Campioni6 Harpsichord Sonatas Op.4b Simone Stella harpsichord Carlo Antonio Campioni 1720-1788 Charles-Antoine Campion, then italianized Carlo Antonio Campioni, was born the 16 6 Harpsichord Sonatas Op.4b November 1720 in Lunéville (Meurthe-et-Moselle, in the Lorraine region in France) to Jacques-Claude Campion and Anne-Charlotte Bruget. His father was serving Sonata No.1 in A Sonata No.4 in G as squire-chief at the court of Leopold I Duke of Lorraine, who returned to his 1. Allegro 4’22 8. Allegro 7’20 possessions after the end of the war of France against the League of Habsburg, and of 2. Giga 2’43 9. Allegretto grazioso 4’14 the Duchess Elisabeth Charlotte d’Orleans (granddaughter of the “Sun King” Louis XIV), among the palaces in Nancy and Luneville, affected by continuous restorations Sonata No.2 in E Sonata No.5 in C aimed at enlarging, modernizing, refining and expanding the pre-existing castles upon 3. Allegro 5’22 10. Allegro maestoso 9’44 their arrival. The formative years of Campioni are still uncharted, but since it is worth 4. Allegretto 3’35 11. Minuet 3’57 noting that during his youth the lively musical life at the Lorraine court was under the direction of the accomplished French composer Henry Desmarets, Campioni may Sonata No.3 in D Sonata No.6 “col Violino obbligato” have been his student. 5. Arpeggio 2’12 in G He remained with his family in Luneville until 1737, when Francis I of Lorraine, 6. Allegro spiritoso 9’31 12. Andante non troppo 7’07 the eldest son of the aforementioned Dukes, ascended the imperial throne, and the 7. Allegro “La Caccia" 4’26 13. Allegro 6’10 ducal Lorraine-Orléans family had to definitively abandon their lands. The change of 14. Allegro 3’36 family in the Lorraine government and the fact that in the same year Francis I, after the end of the Medici dynasty Fabbri-Settesoldi with the death of Gian Galeazzo and as a consequence of the new European order following the war of the Polish succession, became Grand Duke of Tuscany, marked the reason why the Campioni’s Simone Stella harpsichord family left Luneville to move to Florence, Italy. Valerio Losito violin According to Anton Raaff, it is likely that in the early Italian period Campioni studied with Giuseppe Tartini or at least came into contact with the Paduan school. In Instruments 1752, Campioni was appointed Chapel Master of the Cathedral in Livorno, post he Simone Stella: Harpsichord after Henri Hemsch by Jim Hall held for about ten years (in 1761-62 he moved temporarily to Paris). He soon became (Amsterdam, 2005) [tracks 1-2, 8-14]; Harpsichord after Carlo Grimaldi friends with some aristocrats, and in 1760 succeeded in having his opera Venere placata by Roberto Marioni (Pietrasanta, 2016) [tracks 3-7] (libretto by Marco Coltellini) performed for the celebration of the royal wedding of Valerio Losito: Violin by Pier Lorenzo Vangelisti (Florence, 1741) [tracks 12-14] Joseph II of Habsburg-Lorraine (future successor of Francis I as Holy Roman Emperor) and Princess Isabella of Borbone-Parma at the Avvalorati Academy in Livorno. In 1763 the Grand Duke, with no regard to the normal selection procedures, probably influenced by a suggestion of Father Giovanni Battisti Martini (who had been in contact with Campioni, sharing with him a passion for old music – their letters are today conserved in the “Carteggi” collection at the International Museum and Music Library in Bologna), asked Campioni to move to Florence and nominated him Master of the Court Chapel, which included also the post of Master of Chapel in the Cathedral and the Baptistry. This choice followed the desire to rebuild the In the 1770s, Campioni was the protagonist of a harsh querelle with the Marquise court’s musical activities in Florence using musical excellences like Campioni, Eugenio di Ligniville who was also from Lorraine and participated in the regeneration his friend Nicolas Dôthel (also from Luneville, flutist at the Teatro alla Pergola), of the Florentine musical activities. At first he supported the nomination of Campioni and the violinist Pietro Nardini. The musical life of the court was intended to be to Master of the Unified Courts. Ligniville, himself, also gained from this nomination reestablished by the Lorraines after the decline of the “Reggenza” period, during and received the appointment of Superintendent of the Music of the Real Chamber which (1737–1765) Francis left a viceroy in Florence while he remained to govern in and Chapel. The nature of their contracts very clearly established the fact that Vienna together with his wife Maria Theresa of Habsburg; later this intention became Ligniville’s concern was to ensure more complex performances, while Campioni’s intensified with the new Grand Duke Peter Leopold I of Habsburg-Lorraine (brother task was to guarantee ordinary routine musical activities and administrative tasks. of Joseph II) who, unlike Francis, settled in Florence. However, in 1772, perhaps driven by the desire for attention or by a competitive In the 1760s, Campioni traveled abroad in order to promote the publication of his tendency, Ligniville attempted to take Campioni’s job by tolding the Grand Duke to music: his works were printed in Amsterdam and Paris under his own supervision, not be satisfied by his superior musical status and accusing Campioni of not being and Bremner and Walsh published his music in London. The Walsh editions were able to manage the Capella, both economically and musically. The accusations diffused worldwide and were highly appreciated, among others, by Thomas Jefferson, were not supported by many in the court: Campioni was well-liked by the Grand who became a great collectionist of Campioni’s compositions for violin, of which he Duke himself and his officials. He succeeded in personally reacting to the attack, kept a thematic catalogue. demonstrating his ability by writing the treaty of composition Trattato teorico e In 1766 he married Margherita Perloz Brunet, a talented Florentine harpsichordist, pratico dell’accompagnamento del cimbalo con l’arte di trasportare in tutti i toni e harpist and painter of French origins, with whom he had 6 children and to whom he sopra tutti gli strumenti (Theoretical and practical treatise on the accompaniment of dedicated some of his keyboard works. There is also some information that in 1770 the harpsichord with the art of transposing in all tones and above all instruments), he met the 14-year-old Mozart in Florence with whom he had the opportunity to play dedicated to Peter Leopold, of which the autograph is today conserved at the together with Pietro Nardini, director of music of the ducal court. Conservatory of Florence. During the debate which lasted four years, Father Martini During his employment in Florence, Campioni gained the respect of Italian and became indirectly involved, and although he was personally closer to Ligniville, he European cultural society for his taste and his impressive collection of ancient music. confirmed Campioni’s talent. As a result of his excessive accusations, in 1776 Ligniville In 1770 he met the English music historian Charles Burney, who was collecting was stripped of his responsibilities and fired, while Campioni remained in his position material in Italy for his book The present state of music in France and Italy. Burney and received many honors until his death in Florence in 1788 (the 12th of April). was impressed by Campioni’s huge collection of early music “particularly madrigals A very representative composer of Italian eighteenth-century pre-classicism, from the 16th and 17th centuries”, and told him of the popularity of his chamber Campioni was considered one of the direct heirs of the Tartini school, and especially music in England. According to Burney, the collection of Campioni was second only of Nardini and Pugnani, and he probably influenced Rutini in turn. He represents to that of Giovanni Battista Martini. His passion for ancient music and for treatises a trait d’union between baroque compositional methods and those of the classical on musical theory is testified by an intense correspondence he had with Martini, to style, composing many instrumental pieces which were mentioned previously as being whom he turned to acquire compositions and texts such as the Dialogo della musica extremely successful abroad. He worked very often with sacred music, in which on antica et della moderna (Dialogue of the ancient and modern music) by Vincenzo the contrary demonstrates a very rigid approach to counterpoint. Many of his sacred Galilei, the Thoscanello de la Musica (Toscanello of the music) of Pietro Aaron, the compositions originate from celebrations and the court: for example, the Requiem Imperfezioni della musica moderna (Imperfections