary Lindsay
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All’ombra del gigante Appartenente a una famiglia di musicisti, Ries nacque a Bonn al pari di Beethoven - un segno del destino? - il 28 novembre 1784; fu dunque più giovane dell’autore della Nona di soli quattordici anni. Trasferitosi a Vienna nel 1801, la sua vita si intersecò inesorabilmente con quella del sommo (e scorbutico) Ludwig. Da Beethoven prese lezioni di pianoforte, attratto dall’aura del Maestro al quale fu poi sempre devoto: sino a stenderne (con F. G. Wegeler) un’assai nota biografia, fondaco di utili informazioni di prima mano, data alle stampe a Coblenza nel 1838. Beethoven, pur tuttavia, caratterialmente - si sa - non facile ai rapporti umani, geniale e contraddittorio, burbero e pur benevolo nei suoi confronti, considerandolo affettuosamente suo famulus lo aiutò sì in vari modi, ma si rifiutò di impartirgli lezioni di composizione: indirizzando il mite e ossequioso Ries a Johann Georg Albrechtsberger, insigne contrappuntista, organista della corte imperiale, a sua volta già maestro di Beethoven stesso, all’epoca tra i più celebrati didatti attivi sulla piazza viennese. Trascorsi due anni a Parigi e divenuto concertista di vaglia, Ries fu apprezzato in vari paesi europei: si spinse fino in Russia e Scandinavia, soggiornando poi a Londra dal 1813 al 1824 dove, sposatosi, conquistò un’agiata posizione. Compositore in proprio, al pari del quasi coetaneo Czerny, gravitò poi sempre nell’orbita beethoveniana come una sorta di rassicurante satellite. Gli offrì i suoi servigi quale copista (a partire dal1803), ne fu interprete del Terzo Concerto per pianoforte e orchestra Op.37; delle undici Sonate e due Sonatine pianistiche che in complesso compose, lo elesse dedicatario delle prime due (pubblicate come Op.1 nel 1806). La sua produzione annovera altresì due opere teatrali (Die Räuberbraut e Liska), altrettanti oratori, ben sette Sinfonie, otto Concerti pianistici, uno per violino, una cospicua messe di musica da camera e altro ancora. Morì a Francoforte sul Meno il 13 gennaio 1838, minato da una grave malattia epatica (altra circostanza che fortuitamente finì per apparentarlo al Maestro). Le sue opere - innegabilmente - risentono dell’influsso stilistico beethoveniano (per dire, in ambito pianistico 6
prese smaccatamente a modello la Waldstein per la sua Sonata Op.26 designata pomposamente quale Grande Sonate Fantaisie intitulée L’Infortunée in riferimento a chissà quale aneddoto). La Sonata in do maggiore Op.20 Dedicata al virtuoso Bernard Romberg e indicata espressamente (con anacronistica dicitura) ‘per pianoforte e violoncello obbligato’, laddove i due strumenti, dialogando fittamente, appaiono trattati in maniera pressoché paritaria, la Sonata in do maggiore s’inaugura con un Allegro con brio dall’attacco assertivo e dall’allure marziale, interpuntato di energiche ottave pianistiche e sfolgoranti scale che ne amplificano vieppiù la brillantezza. Vigoria e scorrevolezza ne contrassegnano l’andamento fin dalle misure iniziali, ma s’avanzano poi anche elementi cantabili. Talune perturbazioni, specie nella ‘zona’ dello sviluppo con incursioni in minore e certe esibite settime diminuite, di fatto non incrinano il sostanziale ottimismo e le incandescenti atmosfere della pagina. Un clima accigliato, corrusco predomina per contro nel successivo Adagio in sol minore: imbevuto di patetismo e immerso in un clima alquanto ‘beethoveniano’. Anche qui, pur tuttavia, non mancano le plaghe melodiche, né l’esplorazione di fosche zone timbriche al grave. Una cadenza sospesa immette nel conclusivo Allegretto Moderato (Polonaise). Alterna con garbo non privo di charme amene piacevolezze, smagate arguzie e tratti ‘alla moda’ ad una più burbera sezione centrale declinata in un cupo do minore. Vaghe assonanze con la beethoveniana Op.13, col Terzo Concerto e così pure con l’ Op.53 non inficiano la simpatica verve della pagina invero di scura presa, con le sue virtuosistiche scorribande e il calibrato, incessante scambio dei ruoli tra i due interpreti. La Sonata in la maggiore Op.21 Un colore quasi schubertiano alligna in apertura dell’Allegro iniziale di questa Sonata in la maggiore dai piacevoli cantabili e dalle talora sorprendenti modulazioni. 7
