37
ROMANZAS FOR CLARINET AND PIANO BY
ERNESTO CAVALLINI, A LECTURE
RECITAL, TOGETHER WITH
THREE OTHER RECITALS
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Mark Stanton Hollingsworth, B.M., M.M. Denton, Texas December, 1989 Hollingsworth, Mark S., Romanzas for Clarinet and
Piano by Ernesto Cavallini: A Lecture Recital Together with Three Other Recitals. Doctor of Musical Arts
(Clarinet Performance), December 1989, 95 pp., 18 figures, bibliography, 40 titles.
The lecture was given on September 25, 1989. The discussion dealt with the stylistic characteristics of music for clarinet by Ernesto Cavallini and included a performance of four romanzas: La Calma, Un Pensiero,
L'Incudine, and Lontano dalla Patria.
Cavallini was the foremost clarinet virtuoso of the nineteenth century as well as a prolific composer of music for his instrument. The works presented in the lecture represent Cavallini's proclivity for a performance style combining virtuosity with lyrical expression.
Copies of the original publications of Cavallini's romanzas were obtained from the Biblioteca del Conserva- tory, "Giuseppi Verdi," Milan, Italy.
In addition to the lecture recital, three other recitals for solo clarinet were given. The first recital was given on October 29, 1984, and included works by
Carl Maria von Weber, Leslie Bassett, Halsey Stevens, and Carl Reinecke. The second recital was given on July 29, 1985, and included works by Bernard Heinrich
Crusell, Halsey Stevens, and Johannes Brahms. The third recital was given on October 3, 1988, and included works by Saviero Mercadante, Eugene Bozza, and John Ireland.
All four recitals were recorded on magnetic tape and
are filed, along with the written version of the lecture materials, as a part of the dissertation. Copyright by
Mark Stanton Hollingsworth
1989
111 TABLE OF CONTENTS
Page
LIST OF FIGURES v
PERFORMANCE PROGRAMS
First solo recital vii
Second solo recital viii
Third solo recital ix
Lecture recital x
Chapter
I. INTRODUCTION 1
II. ERNESTO CAVALLINI: CLARINETIST AND COMPOSER 4
III. CAVALLINIfS ROMANZAS AND CHARACTER PIECES FOR CLARINET 17
IV. SUMMARY 49
APPENDIX I 51
APPENDIX II 57
BIBLIOGRAPHY 93
IV LIST OF FIGURES
Page Figure
Form and Key Associations in Cavallini's Romanzas . 25 2. Thematic Differences in Caprice, Op. 4, No• 4/ and La Calma ...... 28 Motivic Cell Transformation and Phrase Structure in La Calma 29
4. Transition to the B Section of La Calma. . 29 5. Three Phrase Melody in the A Section of Un Pensiero . 32 Transition to the Key of B Major in Un Pensiero 33 Clarinet Melody in the Interlude of Un Pensiero 34 Transition to the Virtuoso Section of Un Pensiero 35 9. Clarinet Cadenza and Closing Phrase in Un Pensiero 36 10. Comparison of Clarinet Thematic Material in L'Incudine 38 11 . Approach and Departure of the Secondary Theme in the First Section of L'Incudine, 40 12. Anvil Effect in the Piano Accompaniment in the First Two Sections of L'Incudine. . 41 13. Clarinet Arpeggio Figures in the Coda of L'Incudine 41 List of Figures, Continued
Page Figure
14. Progression to Virtuosity in the Clarinet Thematic Material of Lontano dalla Patria. . 43
15. Clarinet Motivic Comparison in the First Section of Lontano dalla Patria 44
16. Chromatic Mediant Harmony in the First Section of Lontano dalla Patria 45
17. Thematic Contrast in the Second Section of Lontano dalla Patria 46
18. Clarinet Cadenza and Closing Material in Lontano dalla Patria 48
VI North Texas State University School of Music
Graduate Recital
MARK HOLLINGSWORTH, Clarinet
Assisted by: Judy Fisher, Piano Donna Meinecke, Piano Dennis Houghton, Horn
Monday, October 29, 1984 5:00 p.m. Concert Hall
Concerto for Clarinet
in F Minor Opus 73 Carl Maria von Weber Allegro moderato Adagio Rondo, allegro
Soliloquies for Solo B-flat Clarinet Leslie Bassett Fast, aggressive, driving, dramatic Flowing, singing Fast, abrasive, contensious Slow, lyrical, expressive
Suite for Clarinet and Piano .Halsey Stevens Allegretto Adagio Bucolico, pesante Moderato con moto
Trio in B-flat Opus 274 Clarinet, Horn and Piano. .Carl Reinecke Allegro A Tale, andante Scherzo, allegro Finale, allegro
Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
vii North Texas State University School of Music
Graduate Recital
MARK HOLLINGSWORTH, Clarinet
Assisted by Donna Tan-Meinecke, Piano Jane McCormick, Cello
Monday, July 29, 1985 8:15 p.m. Concert Hall
Introduction and Variations on a u Swedish Air Opus 12 Bernhard Heinrich Crusell
Concerto for Clarinet and . String Orchestra Halsey Stevens Andante non troppo, allegro Quasi adagio Allegro moderato
Trio in A Minor for Piano, Cello and Clarinet Opus 114 Johannes Brahras Allegro Adagio Andantino grazioso Allegro
Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
Y1X1 presents
Graduate Recital
MARK HOLLINGSWORTH, Clarinet
Dennis Boe, Piano
Concerto in B-flat for Clarinet and Chamber Orchestra Saverio Mercadante
A11egro maestoso Andante con variazioni
Concerto for Clarinet and Chamber Orchestra or Piano. .... Eugene Bozza
A11egro moderato Andantino Vif
Fantasy-Sonata lre1anc*
Presented in partial fulfillment of the requ i rements for the degree of Doctor of Musical Arts
MONDAY, OCTOBER 3, 1988 CONCERT HALL 6:30 p.m.
IX mmmimmmmmvm
presents
Lecture Recital
MARK HOLLINGSWORTH> Clarinet
Assisted by Rose Marie Chisholm, Piano
R0MANZA5 FOR CLARINET AND PIANO
BY
ERNESTO CAVALLINI
La Calrna, Romanza senza Parole Ernesto Cavallini (1807-1874) Un Pensiero, Romanza
L' 1 ncrud i ne, Romanza A11 egor i ca
Lontano da 11a Patr i a, Romanza
Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
MONDAY, SEPTEMBER 25, 1989 CONCERT HALL 6:30 P.M. CHAPTER I
INTRODUCTION
The clarinet gradually gained a place in the orchestra during the eighteenth century and developed into a viable solo instrument by 1800. The Mannheim Court was a major center of the developing art of clarinet playing due to the compositional efforts of Johann and Karl Stamitz and the virtuosic performance abilities of clarinetists Joseph
Beer and Franz Tausch. The Mannheim acceptance of the clarinet took hold throughout Germany and Austria and spread quickly to other European musical centers. Towards the end of the eighteenth century the clarinet became a prominent member of the orchestra and also gained acceptance as a chamber and solo music instrument.
Many clarinet virtuosi were also competent composers.
Anton Stadler (1753-1812) of Austria and Xavier Lefevre
(1763-1829) of France contributed to the development of nationalistic styles of clarinet performance, which in turn influenced the clarinetists of the nineteenth century.1
1. F. Geoffrey Rendall, The Clarinet, rev. by Philip Bate (London: Ernest Benn Ltd., 1971), 82. The popularity of the instrument grew until clarinetists were receiving training throughout Europe. For example, in 1795, the Paris Conservatory employed twelve clarinet 2 instructors to teach 104 students.
Although the clarinet was used in Italy during its early development, an Italian school of clarinet virtuosity was not established until the mid-nineteenth century. The major Italian clarinet virtuoso of this period was Ernesto
Cavallini.