of modern music) and L’arte del for the death of Francis I of Lorrain (1766, the autograph is in Berlin); the impressive contraponto (The art of counterpoint) by Giovanni Maria Artusi. Te Deum, written for the birth of the grand duke’s elder sister that is “full of curious canons and very ingenious ideas” (Burney), which required almost 200 performers; the century in Italian musical culture; also the 3rd Sonata in D major refers to the and the Requiem for the Florentine celebration of the death of Maria Theresa (1781), baroque tradition with its introduction called “Arpeggio” that precedes the Allegro today in Vienna. Oddly, there are no profane celebratory compositions by Campioni spiritoso, in the form of Prelude of arpeggios typical of many baroque Suites, very if not the cited Venere placata for the marriage of Joseph II, and the incomplete unusual to find in a classical Sonata. Etruria fortunata, written for Peter Leopold, which was probably unfinished because The 6th Sonata in G major is a different case in this collection, since it is composed of Campioni’s death (the autograph is conserved in Fiesole). It is also important to for violin and harpsichord. This choice refers to the fact that Campioni was an mention the non-celebratory profane cantata T’amo bell’idol mio, for voice and excellent violinist, and his violin writing turns out to be just as original and rich in instruments (conserved at the Conservatory of Florence), and the epithalamic cantata technical innovations, so much so that he could rightly be called the “Paganini-Liszt of written for the Pichi family, today in Ancona. The autographs and manuscripts of his time” (Newman), especially for certain technical-stylistic procedures entrusted to Campioni’s music are spread around the world, and many can be found especially in the solo instrument, whose originality acquires particularly daring tones, which only Italy, Austria, Germany, France, Sweden and United States. the absolute mastery of the violin could have made possible. This Sonata is composed, Nothing is known about the genesis of the 6 Sonatas for the Harpsichord. They unlike the others, by three movements, all in binary form: an Andante non troppo in survive in a manuscript (a copy dated 1790) in Louisville, in the Ricasoli Collection 4/4, an Allegro in 4/4, and another Allegro in 3/4, a joyful and funny music where of the University of Kentucky, and in two publications dated 1763: one of Robert Campioni uses the staccato extensively. This Sonata shows a continuous dialogue Bremner in London (without opus number), and another from Paris published by M. between the two instruments, as the part of the harpsichord only a few times is written De La Chevardiere (with the opus number IV – also 6 Sonatas for 2 and 3 violins and as continuo to accompany the violin, but for the most part is in concertato form. bass are catalogued in the same number). It is likely that these 6 Sonatas influenced the young Luigi Cherubini: in 1780, These Sonatas, which were known by Mozart, are particularly interesting for the when Cherubini was 20, Campioni was a musical eminence in Florence, and probably elegant writing characterized by elaborate arpeggiated figures, graceful melodies and every musician in the city knew his music; in that year Cherubini composed and much ornamentation on Albertine basses and other technical procedures which now published his own “6 Sonate per Cimbalo”. There seems to be an evident correlation seem to adhere to harmonic resources of the harpsichord “with the piano and the between the Sonatas of the two composers, not only in the setting of the work (same forte”. Great virtuoso of the harpsichord, Campioni was defined by Torrefranca as quantity, two movements per Sonata, all in major tonality), but also in the fact that “the most pianist of all the harpsichordists of his time”. Cherubini’s writing for harpsichord, like that of Campioni, pays tribute to both Each Sonata contains two movements (except for the 3rd and the 6th Sonata, baroque and classical style, using a very similar technique and taste. which have three): the first is a typical Allegro in classical binary form, that often © Simone Stella shows virtuoso technique with rapid scales and arpeggios and recurrent episodes with crossed hands; the second is usually in dance or rondò form (very particular is that of the 3rd