Spanish Piano Concertos Narro I Martinez I Palomino
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HC20016.Booklet.SpanishPiano.qxp_PH?????_Booklet_Gamben/Handel 01.12.20 09:08 Seite 1 – World Premiere Recordings – SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ORQUESTA FILARMONÍA IBÉRICA MELANI MESTRE piano & conductor Bonus: Palomino – Violin Concerto NATALIA BORYSIUK violin HC20016.Booklet.SpanishPiano. Seite 2 HC20016.Booklet.SpanishPiano. Seite 3 SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO ENGLISH SPANISH PIANO CONCERTOS disc having been recorded for the first tion of orchestral music of the period archive of the Vienna Musikverein; and “Unknown” would be the best adjective time. to ecclesiastical and study purposes finally the concertos of José Palomino, at the present time to define the musical until well into the 19th century; thirdly, in the Biblioteca Nacional de Portugal landscape embracing the concertos for Given the vast quantity of sonatas and the possibility of having lost a large in Lisbon. piano (harpsichord) and orchestra from other works written for the keyboard, quantity of manuscripts and musico- Spain throughout almost the whole whether for harpsichord, clavichord, logical sources that might inform us and As is the case with the majority of 18th- of the 18th century and the beginning virginal, organ or any other keyboard at least cast light on the musical and and early-19th-century concertos for key- of the 19th, as Spanish Classicism was instrument of the period, it is hard to instrumental state of the art at the period board instruments that are known to us, emerging. believe that all this host of great com- in question. Although manuscripts have the habitual practice is to bring them up posers, whether native or from other for the most part been preserved in to date and present them in modern One might well ask: where are the countries, should not have applied church archives, we should take into interpretations on the piano, without Spanish concertos for soloist that were themselves to expressing their musical account that this whole kind of non- necessarily impairing their character or intended for keyboard instruments with ability in the service of the Concerto liturgical music was commissioned and the style that their composers gave to orchestral accompaniment? The answer genre, as we know it in almost the promoted in circles that were purely such scores. is simple: the few that existed, or of whole of Europe. aristocratic and associated with the which there is evidence, have taken monarchy, which makes it probable that When dealing, in many cases, with more than 200 years to come to light. What is certain is that in Spain we can many of these presumed works fell compositions written for “clavier”, as is more readily find Classical concertos victim to the flames and the disasters of true of the Sonatas in two parts so Except for works such as the quintets for for violin than for keyboard, something the last 200 years. typical of the period, it should be no clavier and strings by Padre Antonio which appears to us to be more than surprise that we have opted for per- Soler, preserved in the Archivo Musical merely trivial if we compare it with the Thus it is the case that the survival of the formance on the piano in all three del Monasterio de San Lorenzo de El vast output of Baroque and Classical Concertos which we present here for the cases, given the early arrival of the first Escorial (Madrid) and edited for the first composers of central Europe in the same first time, in a thorough revision and Cristofori piano-forte on the Iberian time in 1933 by Robert Gerhard in period, whether known to us or not. reconstruction, was most likely due to peninsula with the legendary castrato Barcelona, the search is at best for a the specific location of each one of Farinelli at the court of Fernando VI, keyboard concerto of which there is There are many possible reasons for them: that by Manuel Narro, in a and it is not unreasonable to think that evidence; till very recently, none of the this: in the first place, the near-absence manuscript held in the monastery library some of these compositions were played few concertos of which manuscripts and poor quality of orchestras or or- at the Colegiata de Roncesvalles; that on, and indeed conceived for, the novel have come down to us have seen the chestral ensembles that might perform by Mariana Martinez, also known as instrument. light of day, all those included on this such repertoire; secondly, the subordina- Marienne von Martinez, in the musical 2 3 HC20016.Booklet.SpanishPiano. Seite 3 NARRO I MARTINEZ I PALOMINO tion of orchestral music of the period archive of the Vienna Musikverein; and to ecclesiastical and study purposes finally the concertos of José Palomino, until well into the 19th century; thirdly, in the Biblioteca Nacional de Portugal