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Del Cardinale Accademia Ottoboni Marco Ceccato MENU › Tracklist › Français › ENGLISH › Deutsch IL VIOLONCELLO DEL CARDINALE ACCADEMIA OTTOBONI MARCO CECCATO MENU › TRACKLIST › FRANÇAIS › ENGLISH › DEUTSCH IL VIOLONCELLO DEL CARDINALE PIETRO GIUSEppE GAETANO BONI (1686-c.1741) SONATA IN C MaJOR, OP.1 No.8 1 I. LARGO 4’41 2 II. AllEGRO ‘AllA FRANCESE’ 1’54 3 III. LARGO 2’37 4 IV. AllEGRO 0’57 FILIppO AMADEI (1690-1730) SONATA IN D MINOR WD 896/10 5 I. ANDANTE 2’48 6 II. ANDANTE E CANTABilE ASSAI 2’22 NICOLA FRANCESCO HAYM (1678-1729) SONATA No.1 IN A MINOR/E MINOR 7 I. ADAGIO 1’24 8 II. AllEGRO ASSAI 0’37 9 III. ADAGIO 0’55 10 IV. PRESTO 1’01 GIUSEppE MARIA PERRONI (fl. 1699-1737) SONATA No.2 IN D MaJOR 11 I. ADAGIO 1’45 12 II. AllEGRO 2’03 13 III. GRAVE 0’58 14 IV. AllEGRO E STACCATO 1’36 PIETRO GIUSEppE GAETANO BONI SONATA IN G MINOR, OP.1 No.9 15 I. LARGO 3’27 16 II. AllEGRO AllA FRANCESE 1’43 17 III. AllEGRO 2’15 GIOVANNI BATTISTA COSTANZI (1704-1778) SINFONIA A VIOLONCELLO soLO IN D MaJOR WD 551 18 I. ADAGIO ASSAI 2’03 19 II. AllEGRO 3’30 20 III. AMOROSO 1’59 21 IV. AMOROSO 1’43 GIUSEppE MARIA PERRONI SONATA No.1 IN A MaJOR 22 I. ADAGIO ED AFFETTUOSO 1’56 23 II. PRESTO 1’20 24 III. GRAVE 1’15 25 IV. AllEGRO 1’28 GIOVANNI BONONCINI (1670-1747) SONATA IN A MINOR 26 I. ANDANTE 3’38 27 II. AllEGRO 1’41 28 III. GRAZIOSO, MENUET 4’21 GIOVANNI LORENZO LULIER (1669-1700) 29 ARIA IN G MiNOR ‘AMOR DI CHE TU VUOI’ (TRANSCRipTION FOR TWO CEllOS AND CONTINUO) 5’17 ToTAL TIME: 63’27 › MENU ACCADEMIA OTTOBONI MARCO CECCATO CELLO & DIRECTION REBECA FERRI CELLO FRANCESCO ROMANO THEORBO & GUITAR ANNA FONTANA HARPSICHORD › MENU ANÇAIS LE VIOLONCELLE DANS LA ROME DES CARDINAUX FR PAR MARCO CECCATO Les deux cardinaux Benedetto Pamphili et Pietro Ottoboni jouèrent un rôle de premier plan au cours de ces deux décennies au tournant des XVIIe et XVIIIe siècles pendant lesquelles séjournèrent à Rome les trois musiciens les plus importants de l’époque : Corelli, Alessandro Scarlatti et Haendel. La présence de ces grands compositeurs et les nombreuses initiatives musicales financées par les deux cardinaux attirèrent à Rome de très nombreux musiciens qui firent s’épanouir un véritable « printemps musical » dans la ville. L’important orchestre que dirigeait Arcangelo Corelli à Saint-Louis des Français comptait plusieurs violoncellistes dont G. L. Lulier, N. F. Haym, F. Amadei et G. M. Perroni. Ceux-ci étaient souvent eux aussi compositeurs, généralement d’oratorios et de musique vocale, et il est étonnant de voir le petit nombre des compositions pour le violoncelle de leur main qui nous sont parvenues. Le premier d’entre eux à travailler avec Arcangelo Corelli fut Giovanni Lorenzo Lulier (Rome, 1669- 1700), également appelé « Giovannino del violone ». Il est employé de manière permanente par le cardinal Pamphili à partir de 1676, avant de passer en 1688 sous la protection du cardinal Ottoboni auprès duquel il restera jusqu’à sa mort, en 1700, tenant le violoncelle obligé dans l’orchestre dirigé par Corelli à Saint-Louis des Français. Nous n’avons pas conservé de sonates pour violoncelle seul de Lulier : le morceau joué sur ce disque est un air tiré de sa cantate « Amor di che tu vuoi », écrit à l’origine pour soprano, violoncelle obligé et basse continue et transcrit ici pour deux violoncelles et basse continue. À la mort de Lulier, Filippo Amadei (Reggio d’Émilie, 1690-Londres, 1730), dit « Pippo del violoncello », devint le premier violoncelle à Saint-Louis. Travaillant comme violoncelliste à Rome dès 1685, il est au service de P. Ottoboni de 1699 à 1711 comme « valet de chambre »1. En 1711, il part pour Londres, sans doute à la suite de Haendel, où il fit carrière comme compositeur d’opéras et de musique vocale. ANÇAIS Bien que nous ayons des témoignages attestant de sa réputation comme grand virtuose du violoncelle, FR il ne nous a laissé qu’une sonate pour violoncelle, conservée aujourd’hui dans le fonds du comte von Schönborn-Wiesentheid (896/10) et gracieusement prêtée pour cet enregistrement. Inédite jusqu’à présent, cette sonate fut transcrite à Rome vers 1710 par Franz Jakob Horneck, copiste du comte Rudolf Franz Erwein von Schönborn, amateur passionné du violoncelle. Nicola