Cavallini was well respected throughout Europe as a virtuoso performer. In addition to his performing talents he was also a prolific composer of clarinet music. Caval- lini's influence as a performer was extensive; however, most of his compositions have not retained popularity and have not remained in publication. Only two works, Thirty Caprices for Solo Clarinet and Adagio and Tarantella, have remained in consistent use in the twentieth century. The caprices were originally published as five sets of Sei capricci per clari- netto solo each with separate opus numbers, 1 through 5 (the only works by Cavallini that bear opus numbers).
2. John Williams Peterson, The Virtuoso Clarinet: Arrange- ments from Nineteenth-Century Italian Opera (DMA diss. North Texas State University, 1977, Denton, TX), 3. The caprices were written during Cavallini's student years and early career in Milan. His later compositions
for clarinet, including Adagio and Tarantella, involved piano or orchestral accompaniment and chamber music. The style of his accompanied clarinet works, however, relates directly to the caprices in the treatment of melodic mate- , rial and in the element of virtuoso display. His preference for a bravura style continued in his later compositions, the romanzas and character pieces for clarinet and piano, published while he was clarinetist in the court and theatre orchestras of St. Petersburg.
The purpose of this lecture recital, the presentation and performance of romanzas for clarinet by Cavallini, reguired research in several areas, including Cavallini's career as a clarinetist and composer, the history of romanza composition, and analysis and stylistic comparison of Cavallini's works in relation to the virtuoso style of the nineteenth century. CHAPTER II
ERNESTO CAVALLINI: CLARINETIST AND COMPOSER
Cavall irti ' s Early Career in Milan
Ernesto Cavallini (1807-1874) was one of the foremost clarinet virtuosos of the nineteenth century. He was well known throughout Europe as a solo performer and composer during a period when piano and violin virtuosity over- shadowed the capabilities of other instruments. Caval- lini 's solo career surmounted all other clarinetists of his day with the exception of Heinrich and Karl Baermann.^
Cavallini was born in Milan, the city which became the center of his musical accomplishments. He was a member of a musical family: his brother Eugenio was an accom- plished violinist and his brother Pompey was a British bandmaster. Cavallini entered the Milan Conservatory, at the age of 10, as a student of Benadetto Carulli, principal clarinetist of the La Scala Orchestra. In 1830 he accepted the solo clarinet position of La Fenice Theatre, in Venice, and later became a member of the Piedentesse Regiment Band.
1. Napoleon Cerminara, "Ernesto Cavallini," (The Clarinet, No. 25, Winter 1956-57), 20. Cavallini returned to Milan after a short stay in Venice
and joined the La Scala Orchestra as second clarinetist 2 under his former instructor, Carulli.
The year 1837 marked the beginning of Cavallini's
career as a soloist. He embarked on an extensive per-
forming tour of Italy with his brother Eugenio, who was
concertmaster of the La Scala Orchestra. Cavallini
returned from this tour to succeed Carulli as principal
clarinetist at La Scala. in 1846 he was appointed Profes- 3 sor of Clarinet at the Milan Conservatory.
Cavallini composed and published several works for
clarinet during his tenure at La Scala. Compositions
included five volumes of caprices for clarinet solo,
duets for clarinets, several operatic fantasias and other
sets of variations on operatic material. Cavallini per-
formed extensively throughout Europe during holidays from
his duties in Milan. He was a popular and greatly respected performer in London, Paris, and Vienna and often performed 4 his own works.
2. Pamela Weston, More Clarinet Virtuosi of the Past (London: Halston and Co. Ltd., 1977), 68.
3. Weston, op. cit., 69.
4. Wallace R. Tenney, "Ernesto Cavallini, Paganini of the Clarinet," (Woodwind Magazine, December 1949, Vol. 2, No. 4), 7. Cavallini's Later Career in St. Petersburg
Cavallini relinquished his positions in Milan in 1852
in favor of principal clarinet positions in the court and
theatre orchestras of St. Petersburg, a position he held
until 1867. He was also Professor of Clarinet at the
St. Petersburg Conservatory from 1862 to 1870.5 Although
the duties of his new position precipitated the end of
his touring career, Cavallini continued to compose music
for clarinet. His clarinet compositions from this period
included duos for clarinets, duos for clarinet and flute,
fantasias and other variation-type works, and romanzas and
character pieces for clarinet and piano.
Cavallini returned to Milan in 1870 as an honorary
Professor of Clarinet at the Conservatory. He retained this position until his death in 1874.6
Cavallini's Influence as a Clarinetist
Ernesto Cavallini's extensive career as an orchestral musician and soloist established an Italian school of clarinetistry which influenced performers throughout the nineteenth century. Cavallini's early training in the
5. Weston, op. cit., 69.
6. Weston, op. cit., 69. opera orchestra of La Scala was the major influence in his style of virtuosic display. His bravura style of playing was admired by Italian opera composers. This admiration resulted in the composition of prominent clarinet solos in operas such as the obbligato and cadenza in the third act of Giuseppe Verdi's La Forza del Destino.
Nineteenth-century operatic style made use of exten- sive vocal technique within a dramatic context. The competition to dazzle audiences with fiery cadenzas and brilliant ornamentation was common practice among singers.
Wind instrumentalists displayed virtuosity in a similar manner by using operatic fantasias and variations on operatic melodies, often at the expense of tone and musicality. Cavallini's approach to solo virtuosity was a good example of this operatic-influenced style.
He was praised for his tremendous facility in executing difficult passages in fingering and articulation, yet he often was criticized for poor tone quality and intona- tion which was especially evident in slow passages. This criticism eventually became a divided issue as his tone quality was praised by the French but denounced by the
English. The English clarinetist, Henry Lazarus (1815-1895), praised Cavallini for his unapproachable technique but felt his tone quality suffered in favor of virtuosic 7 display.
Cavallini was a frequent performer in Paris, where he was well received by musicians and critics; he was honored in 1842 with membership in the "Academie des 8
Beaux Arts." An extensive biography on Cavallini was written by the French critic Francois Joseph Fe'tis
(1784-1871) in the Biblioqraphie Universelle des Musi- ciens et Biblioqraphie Gene'rale de la Musique, while the biography on the major French clarinetist of the day, • 9 Hyacinthe Klose (1808-1880), was significantly shorter.
The differences in opinion of Cavallini's tone quality were in part due to the mechanics of his instru- ment. The clarinet used by Cavallini throughout his career was a simple six-key instrument of yellow boxwood, an instrument considered very outdated and impractical for his time. Although a significant number of clarinetists 7. F. Geoffrey Rendall, The Clarinet, third edition rev. by Philip Bate (Ernst Benn Ltd., 1971), 112.
8. Cerminara, op. cit. , 22.
9. Franpois Joseph Fe'tis, Biblioqraphie Universelle des Musiciens et Biblioqraphie Ge'n^ral de la Musique, Library de Firman Didout, Deuxieme edition, 8 vols. (Paris: Feres, Fils et cie., 1867), Vol. 2, pp. 228-229. used this system, multi-key clarinets were introduced early in the nineteenth century and eventually replaced the older simple key systems.^ Iwan Miiller introduced a thirteen-key clarinet in 1812 which was accepted and 11 / became readily available by 1835. Hyacmthe Klose and
Auguste Buffet successfully collaborated on the production of a multi-key and ring system from 1839 to 1843. Their collaboration resulted in the instrument which became the 12 prototype for the Boehm System clarinet. The Plana and Miaro companies of Milan also produced clarinets with more . . 13 than six keys during Cavallini's early career.
Cavallini's preference for a simple six-key clarinet remains a curiosity as he had been exposed to more refined systems in Italy and throughout Europe. The multi-key systems were designed not only to improve technical facility, but also to eliminate stuffy cross-fingerings which often created intonation problems. The criticism of Cavallini's tone, therefore, arose due to the noticeable differences
10. Adam Carse, Musical Wind Instruments (New York: Da Capo, 1965), 156.
11. Carse, op. cit., 158.
12. Rendall, op. cit., 97.
13. Carse, op. cit., 162. 10
in sound between the simple outdated system and the multi-
key clarinets favored by other performers. Cavallini
also favored a style of performance requiring the reed
placed against the upper lip, a style characteristic of
the Italian school of clarinet playing which existed well 14 into the twentieth century. Tone quality differences
were significant between the two styles of reed placement,
particularly in articulated passages.
