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CAPRICCIOSO WORKS for SOLO CELLO by PIATTI · DUPORT · POPPER Capriccioso David Popper 1843–1913

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CAPRICCIOSO WORKS for SOLO CELLO by PIATTI · DUPORT · POPPER Capriccioso David Popper 1843–1913 A N TO N I O M E N E S E S CAPRICCIOSO WORKS FOR SOLO CELLO BY PIATTI · DUPORT · POPPER Capriccioso David Popper 1843–1913 Jean-Louis Duport 1749–1819 14 Étude No.29 in F sharp minor: Moderato 2.56 from Hohe Schule des Violoncello-Spiels 1 Étude No.7 in G minor: Allegro 2.04 (High School of Cello Playing) Op.73 from 21 Études for solo cello Alfredo Piatti Alfredo Piatti 1822–1901 15 Capriccio sopra un tema della 11.06 Niobe di Pacini Op.21 12 Caprices Op.25 2 No.1 in G minor: Allegro quasi presto 1.51 Jean-Pierre Duport 1741–1818 3 No.2 in E flat: Andante religioso 6.39 4 No.3 in B flat: Moderato 2.59 16 Étude No.8 in D: Adagio cantabile 5.35 5 No.4 in D minor: Allegretto 5.10 from 21 Études for solo cello 6 No.5 in F: Allegro comodo 3.37 7 No.6 in A flat: Adagio largamente 4.36 68.44 8 No.7 in C: Maestoso 4.18 9 No.8 in A minor: Moderato ma energico 3.26 Antonio Meneses cello 10 No.9 in D: Allegro 1.58 11 No.10 in B minor: Allegro deciso 3.54 12 No.11 in G: Adagio – Allegro 3.41 13 No.12 in E minor: Allegretto capriccioso 4.38 Recording: 24–26 June 2014, St Peter’s, Evercreech, Somerset, with thanks to the Alham Vale Benefice Producer, balance engineer and editing: Simon Fox-Gál Design: Jeremy Tilston for WLP Ltd. Cover photo: Ꭿ Clive Barda www.clivebarda.com ൿ 2015 The copyright in this sound recording is owned by Antonio Meneses Ꭿ 2015 Antonio Meneses www.antoniomeneses.com Marketed by Avie Records www.avie-records.com DDD 2 ‘So much more than simply studies…’ The modern cello and its predecessors – the viola da braccio, viola da gamba and bass violin – were not conceived primarily as virtuoso solo instruments, but rather to play or reinforce a composition’s bass line. Yet every now and then a player would emerge who, as Antonio Meneses points out, ‘would redefine what the cello was capable of, driven by their own virtuoso capabilities and creative fantasy’. The Duport brothers, Jean-Pierre and Jean-Louis, alongside Alfredo Piatti and David Popper, were at the cutting edge of this tendency during the late 18th and 19th centuries, yet today their music is employed primarily as audition material and has become largely the preserve of the conservatories. It was after enduring several heartless renditions of Piatti caprices at a major competition that Meneses decided it was time this neglected but rewarding area of the repertoire was brought back to life. ‘There is a tendency to assume that high-quality solo cello music began with Bach’s Six Suites and only assumed prominence again during the last century,’ Meneses ventures, ‘when in fact the Romantic era also produced a number of exceptional solo pieces, with the Piatti Caprices forming the pinnacle. Having lived with this music for many years, I feel that it has a special quality all of its own and should be performed not just as a series of technical exercises but as inspired poetic miniatures in their own right.’ Carlo Alfredo Piatti was one of the most important and influential cellists of the 19th century. A child prodigy who could play anything at sight by his mid-teens, he made such an impression on Franz Liszt that the legendary Hungarian presented him with an Amati cello. Having taken Paris by storm, contact with Mendelssohn – whose D major Sonata Piatti sight-read with the composer from the original manuscript – persuaded Piatti to make London his musical home. He established himself as one of the English capital’s most revered musical figures, for a while taking part in an all-star string quartet whose other members were Heinrich Wilhelm Ernst, Joseph Joachim and (on viola) Henryk Wieniawski. Apart from becoming one of the most celebrated cellists of his day, Piatti composed over 30 major works for his instrument and rescued from oblivion, arranged, transcribed and edited numerous 18th-century pieces by the likes of Locatelli, Benedetto Marcello, Boccherini and Haydn. He was also a highly sought-after teacher – his pupils included Robert Hausmann, Hugo Becker, William H. Squire, Edward Howell, Leo Stern and William Waterhouse, the latter of whom edited and annotated a highly influential edition of Piatti’s Op.25 Caprices. The Caprices were first published in Berlin in 1875 and dedicated to Piatti’s close friend, the distinguished German cellist Bernhard Cossmann, who the following year dedicated his 5 Concert Etudes Op.10 to Piatti in gratitude and who would shortly go on to help found the Hoch Conservatory in Frankfurt. The Caprices are a virtual compendium of cello techniques, including