Qualitativamente superiore rispetto alla precedente, s’impone specie per la ricerca sul piano armonico-timbrico e una mirifica simbiosi tra i due strumenti: non meno che per l’alto tasso di virtuosismo richiesto a entrambi gli interpreti. Significativo, peraltro, che il brano sia qualificato come Grande Sonata: non tanto e non solo quanto a dimensioni e taglio in quattro tempi, bensì soprattutto - a mo’ di dichiarazione d’intenti - circa l’impegno profuso. Quanto all’Andantino centrale - pur amabile, ancorché lievemente passatista - con le sue sospirose ‘appoggiature’ e i suoi languorosi giri melodici, sembra puntare sull’effusività anziché sul patetismo (come invece nella Sonata in do). Non mancano pur tuttavia almeno un paio di passaggi che tengono, sia pure per pochi istanti, col fiato sospeso. In terza posizione un Menuetto informato a bonomia e humour di marca segnatamente viennesi il cui tema appare singolarmente in anticipo su certo Schumann (al suo interno un breve, icastico Trio). Infine un Rondò in minore dal colore quasi ungherese, non privo di socievolezze e movenze di danza come in certo Weber, concepito per essere proposto in quei contesti borghesi e ormai Biedermeier che di certo non mancarono di apprezzarne i lineari, scintillanti profili: giù giù sino al brillante epilogo che, collocato ad arte, induce l’applauso anche nell’ascoltatore più distratto o refrattario. La Sonata in sol minore Op.125 Con la Sonata in sol minore (il cui manoscritto è conservato a Monaco di Baviera presso la Biblioteca Nazionale) ci troviamo in presenza di una pagina appartenente alla piena maturità: reca la data del 1823 e la dedica in inglese conferma l’appartenenza agli anni londinesi. Un’introduzione in regime di Grave delinea un panorama di cupa desolazione, col violoncello che si avvolge in dense spire al basso, clima poi contemperato dall’emersione di schegge melodiche ancora una volta di palese ascendenza beethoveniana. Poi ecco un Allegro di matrice segnatamente romantica, turbolento e assai Sturm und Drang, dal regolare impianto in formasonata, ma con libertà (vedasi la riapparizione del Grave). Se le potenzialità del 8
violoncello con sagace maestria vengono sfruttate appieno - in tutta la sua gamma timbrica e di registri - rivelando un completo dominio dello strumento, la parte pianistica presenta un tasso di difficoltà davvero notevole: a riprova dell’alto livello di ‘bravura’ del nostro (che, merita ribadirlo, fu pianista di prima grandezza, assai acclamato in vita). Un primo tempo di vaste proporzioni, dunque, ambizioso, vistosamente ‘da concerto’: e vien da immaginarlo ‘pensato’ per una grande sala (londinese) e non già per una dimensione salottiera. Non mancano tratti cantabili, in qualche caso ‘lunari’ come in certe plaghe dei pianistici Concerti beethoveniani (specie Quarto e Quinto). In seconda posizione un Larghetto che all’attacco pare vagamente riecheggiare l’omologo movimento della Seconda Sinfonia di Beethoven, per poi prendere invece un’altra direzione. Pregevoli certe sue aperture melodiche, l’uso dei pizzicati, una certa atmosfera come di notturno o rêverie e altri dettagli ancora: al di sopra di tutto svetta la calda cantabilità del cello dal timbro ambrato. Ritmi incisivi, in bilico tra stilemi come di danza e assonanze ungheresi, s’adergono nel Rondò conclusivo dalle robuste sonorità, anch’esso molto ‘concertistico’, brillante e per lo più estroverso, ad onta della tonalità minore, improntato a un efficace effettismo. Svelando un autore dallo scaltrito mestiere, dall’invenzione accattivante, dotato di eccellente senso della forma, che seppe aprire inediti squarci del romanticismo a venire. © Attilio Piovano