Sonata, called “La caccia”, which imitates the sound of horns during a hunting trip). These pieces represent a good sample of the aforementioned fusion of elements of baroque music and others belonging to the classical style, even if the latter is preponderant. An example of baroque influence could be in the second movement of the 1st Sonata in A major, where Campioni chooses the form of the Gigue, that was a very recurring type of dance in the XVII century, but which in the second half of the XVIII century had become extinct in Europe, while surviving until the end of Simone Stella harpsichord Valerio Losito violin Raised in Florence (Italy), The Baroque violinist and viola d’amore today Simone Stella is player Valerio Losito graduated with considered one of the highest honours after studying with Yvonne most respected performers Ekman in Rome (modern violin) and Enrico of ancient music on the Onofri in Palermo (baroque violin). He has harpsichord and organ performed in concerts throughout Europe, thanks to his impressive America and Japan, both as a chamber discography. After studying musician and in international orchestras such piano with Marco Vavolo as the European Union Baroque Orchestra. and Rosanita Racugno, He has collaborated with major conductors organ with Mariella Mochi and early music specialists such as Simone and Alessandro Albenga in Toni, Rinaldo Alessandrini, Federico Maria Florence and harpsichord Sardelli, Renée Clemencic and Chiara with Francesco Cera in Banchini. Since 2006 he plays a Ferdinando Rome, and attending Gagliano viola d’amore on loan from the masterclasses held by Elsa Peretti Foundation. As a musicologist he Ton Koopman, Matteo Imbruno and Luigi Ferdinando Tagliavini, in 2008 Gustav has carried out several research projects in Leonhardt awarded him the First Prize in the 1st International Organ Competition libraries all over Italy, and in collaboration “Agati-Tronci” in Pistoia. Stella started a brilliant soloist career that brought him with Renato Criscuolo he rediscovered performing in many important festivals throughout Europe, USA and Brazil, where he Vivaldi’s motet Vos invito barbarae faces, has also helded seminars and masterclasses on the baroque repertoire for organ and now identified as RV811. Valerio’s first recording for Brilliant Classics was in 2011, harpsichord. when he performed Domenico Scarlatti’s melobass sonatas on the viola d’amore with His monumental soloist discographic production, rewarded by the international the harpsichordist Andrea Coen. In 2012 he recorded the album Viola d’amore solo: a review (Musica, Diapason, Fanfare, Klassik, BBC Music Magazine among others), collection of solo music for this instrument. In 2014 his first solo violin sonatas album includes the complete organ and harpsichord works of Dieterich Buxtehude, Georg with music by Carlo Tessarini was realized, followed by the recording of Francesco Böhm, Johann Adam Reincken, Johann Gottfried Walther, Johann Jakob Froberger, Maria Veracini violin sonatas from unpublished manuscripts (Brilliant Classics, Johann Pachelbel, Friedrich Wilhelm Zachow and Federico Maria Sardelli recorded 2014). His last solo recordings for Brilliant Classics explore the 1715 Frankfurter for Brilliant Classics, and works of Bach, Handel, Rameau and Cherubini for the Sonatas by Georg Philip Telemann and the violin sonatas op. 14 by Carlo Tessarini. labels OnClassical and Amadeus Rainbow. He has also collaborated with the baroque His last recording is ALIAS five chapters for viola d’amore, a contemporary music orchestra Modo Antiquo and the symphonic orchestra La Filharmonie. album written by Elvira Muratore and published in 2020 by Da Vinci Classics. He Active as a composer, Simone Stella has published works for the italian publisher has made recordings with Deutsche Grammophon, Naïve, Dynamic, Musicaimmagine Armelin of Padua. Since 2011 Simone Stella is the titular organist of the historical Records, CPO, WDR-3. organs in the Church of Santissima Annunziata in Florence.

Recording: 22-24 April 2019 (tracks 1-2, 8-14), 21 September 2019 (tracks 3-7), Stella Recording Studio, Florence (Italy) Recording, editing, mastering: Simone Stella Photos: Giorgio Trebbiani (S. Stella), Federica Cocciro (V. Losito) Cover: Landscape with Apollo and Merkur (c.1645) by Claude Lorrain (1604/1605-1682) p & © 2021 Brilliant Classics