multiple stopping (playing more than one note simultaneously), self-accompanying, thumb position (whereby the left thumb ‘stops’ the string on the fingerboard), rapid string-crossing, trills (No.8), forced harmonics (an eerie effect created by lightly touching the string, featured in No.12) and a vast array of legato, detached, lifted and ricochet bow strokes. When recording the Caprices, Meneses aimed to be as truthful as possible to the composer’s original intentions. ‘I was particularly careful to employ the exact bowings as indicated in Piatti’s original score,’ he points out. ‘This proved immensely challenging, especially where one has to sustain several long notes in one legato bow-stroke and still make the phrases sing! Another challenge was to sustain variety and interest in music that by its very nature tends to be built out of repeated rhythmic and melodic patterns. In many ways overcoming the music’s purely technical obstacles is only the first step towards discovering its special expressive qualities. 3 ‘The more I explored this wonderful music, the more I became struck by each caprice’s unique emotional sound world, almost as though it were telling a story. For example, viewed superficially Capriccio No.3 is simply a study in octaves and thirds. Yet it is so much more than that – there is a profound sadness here, a sense of loneliness that transforms its pedagogical status into something very special. The Andante religioso [No.2] also strikes me as particularly fine, as one has to create the impression of two and occasionally three cellos playing simultaneously. The challenge here is to give each voice its own identity yet at the same time achieve a perfect blend with the others.’ By way of contrast, Meneses also includes one of Piatti’s dazzling showpieces, the ‘Niobe’ Capriccio, composed around 1840 (although not published until 1865) and dedicated ‘All’amico Guglielmo Quarenghi’, a fellow Italian cellist-composer who like Piatti had studied with Vincenzo Merighi at the Milan Conservatory. Described by Meneses as ‘a kind of one-man opera featuring coloratura arias, duets, recitatives and a finale’, the Capriccio is a pyrotechnical set of variations on a theme from Giovanni Pacini’s 1826 two-act revenge opera Niobe – it also inspired a ‘Grande fantaisie’ by Liszt – which sees the eponymous goddess turned to stone and her 12 offspring slaughtered. As the perfect companions, Meneses has selected three solo pieces that were particular favourites during his student years. The older of the remarkable Duport brothers, Jean-Pierre, became so renowned for the beauty of his tone and technical precision that in 1773 Frederick the Great appointed him solo cellist of the royal opera, a member of his elite Royal Chapel and teacher of his son, who was to become Friedrich Wilhelm II. Mozart later paid him the distinction of basing a set of his piano variations (K573, 1789) on one of Duport’s minuets. His prayer-like D major Study (included in his brother’s invaluable volume of 21 Études) possesses a haunting, wistful quality not normally associated with pieces of this type. Although for many years it was assumed that Beethoven had premiered his Op.5 Cello Sonatas in Berlin with Jean-Pierre, it is now thought to have been his younger brother, Jean-Louis, reputedly the finer player of the two and who went on to become solo cellist to the Emperor Napoleon. On one occasion Napoleon made sport of playing Duport’s priceless Stradivari cello (later Mstislav Rostropovich’s main instrument) and left a tiny indentation in the rib area (which can still be seen today). The oscillating arpeggio figurations of his G minor Étude are designed to help improve left/right hand coordination. If any 19th-century player might be said to have inherited Piatti’s mantle it was Czech-born David Popper, the ‘Sarasate of the cello’, who was widely celebrated as the finest cellist of his generation. It was Popper, more than any other player of his time, who demanded from the cello the same sleight-of-hand technique as the violin. His prodigious technical understanding of the instrument is enshrined in what is every cello student’s bible: his Hohe Schule des Violoncello-Spiels (‘High School of Cello Playing’). Meneses recalls playing No.29 (out of 40) in F sharp minor as a student, and ‘imagining it as a pas de deux, opening with a scene of a solitary man who is then transported by the arrival of a beautiful woman as the dance together’. Ꭿ Julian Haylock, 2015 4 „So viel mehr als einfache Studien…“ Das moderne Cello und seine Vorgänger – die Viola da braccio, Viola da gamba und die Violone – wurden nicht primär als Soloinstrumente konzipiert, sondern sollten vielmehr die Bassmelodie eines Stückes spielen oder verstärken.
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