Cavallini was often compared with another nineteenth-
century virtuoso, Nicolo Paganini (1782-1840). His career
paralleled that of the great Italian violinist, although
the two did not maintain a professional association. Both musicians made virtuosity the foremost aspect of their
performance styles, possessed eccentric personality traits 15 and often were criticized for playing to the gallery.
Cavallini often demonstrated this sort of eccentric show- manship: At a concert with orchestra in Spain, Cavallini walked onto the stage without a clarinet. During the
14. Oskar Kroll, The Clarinet, rev. Diethand Reim, trans. Hilda Morris, ed. Anthony Baines (New York: Taplinger, 1968), 28.
15. Robert W. Flodin, The Meaning of Paganini (San Fran- cisco: Morgan Printing Co., 1953), 3. 11
orchestral introduction he assembled his instrument by pulling pieces of it out of various pockets. He completed the assembly briefly before he had to play the first notes 1 0 of the clarinet solo. Showmanship aside, he was contin- ually cited for his high level of expression and inexhaust- ible air supply.^
Both Cavallini and Paganini were composers, their compositional contributions primarily containing works for their individual instruments. Both virtuosi claimed caprices as Opus 1. The similarities between the two performers became so obvious and numerous that Cavallini 1 R became known as the "Paganini of the Clarinet."
Cavallini's influence as a virtuoso performer extended through the nineteenth century. In 1866 the
Spanish clarinetist, Antonio Romero, wrote of Cavallini in the preface to the third edition of his Clarinet
Method: ". . .an admirable artist, gifted with a prodigy of skill infingering as well as his rapidity of Articu- .19 lation." Cavallini's influence and prestige were
16. Tenney, op. cit., 10.
17. Flodin, op. cit., 8.
18. Rendall, op. cit., 112.
19. Tenney, op. cit., 10. 12
continued by the twentieth-century Italian clarinetist
Alamiro Giampieri,who revised the Thirty Caprices as well
as several accompanied works for clarinet by Cavallini.
Cavallini As a Composer
Ernesto Cavallini was a prolific composer of clarinet
music. His output was typical of a virtuoso composer
consisting mainly of solo works for his instrument which
displayed virtuosity. The title pages of most of Caval-
lini' s published works include dedications to various
associates. Cavallini dedicated several pieces to his
teacher, Benedetto Carulli, and to his brother Pompey
Cavallini, who held a position as a military bandmaster
in England. Other dedications included the composer
Saviero Mercadante, publisher Carlo Canti, fellow clari-
netist Antonio Romero, and various aristocrats including
the Contessa Sofia Franceschi, Don Jose Cruz, and the
Grand Duchess Elene of Russia. The variety of nation-
alities found in Cavallini's dedications illustrates the
widespread success of his international career.
The Thirty Caprices, Opp. 1-5. represent the only
examples of music Cavallini wrote for unaccompanied clari- net. He published several sets of duets for two clarinets as well as duets with piano accompaniment. However, the 13
major portion of his compositional output falls into two performance categories:
1. clarinet with orchestra or piano 2. clarinet with piano
The first category includes operatic fantasias and sets of variations. Separate accompaniments with orchestra or piano were published simultaneously. Cavallini com- posed thirteen works of this genre between the years
1840-1863.20
Operatic fantasias were an important performance outlet for the nineteenth-century virtuoso composer.
Cavallini's career as an opera orchestra clarinetist provided exposure to the music of the major opera com- posers of his day, including Bellini, Donizetti, Meyer- beer, Rossini, and Verdi. Cavallini borrowed material
from all of these composers for his fantasias and varia-
tion works. Another Italian opera composer, Saviero
Mercadante, was a close associate of Cavallini's and pro- vided material for one work, Andante e Variazioni (1845),
Cavallini also dedicated a set of duets to Mercadante.
Cavallini composed only two works for clarinet with
specific orchestral accompaniment: the Concerto in E*3,
20. Publication dates listed by the Biblioteca del Conservatorio, Milan. 14
written during his student years in Milan, and the Con- certo in C minor, written during his early years in the 21 La Scala Orchestra. Cavallini's orchestrations were simple for his time, and instrumental usage reflected the size of the La Scala orchestra. Aside from the usual complement of strings, his orchestrations usually con- tained parts for one flute, pairs of oboes, clarinets, bassoons, horns and trumpets, two or three trombones, and tympani. The only deviation from this instrumentation occurred in two of Cavallini's variation works: A part for serpent in place of trombone in the Andante e Variazioni
(1845) (on a theme of Mercadante) and a part for tamburo in place of tympani in the variations on L'Elisir d'amore
(1840) .
The second category, works for clarinet and piano, represents the largest section of Cavallini's compositional output. He included, in this genre, fantasias and variations as well as shorter romanzas and character pieces. The non- fantasia works number sixteen and are based on Italian folk melodies, such as Barcarola (1860), and Adagio e Taran- tella, or bear descriptive titles: La Calma (1860),
21. Louis Vincent Sacchini, The Concerted Music for the Clarinet in the Nineteenth Century (Ann Arbor: University Microfilms, 1980), 69. 15
L'Incudine (1860), Lontano dalla Patria (1860), Una Laqrima
sulla Tomba dell immortale Rossini (1870).
Other works with piano accompaniment include two
duets for two clarinets and piano, La Bacana and Grand
Duet on Motives from L'Africana (1865); and three selec-
tions for clarinet, flute and piano, Reverie Russe (1865),
and duos based on operas Faust and Norma. Cavallini com-
posed several works for clarinet solo with varied instru-
mental accompaniment, but only one true work of chamber
music where the clarinet functions equally with other
instruments, the Trio for flute, clarinet, oboe and piano.
Cavallini did not compose sonatas or chamber music
other than the Trio, typical of a virtuoso composer whose
main intention was to dazzle audiences. His early attempts
at concerto composition proved not as successful as his
fantasias or character pieces which were more readily
accepted by nineteenth-century audiences attending concerts
of wind music. Cavallini also contributed to another nine-
teenth-century musical genre, the art song, composing
several single works and collections for one or two voices
with piano.
Cavallini used similar compositional techniques for most of his clarinet music. Embellished principal themes were most often scored in the clarion register while slow 16
melodies of variation forms were scored in the chalumeau
register. A rapid scale passage usually served as a
bridge to a well-known opera theme or recapitulation of 22 an original theme. Generally, Cavallini's style was
long and repetitious, dwelling on passages of technical 23 flourish as opposed to melodic development.
Although Cavallini was highly regarded as a virtuoso
clarinetist, he failed to achieve the same status as a
composer. He was not a symphonic or operatic composer,
nor did he produce solo virtuoso works in the manner of
Chopin or Liszt; consequently, he failed to achieve an
important rank in the history of nineteenth-century music.
Cavallini was influenced by elements of drama and musical
expression inherent in opera of his day, but his composi-
tions were based primarily on models of pre-existing
melodies as opposed to the development of a personal style.
Only a few of Cavallini's works have survived publication
in the twentieth century. These include the Thirty Caprices,
Adagio and Tarantella, Fiori Rossiniani, Adagio Sentimen-
tale, Serenata, and Six Grand Duets dedicated to Mercadante.
22. Cerminara, op. cit., 22.
23. Tenney, op. cit., 10. CHAPTER III
CAVALLINI'S ROMANZAS AND CHARACTER
PIECES FOR CLARINET AND PIANO
History of the Romanza
The term Romanza (Italy), or Romance (Spain), originally applied to a vocal ballad. The designation existed as a standard descriptive title as early as the fifteenth century. French and German composers later developed the concept of romanza to include songs with an extravagant, sentimental or romantic text constructed in either prose or strophic verse. The style of eighteenth-century romanzas broadened to include instrumental music which expressed lyricism and romantic qualities.