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Gaetano Nasillo is one of the most renowned baroque cellists. He plays, often as soloist, with the most prestigious European ensembles on period instruments, among them: Ensemble 415, Concerto Vocale, Zefiro, Ensemble Aurora, Concerto Soave, performing in Europe, the USA, South America, Japan and Australia. His recording production counts today over than 90 titles, most of which were awarded many prizes.The soloist production comprises two volumes of sonatas by Luigi Boccherini, the opus 5 by Francesco Geminiani (which was acclaimed by the French magazine Diapason as one of the “30 essential recordings to appreciate the cello”), the Salvatore Lanzetti sonatas Op.1 (Amadeus cd of the year, 2006), the Antonio Caldara sonatas, Carlo Graziani sonatas (In Viaggio verso Breslavia) and Neapolitan sonatas and concertos (Nel giardino di Partenope). In 2008 Sky Classica dedicated to him a documentary film of the series “I Notevoli”. He was awarded “Musician of the Year” 2011 by Prelude Klassieke Muziek. Besides teaching the baroque cello at the Conservatorio G. Cantelli in Novara, he regularly holds master-classes in Italy (Urbino), Spain (Daroca), Brazil, Venezuela and Japan . In 2013 has been invited in Caracas by the Simon Bolivar Foundation to introduce baroque teaching in the Sistema of Young Orchestras created by Antonio Abreu, taking part as soloist to the first concert of the Simon Bolivar Baroque Orchestra. He plays a cello made from Giuseppe Ungarini in 1750. 10
A pupil of Carlo Vidusso, Piernarciso Masi, Sergo Fiorentino and Evgeny Malinin, Alessandro Commellato studied at the Conservatory in Milan and won piano competitions in Dortmund(Schubert), Cidad de Oporto, Roma(Rendano), Stresa. He has performed as soloist with Teatro alla Scala of Milan, Teatro la Fenice of Venice, Saint Petersbourg Academy, Prague Philarmonic, Radio Zagreb Orchestra, Odessa Symphonic, Moldavian National Orchestra, Krasnodar Premiere, Omsk Philarmonic, Bacau Symphony, Bratislava Solamente Naturali, Orchestra Verdi Milano, Sinfonica Toscanini, and toured in the USA, Japan, Australia. He has premiered contemporary works in Salzburg Mozarteum, Madrid Auditorium Nacional, Melbourne, New York Americas Society, Milano Musica nel nostro tempo, Como Autunno Musicale, Biennale di Venezia. Commellato performed in the world premiere of “Cherì”(R.Petit) at the Teatro alla Scala; in “Autour de Chopin” at National Theatre in Warsaw, in Adriano Guarnieri’s “Medea” at Teatro La Fenice in Venice. He is regularly invited in Festivals of Lausanne, Lugano, Verbier, Innsbruck, Lockenhaus, Bremen, Bratislava, Aix en provence, Mulhouse, Milano Villa Reale, Florence Accademia del Fortepiano, Urbino Festival, Palermo Amici della Musica, Barga. His projects on historical pianos focus on Hummel, Ries, Chopin, Rossini. As a chamber player he performs with Atalanta Fugiens, Le Musiche Berlin, Solamente Naturali and many others. In Cremona he was assistant of Bruno Giuranna, Salvatore Accardo. He records for ARK, Ricordi, Amadeus and Brilliant Classics. Commellato is currently piano professor at Novara’s “G.Cantelli” Conservatory. Warm thanks to Renzo Bizzi for the recording in Villa Bossi. Recording: 14-16 July 2014, Villa Bossi, Bodio Lomnago (VA), Italy Artistic direction, recording, editing and mastering: Rino Trasi Assistance: Sara Bennici Iconography: Alessandro Commellato & Gaetano Nasillo, February 2015 ©Simone Bartoli - & © 2015 Brilliant Classics
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