the possibility of having lost a large in Lisbon. quantity of manuscripts and musico- logical sources that might inform us and As is the case with the majority of 18th- at least cast light on the musical and and early-19th-century concertos for key- instrumental state of the art at the period board instruments that are known to us, in question. Although manuscripts have the habitual practice is to bring them up for the most part been preserved in to date and present them in modern church archives, we should take into interpretations on the piano, without account that this whole kind of non- necessarily impairing their character or liturgical music was commissioned and the style that their composers gave to promoted in circles that were purely such scores. aristocratic and associated with the monarchy, which makes it probable that When dealing, in many cases, with many of these presumed works fell compositions written for “clavier”, as is victim to the flames and the disasters of true of the Sonatas in two parts so the last 200 years. typical of the period, it should be no surprise that we have opted for per- Thus it is the case that the survival of the formance on the piano in all three Concertos which we present here for the cases, given the early arrival of the first first time, in a thorough revision and Cristofori piano-forte on the Iberian reconstruction, was most likely due to peninsula with the legendary castrato the specific location of each one of Farinelli at the court of Fernando VI, them: that by Manuel Narro, in a and it is not unreasonable to think that manuscript held in the monastery library some of these compositions were played at the Colegiata de Roncesvalles; that on, and indeed conceived for, the novel by Mariana Martinez, also known as instrument. Marienne von Martinez, in the musical 3 HC20016.Booklet.SpanishPiano. Seite 4 HC20016.Booklet.SpanishPiano. Seite 5 SPANISH PIANO CONCERTOS NARRO I MARTINEZ I PALOMINO MANUEL NARRO (1729-1776) – Although the works of Narro have been MARIANA MARTINEZ (1744-1812) – the Musikverein library, works which Piano Concerto in G Major scattered far and wide, some of the 80 Piano Concerto in A Major demonstrate her complete immersion Born in Valencia, Narro had his early surviving compositions were copied and Although born in Vienna, Mariana, or as a woman in the late-18th-century education as a choirboy at the Colegio played for part of the 19th century. Marienne von Martines, as she is also musical life of Vienna and of Central Europe, del Corpus Christi in his native city, known, was from a Spanish family in whether as performer or as composer. entering the church school when he was The manuscript of the Concerto for exile in Naples after the War of the nine. At the age of eighteen, Manuel clavier and orchestra is preserved at the Spanish Succession. Mariana died in Vienna on December was already playing pieces on the or- Colegiata de Roncesvalles under 13, 1812. She was an honorary mem- gan, being a pupil of Padre Francisco the sigillum Música 28.531. Written in As a neighbour of the young Franz ber of the Accademia Filarmonica di Vicente and succeeding to his position a purely galant style, the concerto Joseph Haydn, both of them resident on Bologna and Doctor Honoris Causa on his teacher’s death. consists of three rhythmically contrasting Vienna’s Michaelerplatz, she took harp- from the University of Padua. movements (fast-slow-fast), and has an sichord lessons from a very early age, Having been an organist in the provin- accompaniment for string orchestra, and instruction in singing from Nicola Her Concerto in A Major presented cial town of Játiva for a number of albeit with some manuscript evidence of Porpora, another neighbour of the here comprises the three movements years, he obtained the post of organist an early intention to incorporate a Martinez family. typical of Classical concertos: Allegro at the Cathedral in Valencia in 1761 by couple of horns. con spirito – Andante comodo – Allegro competitive examination, although he Mariana later continued her studies with assai. The orchestration is for strings, resigned the position after a few months It is intriguing to note that in the second Johann Adolph Hasse and Giuseppe two horns, and two oboes that give way on account of poor health. He then movement, Andante giusto, the com- Bonno, developing a brilliant career as to two flutes in the second movement. returned to his former position as or- poser did not write out the solo part, on harpsichordist and singer that led her to The oboe part has been reconstructed ganist to the Colegiata de Játiva, where account of which Melani Mestre has play for Austrian royalty and at the key- by pianist and director Melani Mestre with he most probably composed his only prepared a reconstruction based on the board for four hands with Wolfgang reference to the original manuscripts.