Instrumental romanzas were usually found as slow movements of concertos and symphonies constructed in rondo, ABA or variation form. The melodic style of orchestral romanzas featured simple binary themes. The earliest instrumental work to contain a movement bearing the title "Romanza" was Gossec's Symphony in Eb. Op. 5
17 18
No. 2 (Paris, 1761)•^ Mozart included the title in the slow movement of the Serenade, K. 525 (Eine Kleine Nacht- musik) and the earlier Piano Concerto in D minor, K. 466.
Mozart's concerto romance was constructed in rondo
form with a simple unembellished primary theme. Mozart
contrasted this simple melody with a highly technical virtuoso section after which the still unembellished primary theme returns. Mozart used similar procedures
in other piano concerti, C minor, K. 491 and B*3 major, K. 595, but did not include the designation "Romanza." This compositional style, however, was pervasive in many later
instrumental romanzas.
The instrumental romanza gained independence in the nineteenth century as an individual structure.
Beethoven composed two solo romances for violin and orchestra, Opp. 40 and 50, which served as models of expressive lyricism. The most frequent use of the title for instrumental music was applied to single movement character pieces of a predominantly lyrical nature, for piano or piano and solo instrument. The vocal romanza existed as well, but the instrumental counterpart to this
1. Roger Hickman and Jack Sage, "Romance," The New Grove Dictionary of Music and Musicians, 6th edition, 20 vols., ed. by Stanley Sadie (London: Macmillan, 1980), Vol. 16, pp. 121-126. 19
form,"Romanza senza parole" (Song without words), became
a popular performance medium for pianists. Mendelssohn's
Songs Without Words exhibit a typical style associated with this type of romanza. The short piano pieces depict a single mood or idea and maintain necessary lyrical qualities inherent in the romanza. Schumann's Drei
RomanzemOp. 28, for oboe and piano, emphasizes lyricism but does not correspond to a specific formal pattern.
Thus, the romanza of the nineteenth century evolved into an independent musical structure without formal restric- tions in which a composer could portray the expressive nature of an instrument or melodic idea.
Cavallini's Romanzas and Character
Pieces for Clarinet
Cavallini composed several works for clarinet and piano which contain similar stylistic traits of earlier romanzas and character pieces. All were composed during his later career in St. Petersburg (1852-1870) and pub- lished by Giovanni Canti. The Canti firm of Milan existed from 1835 to 1878 and was best known as Giuseppe
Verdi's first publisher. One of Verdi's early works published by Canti was an album of vocal romances, 20
Sei Romances (1838) as well as a later Romanza senza
Parole (1865) for piano.2 Cavallini's vocal romances
also were published by the same firm. Canti apparently was concerned with the publication of shorter expressive pieces while Cavallini's fantasia works from the same decade, 1860-1870, found distribution through publishers
Lucca or Ricordi.
The largest, most complete collection of Cavallini's works exists in the Biblioteca del Conservatorio di
Musica, "Giuseppe Verdi," in Milan. Included in this collection are the first editions of the romanzas and character pieces published during Cavallini's St. Peters- burg period. Extensive lists of Cavallini's music also exist in nineteenth-century sources by Francois Joseph
Fetis^ and Adolph Hofmeister^ as well as twentieth-century
2. Richard MacNutt, "Giovanni CantiThe New Grove Dictionary of Music and Musicians, 6th edition, 20 vols., ed.by Stanley Sadie (London: Macmillan, 1980), Vol. 3, p. 721.
3. Francis Joseph Fe'tis, Biblioqraphie Universelle des Musiciens et Bibliographie G^ndrale de la Musique, Library de Firman Didout, Deuxieme edition, 8 vols. (Paris: Feres, Files et cie., 1967), Vol. 2, pp. 228-229. .
4. Adolph Hofmeister, Handbuch der Musikalischer Literatur, ed. F. Hofmeister, 19 vols. (Leipziq 1844-1860), V. 1 , 98-99; V. 4, 24, 56; V. 5, 3o'. 21
sources by Franz Pazdirek5 and Pamela Weston.5 A compila-
tion of the lists produces only eight works for clarinet
by Cavallini not found in the Milan library, including a
romanza-related work listed by Hofmeister and Pazdirek:
Romance et Variations sur un Melodie Ve'ni t ienne, for
clarinet and piano.7 The two sources did not include a
date or publisher; thus, difficulty arises in placing the work chronologically in Cavallini's career.
The works held in the Milan Library, published by
Canti, number fifteen; however, only four bear the title
of "Romanza":
La Calma, Romanza senza Parole
Un Pensiero, Romanza
L'Incudine, Romanza Alleqorica
Lontano dalla Patria, Romanza
The title pages of each romanza contain the inscription
"Clarinetto Solo di S.M. 11Imperature di tutte le Russie."
Other achievements by Cavallini are mentioned on the
5. Franz Pazdirek, Universal Handbuch der Musik Literatur, 11 vols. (Wien: Pazdirek, 1904-1912), Vol. 2, pp. 11-12
6. Pamela Weston, More Clarinet Virtuosi of the Past (London: Halston and Co., Ltd., 1977), p. 69.
7. See Appendix I. 22
title pages, including his appointment as professor at the
St. Petersburg Conservatory. The date of publication was
not included on any pages of the romanzas, but the Milan
Library lists c.1860 as the date for all the Canti publi-
cations. The publication of the romanzas, in actuality,
occurred between the years 1862 to 1870, the years of
Cavallini's tenure at the Conservatory of St. Petersburg.
Cavallini's romanzas contain a duality of composi-
tional style. The first stylistic aspect represents the
association of lyricism with the romanza. The clarinet
melodies are rhythmically simple and span a small range
of the instrument. This simplicity creates a character
similar to the syllabic melodic style of Cavallini's
vocal romances. The phrase structure of the principal
themes usually falls into concise eight-measure patterns
founded upon a short motive. This type of motive simpli-
city serves as a musically binding device to begin and
end the romanzas. The harmony also reflects simplicity.
The piano accompaniment perpetuates diatonic harmony
with few chromatic excursions. Key centers are well estab- lished through the redundant use of tonic and dominant
pedals.
The second stylistic feature illustrates the element
of virtuosity. After the statement of lyrical themes the
romanzas proceed to contrasting sections which emphasize 23
far more rhythmic activity as well as a wider range for
the clarinet. The more active sections often begin
abruptly; however, a more progressive style of virtuosity
also exists within some of the romanzas. This "progression
to virtuosity" involves a gradual intensification of
activity as new sections occur. Although the romanzas
begin with a simple theme, the element of virtuosity
eventually overshadows the lyrical features.
Rendering a successful performance of Cavallini's
romanzas requires consideration of the stylistic duality
for the contrast between expressive and bravura sections.
Unfortunately, the Canti publications offer the clarinetist
little help in the area of expression as the scores lack
consistent dynamic and phrase indications. The examination
of the piano scores yields some information concerning
dynamics and tempo changes; however, the major content of
musical expression remains at the discretion of the per-
former .
The principal themes of the romanzas begin with a
dynamic level of piano. Although not consistently indi-
cated, the entrance of the bravura material requires a
mode of contrast consistent with the display of technical virtuosity, achieved through a louder dynamic level.
Occasional repetitions of bravura passages lack a 24
reiteration, of dynamics. Aside from the obvious assump- tion that Cavallini intended similar dynamic levels, these areas offer the performer opportunities for expres- sive contrast. The romanzas which contain a progression to virtuosity offer another mode of expression through the gradual intensification of dynamic levels in bravura sections.
Only two romanzas bear explicit tempo indication:
La Calma, Andante sentimentale, m.m. 69, and L'Incudine,
Allegretto, m.m. 104. The assertion of tempi for the
remaining romanzas occurs by using the tempo indications
comparatively. Thus, Lontano dalla Patria, Andante sos-
tenuto, begins in a tempo similar to La Calma, while
Un Pensiero, Andantino, proceeds at a somewhat faster
rate. Areas demanding expressive rubato are occasionally
indicated but often suggested by the indication of Tempo I without prior notice of a change of pace.
Articulation remains the most consistent notational
aspect in Cavallini's music. The use of slurs in contrast
to articulated passages demonstrate a coherent pattern
for delineating melodic accentuation as well as expression
in both bravura and lyrical sections. The articulation
indications were Cavallini's; however, the publisher, Canti,
confused the issue of articulation style by indicating all 25
articulated rhythmic subdivisions as staccato. The sections centering on virtuoso display certainly demand a short , rapid articulation style. The more lyrical thematic areas obviously require a more connected articulation which does not disrupt the tone quality of longer rhythmic values. Therefore, the indication of staccato must be regarded as a flexible technical device which changes according to the style of a specific section.
Although the romanzas share the distinct stylistic contrast between lyrical expression and technical vir- tuosity, each retains an individual form (Figure 1).
La Calma
Introduction A B A Coda C major C major Db major- D major C major A major
Un Pensiero
Introduction A (interlude) B (cadenza) Coda Bb maj or BD major B major E major- E maj or Bb maj or
L1Incudine
Introduction A B C A Coda F minor F minor A*3 major- F major F minor F major C major
Lontano dalla Patria
Introduction A B (cadenza) Coda Bb major Bb major a-G minor B*3 major B° major b-B*5 major a-G minor
Figure 1—Form and key associations in Cavallini's romanzas 26
Cavallini was not concerned with the identification of romanza style through form or the use of a predominantly lyrical theme. The element of virtuosity clearly stands out as the primary inspiration in Cavallini's compositions.
Thus his romanzas are single-movement, multi-sectioned character pieces composed primarily for the display of virtuosity.
Cavallini's other character pieces bear similarities to the romanzas through the use of virtuosity, but also harbor a certain distinction: The bravura element enters earlier (in some cases at the beginning) in the pieces without the designation of romanza. Thus, Cavallini's other works lack the stylistic contrast or the progression to virtuosity.
La Calma, Romanza senza Parole
C major, Andante sentimentale, m.m. 69
The title, translated as The Calm, Song Without Words, invokes expectations of the typical romanza style of lyricism within a single musical mood. La Calma, the shortest romanza, begins with a lyrical theme that Caval- lini borrowed from one of his own caprices, Op. 4 No. 4 in 27
D major (E major for Bb clarinet).8 Cavallini used only the opening material of the caprice as the basis for
La Calma. The initial theme was transposed to C major and treated differently through motivic extensions and ornamentation (Figure 2).
The principal melody evolves from a simple three-note motivic cell first stated by the piano. The motive con- tains the internal combination of an ascending perfect
fourth and a major second. Cavallini used various trans-
formations of the motive throughout La Calma, always main- taining the integrity of the smaller interval but occa- sionally changing the larger. The entire melody contains three phrases in a ternary pattern: aba (Figure 3).
The overall tripartite form of La Calma contains a middle section in the foreign key of Db major. Cavallini arrived at this key transitionally using ^VI harmony (A13) as a dominant of D*5. Although the element of virtuosity enters during the transition, Cavallini maintained the development of the fundamental motivic cell (Figure 4).
8. The Capricci, Opp. 1-5, do not contain an indication of clarinet pitch; however, the romanzas as well as most works listed by the Milan Biblioteca del Conservatorio specify clarinet in B*5. 28
Caprice, Op. 4, No. 4 m. 17-26
/"N1 ^ --} y r• r n4-}— 0 r ft a ' f k* J f*=» -r-f- ~trj -•f- • J=bd --/4-
3 —z / 4 • » r r ) * r\ » 5n # ± =Lf i La Calma m. 24-32 i m r fcL Caprice, Op. 4, No. 4 m. 26-29
^ /p\ #• 4b jfc * £ i I I—— 5 5 *
La Calma m. 69-72
frm—a > f ^ <^1S 3: P
Figure 2--Thematic differences in Caprice, Op. 4, No. 4, and La Calma. 29
g I 1 cp Q rn -. . n r*- J. /.. •• '-TN IS
i ~ '^iri a rn • f | / • J—r*(ff it m P w PS i ?—i r =v ' 5P r-r • • f » ii ^ kj - f J J
. f] T-1 - .H ? rn cu
Figure 3—Motivic cell transformation and phrase structure in La Calma. § I if i m
t-srcsz?--
r-^ r_>- Figure 4—Transition to the B section of La Calma. 30
After the transition the piano states the principal
theme in the new key while the clarinet presents virtuosic
accompaniment. The clarinet part becomes more active in
this section containing scales and arpeggios in rhythmic
subdivisions of thirty-second and sixty-fourth notes.
The second phrase of the B section acts as a transition
to the recapitulation of the principal melody and home
key of C major. The harmonic transition occurs indirectly
through the key of A major. The two keys of the B section,
and A, become related through the enharmonic treatment of the note (C#).
The use of virtuosic material continues in the orna-
mented recapitulation and the coda of La Calma; however,
the continuation of the bravura element does not completely
overshadow the essential lyricism of the principal theme.
Therefore, La Calma represents a union of the two stylistic
aspects, lyricism and virtuosity.
Un Pensiero, Romanza
B*3 major, Andantino O Cavallini used the title of this romanza (translated as "A Thought") for a vocal work, II Pensiero, Romanza, also published by Canti. The score of the vocal romanza, as well as the listing by the Milan library, does not contain a date of publication. The two works are not 31
related thematically; therefore, one romanza was not the
inspiration of the other except in the mood suggested by
the title.
The form of Un Pensiero contains only two major sec-
tions? however, the piece maintains a similar stylistic
contrast found in La Calma. The lyrical aspect controls
the first section while the virtuoso aspect dominates the
B section. The romanza lacks a recapitulation of the
principal lyrical theme; instead, the virtuoso material
continues to the end and predominates over the lyrical
aspect. The element of virtuosity enters gradually as
opposed to a direct stylistic departure.
The piano states a brief introduction followed by a
lyrical triadic melody for the clarinet. The clarinet
melody progresses through three independent phrases modu-
lating to the relative key of G minor and returning to B*5.
The phrases are related through key association but not
through the recapitulation of previous material.
The second phrase contrasts the first, not only in key, but also in motivic content. The phrase contains less triadic activity as well as rests to separate motives.
The last phrase resembles the first in triadic construc- tion, yet does not represent a true reiteration of phrase one (Figure 5). 32
$m m j,,b/fr] \\(\f z2'L »»* a r«f i- ± // =5v » i m Mm £BEg C 'i /i Figure 5—Three-phrase melody in the A section of Un Pensiero. An elusive transitory passage follows the principal theme leading to the remote key of B major. The transi- tion begins with a French augmented-sixth chord in the key of B*3. The following harmony suggests movement to the dominant; however, a sudden chromatic shift, in both clarinet and piano, directly establishes the new key (Figure 6). 33 • # •#+ ?•»# * "1 7+-T r •v ' h J ' £? £ i -#1 b ft B : ' Fr. +-6 TP*3Z & VII1 T" ~k73: P' ~ : b sz 3 L 1 xx i "i e E I > :> JJ. /Ti f~\ | 7 7 • - - V»* fT" i TthrfhrrhT^b-i 1 tip1 14 ' [J \;P^ 1 f— £ > caf I- raJ'-f / r1 J w*: Vi-H ±=± fttim £2 MiS $ #-» T s a + *s 2731 Vir/V7/(i 6: X' - - . Vail. f. I »-i IL. * 3E ?b**K Figure 6--Transition to the key of B major in Un Pensiero, The key of B lasts briefly in an interlude which begins a progression to virtuosity. The interlude contains more rhythmic activity and a wider clarinet range than the principal theme (Figure 7). A transition follows the interlude serving as connec- tion to the virtuoso section in Eb major. French augmented- sixth harmony appears again at the beginning of a transi- tion, serving to establish the new key. The approach 34 M mw'* Figure 7—Clarinet melody in the interlude of Un Pensiero. to the augmented-sixth chord occurs through the enharmonic relation of the interlude tonic chord (B major) to the bVI chord (Cb major) of Eb. The transition continues the progression to virtuosity begun earlier (Figure 8). The virtuoso section emphasizes technical complexity for the clarinet through rapid scale and arpeggio passages performed in rhythmic subdivisions of thirty-second notes. The piano rhythm also becomes more active, yet remains subordinate to the solo line. The transition back to the home key occurs in a more subtle manner than the previous examples. The mediant note (G) of the secondary key (Eb) descends by a minor second to form a bVI relationship to the original key "K of B . This altered note in turn proceeds to the domi- nant. Although the last transition does not contain augmented-sixth harmony, a consistency exists in the use of chromatic mediant relationships for transitory passages. 35 H i * all. atempo I I f Figure 8—Transition to the virtuoso section of Un Pensiero, The piano introductory material returns tempo doppio after the virtuoso section. The clarinet continues with virtuoso material disposing of the indication of a true recapitulation. A lengthy, bravura clarinet cadenza follows the false recapitulation leading to a single- phrase coda in lyrical style. Although the closing clarinet melody retains the triadic character of the 36 principal theme, the piano lines create tension with chromatic movement above a tonic pedal (Figure 9). f^ f Figure 9—Clarinet cadenza and closing phrase in Un Pensiero, The lyrical and virtuosic sections of Un Pensiero are c.learly delineated, but not equally balanced. The progres- sion to virtuosity gradually overwhelms the lyrical aspect and reaches a climax in the clarinet cadenza. The remain- ing lyrical phrase does little to dispel the persistent 37 bravura character; yet, it serves to briefly remind the listener of the lyrical aspect associated with the beginning of the romanza. L'Incudine, Romanza Allegorica F minor, Allegretto, m.m. 104 L'Incudine (the Anvil) contains distinct differences from the previous romanzas in form and compositional style. As the title suggests, the piece musically depicts an inanimate object as opposed to an ethereal mood. The form of L'Incudine contains four distinct sections (A B C A) in different, but closely related, keys. Stylistically, the work contains thematic contrast, yet lacks the progres- sion to virtuosity present in other romanzas. The first two sections maintain thematic simplicity in contrast with the virtuoso section (Figure 10). A recapitulation of the principal theme follows the virtuoso section, and the romanza ends with a coda in the relative major key. The first section contains three thematic areas arranged a (repeated) b a codetta. The first theme, constructed from a simple two-measure motive, does not project the similar qualities found in the opening material 38 of the other romanzas. The theme contains more disjunct movement and rests separating each two-measure motive. BE iikm tt ^ , 1 fvN- vf 1 I,I i), i ty ' ' • | / 1 ' P~ I LJ- "I1 . ——J 7 r , M=L B I . • • * *** L ^ - L * Stf"* f-f~ Jwfe—^ j - fH Ffq ^—1 •CL> ' ^ — .J !w "1 U: ±EE- S£ lolce * j—i. «— ** — [.. . ' #^l —7— •?- 4' = •Hrr-f—x—t— F^F 1 }• F FIU / r™ #- fW M=T=* : . j-sts^ --4-- —»4 SJ- ±: . i- £ * M : + A s m S3 m—It- P , :— The b theme enters in the key of E major. The theme serves to expand the clarinet range and perpet- uate the angular melodic quality. Although the use of a half-step key relationship alludes to previous techniques, the direct chromatic approach bears little similarity to the transitions in La Calma or Un Pensiero. However, the return to the a theme contains familiar augmented-sixth harmony in a short transition (Figure 11). The second section begins directly in the relative major key, Ab. The section continues the stylistic qualities of the principal theme, yet contains a dif- ferent phrase structure: a a b. The b theme contrasts the a material -with an abrupt entrance of ornamented clarinet motives and a change of key to C major. The new key remains intact until the end of the second section. The piano presents the allegorical material asso- ciated with the title of the romanza in the first and second sections. The bass clef line contains reiterated tonic or dominant pedals on the first downbeat of every measure. The pedals are followed by repeated eighth- notes on a higher pitch. This style of bass repetition creates a "hammering" effect to portray the sounds of an anvil being struck (Figure 12). 40 Direct approach to E major •>*/•- f tr*.* if" i ijWniu^g M ii $ i h; r r r T r T 3=3- j 3tr r r f. EE 1 -*r jh J *' •' f f f E; 'I ¥ Augmented-sixth harmony 4± J}£~bf. k-> k-is4 I "5 °f Er ¥ IS WO To 4# r-H fr* • * O'V. b, S S E:w. '3Z * f:w1 wy-gT¥* 3 1 Ge.*+b Figure 11—Approach and departure of the secondary theme in the first section of L'Incudine. The clarinet virtuoso section/ in F major/ portrays the anvil effect through a motive beginning with a rapid ascending arpeggio and ending on a pair of high notes (see Figure 10). Unlike the previous sections, 41 /rh p ai ^m / i -7^- f i t- r "FIT 3 ft* »' r » 1" ?• t T F F Figure 12—Anvil effect in the piano accompaniment in the first two sections of L'Incudine. the virtuoso area does not contain contrasting melodic material or modulations. The third section ends abruptly after one repetition of the bravura material. The first section returns directly in the original key (F minor) with one statement of the principal theme. A transitory passage leads to an extensive coda in F major, The coda contains arpeggiated figures reminiscent of the virtuoso section, but without the anvil effect (Figure 13). S S Figure 13—Clarinet arpeggio figures in the coda of L'Incudine. 42 Although the coda begins at a faster pace and contains elements of virtuosity, the tempo gradually slows to the end. Thus, the virtuoso effect becomes less important as the romanza concludes. L'Incudine contains less stylistic contrast than the other romanzas. The separate sections portray dif- ferent musical characteristics through melodic contrast and the insertion of selective virtuosic elements. The lack of a predominant lyrical theme stands out as a major difference in L'Incudine when compared with Cavallini's other romanzas. Lontano dalla Patria, Romanza k 3 BD major, 4, Andante sostenuto Lontano dalla Patria (Far From the Homeland) represents a culmination of various stylistic features found in the previous romanzas. A progression to virtuosity exists (similar to Un Pensiero) within a tripartite form. The three sections are separated in a fashion similar to the delineation found in L'Incudine. The opening lyrical theme serves as contrast to the more virtuosic middle section, yet returns in an elaborated bravura recapitu- lation (Figure 14). The predominant use of tonic or dominant pedals, within a simple harmonic framework, extends throughout the romanza. 43 A theme ji.)civfiLifr i[j1 • tfi f •( t i'u m accel. i •f* rail. B theme f -f- • •;-f +• • ^ {>(C0 f t * P . # B f- a :r %HfLU; Elaborated Recapitulation * » # lf.n i i f lw #r AO 3 # • - • -Hs S3 Th Hh # # #J » , 5' •jr •W* 1 H —1r 1 it» f Figure 14—Progression to virtuosity in the clarinet thematic material of Lontano dalla Patria. 44 The lyrical clarinet theme enters after a piano introduction. It contains three different phrases arranged a b (repeated) c. Each phrase develops from a simple motive containing a one-beat triplet figure and a larger note value (Figure 15). Figure 15 Clarinet motivic comparison in the first section of Lontano dalla Patria. The endings of the a and b phrases contain identical melodic material.while the c phrase ends with an extension to close the first section. The first section does not modulate; however, the b phrase contains chromatic 45 mediant harmony usually reserved for transitory passages in the other romanzas (Figure 16). l . 3b; /T* ^=1 P M t m p 3: 'L f -j4- t>r / .. ~i>A.. a - PPi T v.b» bT v.? Xjr it 9- Bk: >ar TbE * b • r f— Pr-f n 1 1,,, 1====4= 1 i 1 -f- f hi 9 £ 31 ~%1 f i 4 feT m lb* • 1 ~V1 £ I5ZE Ge*+fc> Figure 16—Chromatic mediant harmony in the first section of Lontano dalla Patria. The second section enters directly at a faster tempo and in the relative key, G minor. The section contains an independent three-part structure, aba, with its own stylistic contrast of lyricism and virtuosity. The first theme exemplifies virtuosity with sixteenth-note 46 scales and arpeggios over a wide clarinet range. The second thematic area, in Bb, displays lyricism with a melody indicated cantabile (Figure 17.). Theme a ft 9 1 I H» ^ * Z-i-C ^ i 1P ; Lit) f # i— i r Q2^_ [4==4= H m=4 = -f— p : ^ Ujf-J LUj J / jti. 1T7 Theme b C a. k-"!" a. b i (C- i Figure 17—Thematic contrast in the second section of Lontano dalla Patria. 47 The transitions to the different thematic areas of the second section are accomplished through passing diminished-seventh chords. This technique differs from the chromatic mediant progressions in the other romanzas; however, the diminished chord passages achieve the same goal by approaching the dominant of the successive key. The principal theme of the first section returns in a highly ornamented virtuoso fashion. The original motives are extended with rapid thirty-second note scales and arpeggios without disturbing the recognizable triplet figure. The pursuance of virtuosity continues through the clarinet cadenza near the end of the romanza. The piece concludes with a short restatement of lyrical material from the piano introduction (Figure 18). 48 ^a piaceire JL *>JL b 0 ,* • » f r*f *f~*t hf i bi at # IT a I I. ur\ p o co Iu n g he jCrEJi f 7 morehJo Figure 18—Clarinet cadenza and closing material in Lontano dalla Patria. CHAPTER IV SUMMARY Ernesto Cavallini contributed to the art of clarinet playing, through his brilliant virtuosity, at a time when other instruments held a higher rank in the hierarchy of solo performance. His success as a performer influenced many European clarinetists to achieve higher levels of musical expression as well as technical virtuosity. Cavallini was not an innovator of new styles or procedures in performance or composition. He maintained an operatic-influenced performance style throughout his career and continually attempted to dazzle audiences through the sheer power of his virtuosic playing. His compositional style, although simple, was a personal declaration of his intention to promote the clarinet on a level of equality with other prominent solo instruments, such as the piano and violin. However, his salon style of composition proved an inadequate means of solo por- trayal as the nineteenth century progressed, and most of his music fell into obscurity. The four romanzas not only demonstrate Cavallini's zeal for virtuosity but also portray his fondness for 49 50 lyrical expression. The individuality of each romanza creates interesting performance possibilities in combina- tions as well as single selections. Although the element of virtuosity tends to dominate, the romanzas contain sufficient lyrical passages for musical contrast. The romanzas not only offer the clarinetist an interesting alternative to the usual selection of major recital pieces, but also present an historical perception of the nineteenth-century virtuoso. APPENDIX I MUSIC FOR CLARINET BY ERNESTO CAVALLINI LOCATED IN THE BIBLIOTECA DEL CONSERVATORIO DI MUSICA "GIUSEPPE VERDI" MILAN, ITALY The entries are listed according to information found in the card catalog of the Biblioteca del Conservatorio di Musica. Most of the entries contain a date for publica- tion and a dedication. Entries are for Bb clarinet unless specified otherwise. The entries are listed by title, date, and dedication. CLARINET SOLO Six Capricci Op. 1 Cristoforo Balabio Six Capricci Op. 2 1836 Antonio Urio Six Capricci Op. 3 1840 Benedetto Carulli Six Capriccios Op. 4 1840 M. Pompey Cavallini Six Capricci Op. 5 1840 Prospero Bargigozzi Six Capricci or Studies 1895 Benedetto Carulli Thirty Capricci Op. 1-5 1904 51 52 CLARINET SOLO cont'd Thirty Capricci 1930 (rev. by Alamiro Giampiero) Thirty Capricci 1974 (rev. by Arieglo Prisco) Thirty Piccolo Studies by B. Carulli, Arr. by Cavallini TWO CLARINETS Six Grand Duets 1862 Saviero Mercadante Six Grand Duets 1905 Saviero Mercadante Three Duos 1836 I \ « "a son frere Pompee" Three Duos 1845 Edward Bertis CLARINET AND PIANO Adagio and Tarantella Don Jose Cruz 1949 (rev. by Alamiro Giampieri) 1966 Adagio Sentimentale 1870 Carlo Canti Album II No. 6, Adagio Sentimentale, Una Lagrima sulla tomba dell' immortale Rossini. Barcarola 1860 La Calma, Romanza senza 1860 Gioachino Curti parole Canto Greco variato 1843 Un Carnevale di piu, Giulio Litta Adagio e variazioni Luigi Gassier Cicalio I860 Joseph Galli Elegie I860 Fantasie on L'Africana 1865 53 CLARINET AND PIANO cont'd Fantasia sopra un 1860 Canto populaire L'Incudine, Romanza 1860 Antonio di Lupo Parra allegorica Una Lagrima sulla tomba dell' immortale Rossini. Adagio Sentimentale. 1860 Lontano dalla Patria, Paolo Serrao Romanza Anetta Anderson Mazurka di Concerto 1860 Gaetano Rossi Melodia Campestre 1860 Mie impressioni al Nord La Neguita. Tango 1852 (composed with Francesco Americano Ferrarie) Passo Doppio di Concerto Alphonso Guercia Un Pensiero, Romanza 1860 Benedetto Carulli La Ronda 1860 Amalli Rossi La Semaine Musicale. Seven Duos on opera themes (composed with Pasquale Bona). Serenata 1860 Giovanni Bimboni Transcription du Bananier 1856 de Gottschalk Monferrine Variee par 1860 J. N. Hummel Ballible con Variazioni 1834 (composed with Giacoma Panizza). Passa a due. E*5 clarinet (composed with Giacoma Panizza) Three Variations on the Russian Romance "Oh! dites lui!" by the Princess L. Kotschoubey 1864 Antoine Romero 54 CLARINET AND ORCHESTRA Concerto in Eb Guiseppi Cattaneo Concerto in c minor Guiseppi Vanoni CLARINET AND ORCHESTRA OR PIANO Adagio, Tema e variazioni 1840 Alessandro Taveggia con coda / \ Air vane sur un theme 1845 Joseph Piana original Andante e variazioni sopra un 1845 Francesco Corradini theme del Mercadante Fantasia 1840 Antonio Albesoni Fantasia on La Sonnambula 1843 Fiori Rossiniani, Capriccio 1845 on motives from Rossini operas Remembranza Russe, Grand 1860 Contessa Sofia Franchesi Fantasia (available only for clarinet and piano) Scherzo on motives of Don 1849 Tomaso Green Pasquale Souvenir de Linda de 1848 Aldolphe Laffond Chamounix, Morceau de Concert Souvenir de Norma, Fantasia 1843 Conte Alberto Geva Transcription of the opera 1860 Trovatore (available only for clarinet and piano) Variations on motives from 1840 Luigi Genorini L'Elisir d'amore Variations on a theme from 1840 Carlo Pizzi La Straniera 55 TWO CLARINETS AND PIANO La Bacana, Grand Duet 1865 Antonio di Luppo Parra Grand Duet on motives 1865 from L'Africana CLARINET, FLUTE, AND PIANO Reverie Russe, Grand Duo 1865 Aldolphe Leroy Transcription of the opera Faust, Grand Duo Duo from the opera Norma CLARINET AND OTHER INSTRUMENTAL COMBINATIONS Canto Religiose for two clarinets with a chamber ensemble of flute, oboe, clarinet, bassoon and two pianos (transcription for two clarinets and piano also) Gran Duchess Elena di Russia Canto Greco for clarinet, two violins, viola, cello and bass 1843 Un Carnivale di piu. Adagio e variazioni for clarinet with a chamber ensemble of string quintet and flute 1847 Giulio Litta Morceau de Salon apres Gounod et Chopin for clarinet, piano, and organ Transcription du Bananier de Gottschalk for clarinet and string quartet 1856 Nicolas de Stieglitz Trio for flute, clarinet, oboe, and piano — Joseph Poniatowski 56 ADDITIONAL WORKS FOUND IN LISTS BY HOFFMEISTER, PAZDIREK, AND WESTON BUT NOT FOUND IN THE MILAN BIBLIOTECA DEL CONSERVATORIO Canzone Popolare Napolitana con Tarentella for E*3 clarinet and piano Le Carnivale di Venise Variazioni (Paganini) arranged by Cavallini. According to the Pazdirek listing, the arrangement is for clarinet, two violins, viola, cello, bass, and two horns. According to the Hoffmeister listing, the arrangement is for E^ clarinet and orchestra or piano. Concerto for flute, clarinet, and orchestra Fantasia on II Trovatore for clarinet and piano This may possibly be a later edition of the Transcrip- tion of the opera Trovatore found in the Milan Biblio- teca del Conservatorio. Norma Concerto for clarinet and band This may possibly be a later transcription of the Souvenir de Norma Fantasia found in the Milan Biblio- teca del Conservatorio. Robert il diavolo, potpourri for clarinet and piano Romance and Variations on a Venetian Melody for clarinet and piano Ultimo giorno di Pompei Fantasia for clarinet and orchestra or piano APPENDIX II TITLE PAGES AND SCORES OF THE FOUR ROMANZAS FOR CLARINET AND PIANO BY ERNESTO CAVALLINI PUBLISHED BY GIOVANNI CANTI, MILAN 57 . ;' "-V-•'v^-'* ' >/VA-4&$i: \''k-' t-.'-'Y. '••' . *:-V~ v.>;T'".;- ' *" Cvi'iUi'1' ,i"• • •••••.* ','•' .• •'•** •Mfr 59 I A C A L M1 A E.CAVALUN! JiUfiUXZJ SWZJ PMlOhJS ^ M.M.esJ. GUI J) j. Al.lI.Oir.#1. >- > >, - ' ,-G: ^E^t=^====. U:ipr.v z )&—*=* . 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CO 87<5 . .*\\v 91 ,\:V' , •> ^ v-y- ' v"-4-' • • U'V ' •V.V>? |b= =^=Q=d=- 13==-== J "»" V? -C " ^«-bi- a—= tr—— «P .——J r V (IT ^ :J iL- * 1 :>~ =k: — ^ 4"^ i -5- i V. * i- , «» ^_r — -:7-ir* V X' ^-..} „ , , • C ^:- «tei mini i m 1*1 , 'IT'. '7* « t= .. J?=J— tm- \>trt. Jd >V jg v s < a i —, . f ?—, •'•: • ~~ 00 . .— V 7 /• , • "i"& • . S746 43 ^ 5^=0^? "J ^ ^ ;iZ7r ?R<===r£ •rl- r *— — * ite • "." . — :Er . 7 V ^ T-r-ffi ^p»- Jj M.U J- "*3r * r-V+r* * -*1-. • jiUctr* EQH mUiuu jpooo /wfA* >• more udu 5745 BIBLIOGRAPHY Blume, Friedrich. Classic and Romantic Music. A Compre- hensive Survey. New York: W. W. Norton, 1970. Carse, Adam. Musical Wind Instruments. New York: Dover Publications, 1964. Cerminara, Napoleon. "Ernesto Cavallini." The Clarinet, No. 25 (Winter 1956-57), pp. 20-22. Cavallini, Ernesto. Barcarola per Clarinetto in si B con accompaqnamento di pianoforte. Milano: G. Canti, 1860. • Cicalio per Clarinetto in si B con accompaqna- mento di Pianoforte. Milano: G. Canti, 1860. . La Calma, Romanza Senza Parole per Clarinetto e Pianoforte. Milano: G. Canti, 1860. - La Ronda, Composizione per Clarinetto in si B con accompaqnamento di Pianoforte. Milano: G. Canti, 1860. . L'Incudine, Romanza Alleqorica per Clarinetto in si B con Pianoforte. Milano: G. Canti, 1860. • Lontano dalla Patria, Romanza per Clarinetto e Pianoforte. Milano: G. Canti, 1860. • Melodia Campestre per Clarinetto in si B con accompaqnamento di Pianoforte. Milano: G. Canti, 1860. • Sei Capricci per Clarinetto Solo, Op. 1. Milano: Luigi Bertuzzi, 1836. • Sei Capricci per Clarinetto Solo, Op. 2. Milano: F. Lucca, 1836. • Sei Capricci per Clarinetto Solo, Op. 3. Milano: G. Ricordi, 1840. 93 94 . Six Capriccios for the Clarinet, Op. 4. Milan: G. Ricordi, 1840. . Six Capricci per Clarinetto Solo, Op. 5. Milano: G. Ricordi, 1840. . Serenata per Clarinetto in si B con accompaqna- mento di Pianoforte. Milano: G. Canti, 1860. . Un Pensiero, Romanza per Clarinetto in si B con accompaqnamento di Pianoforte. Milano: G. Canti, 1860. Day, Lillian. Paqanini of Genoa. New York: McCauley, 1929. Einstein, Alfred. Music in the Romantic Era. New York: W. W. Norton, 1947. Engel, Hans. "Capriccio." Die Musik in Geshichte und Geqenwart. 14 vols., ed Frederich Blume. Kassel, Basel, London and New York: Barenreiter Verlag, 1963. Band 2, Cols. 808-818. Fe'tis, Fran$:ois Joseph. Biblioqraphie Universelle des Musiciens et Biblioqraphie Gdnerale de la Musique. Library de Firman Didout. Deuxieme edition. 8 vols. Feres, Fils et cie., 1867. Vol. 2, pp. 228-229. Flodin, Robert W. The Meaning of Paqanini. San Francisco: Morgan Printing Co., 1953. Gabucci, Agostino. Origin and History of the Clarinet. Translated by F. Lubrini. Memphis State University, 1969. Hamilton, Clarence. Ornaments in Classical and Modern Music. Boston: Oliver Ditson and Co., 1929. Hickman, Roger and Jack Sage. "Romance." The New Grove Dictionary of Music and Musicians. 6th edition. 20 vols., ed. by Stanley Sadie. London: Macmillan, 1980. Vol. .16, pp. 121-126. Hofmeister, Adolph. Handbuch der Musikalischer Literatur. Ed. F. Hofmeister. 19 vols. Leipzig, 1844-1860. Vol. 1, 2, 4, 5. Kroll, Oskar. The Clarinet. Revised by Diethand Riehm, translated by Hilda Morris, edited by Anthony Baines. New York: Taplinger, 1968. 95 Langwill, Lyndesay G. An Index of Musical Wind Instrument makers. Sixth edition. Edinburgh: Lyndesay and Co., 1980. MacNutt, Richard. "Giovanni Canti." The New Grove Dic- tionary of Music and Musicians, 6th edition. 20 vols., ed. by Stanley Sadie. London: MacMillan, 1980. Vol. 3, pp. 721. Pazdirek, Franz. Universal Handbuch der Musik Literatur. 11 vols. Wien: Pazdirek, 1904-1919. Vol. 2, pp. 11-12. Peterson, John Williams. The Virtuoso Clarinet: Arrange- ments from Nineteenth-Century Italian Opera. DMA dissertation, North Texas State University, 1977, Denton, TX. Pincherle, Marc. The World of the Virtuoso. New York: W. W. Norton, 1961. Reidel, Johannes. Music in the Romantic Period. Dubuque: Wm. C. Brown, 1969. Rendall, F. Geoffrey. The Clarinet.^ Revised by Philip Bate. London: Ernest benn Limited, 1971. Sacchini, Louis Vincent. The Concerted Music for the Clarinet in the Nineteenth Century. Ann Arbor: University Microfilms, 1980. Sachs, Kurt. The History of Musical Instruments. New York: W. W. Norton, 1949. Saussine, Renee de. Paganini. Translated by Marjorie Laurie. New York: McGraw Hill, 1954. Swandt, Eric. "Capriccio." The New Grove Dictionary of Music and Musicians. 6th edition. 20 vols., ed. by Stanley Sadie. London: MacMillan, 1980. Vol. 3, pp. 758-759. Tenney, Wallace R. "Ernesto Cavallini, Paganini of the Clarinet." Woodwind Magazine, Vol. 2, No. 4 (December, 1949), pp. 7-10. Weston, Pamela. More Clarinet Virtuosi of the Past. London: Halston and Co. Ltd., 1977.