Francesco Haym (Rome, 1678-Londres, 1729), fut au service d’Ottoboni comme violoncelliste et compositeur de 1694 à 1701, date à laquelle il partit pour Londres où il se fit connaître comme compositeur d’opéras, collaborant notamment avec Bononcini et Ariosti. La sonate jouée ici, dans la double tonalité inhabituelle de la mineur-mi mineur, fut écrite à Rome2. Elle nous est parvenue dans un manuscrit conservé dans le fonds Noseda de la bibliothèque du Conservatoire de Milan. Ses caractéristiques mettent en évidence la très forte influence deC orelli, autant dans le style que dans la forme, avec de fréquents renvois explicites aux solutions harmoniques de Corelli. Giuseppe Maria Perroni fut un autre violoncelliste au service du cardinal Ottoboni pendant ces années. D’après les archives de la comptabilité du cardinal, il aurait travaillé pour lui de 1699 à 1737. Ses deux sonates, restées inédites jusqu’à nos jours, sont les seules pour violoncelle qui nous soient parvenues. Leur manuscrit est conservé dans le fonds Noseda déjà mentionné du Conservatoire de Milan. On retrouve dans ces sonates également des caractères typiquement corelliens, confirmant le fait que Corelli était une référence formelle et stylistique pour tous les musiciens de son orchestre. Parmi les autres violoncellistes présents dans ces années sur les listes de paiement d’Ottoboni figurent aussiA ntonio Maria et Giovanni Bononcini (1670-1747). Ce dernier travailla pour le cardinal non seulement en tant que violoncelliste mais aussi et surtout comme compositeur. Quatre de ses œuvres furent représentés au palais de la Chancellerie entre 1692 et 1696. Sa sonate en la mineur, à la différence des autres œuvres enregistrées sur ce disque, ne fut pas écrite à Rome mais publiée seulement beaucoup plus tard à Londres dans un recueil de sonates de différents auteurs. ANÇAIS 1710 est une année cruciale : Corelli décide de se retirer et d’abandonner tous ses engagements FR musicaux publics, Haendel quitte l’Italie pour Londres, et nombre de musiciens présents à Rome, dont Filippo Amadei, décident d’aller s’installer dans d’autres capitales européennes. Après le départ de « Pippo » en 1711, le cardinal Ottoboni invite à Rome un violoncelliste de Bologne, Pietro Giuseppe Gaetano Boni (1686-c.1741). Nommé « valet de chambre », le violoncelliste travailla au cours de ces années à un recueil de douze sonates pour violoncelle et clavecin dédicacé au cardinal et publié à Rome en 1717. Ce recueil, dont sont tirées les deux sonates enregistrées sur ce disque, représente l'une des toutes premières publications de l’époque entièrement consacrées au violoncelle. Après la mort d’Arcangelo Corelli, en 1713, Ottoboni poursuivit son activité de mécène, invitant de nombreux autres musiciens à son académie. Parmi eux, le violoncelliste romain Giovanni Battista Costanzi (Rome, 1704-1778), dit le « Giovannino del violoncello », joua un rôle important. Il apparaît en effet dès 1721 comme « valet de chambre » avant d’être nommé « chef des instruments » en 1737. D’emblée reconnu comme virtuose de son instrument, Costanzi devint un compositeur prolixe et apprécié de son temps, mais on se souvient aujourd’hui de lui surtout pour son apport technique au violoncelle. Parmi ses élèves les plus fameux figure Luigi Boccherini en personne, avec lequel il y a quelques ressemblances évidentes dans l’écriture et l’utilisation du violoncelle. La Sinfonia en ré majeur WD 551 est une œuvre inédite venant du fonds de la bibliothèque du comte von Schönborn- Wiesentheid. Elle fait partie d’une collection de très grande valeur de sonates et de concertos pour violoncelle de différents compositeurs italiens importants du XVIIe et du XVIIIe siècle, dont A. Vivaldi, G. B. Platti et A. Bononcini. 1 Stefano La Via, L’ambiente musicale ottoboniano: il « Mondo Novo » e la computisteria Ottoboni a confronto, in Il « Mondo Novo » musicale di Pierleone Ghezzi 2 L. E. Lindgren, Recent reserches in the Music of the Baroque era, Middleton, AR Edition, 2002. › MENU THE CELLO IN ROME AT THE tiME OF THE CARDINALS BY MARCO CeCCATO The figures of the two cardinals Benedetto Pamphili and Pietro Ottoboni were of decisive H importance for the twenty-year period at the turn of the seventeenth and eighteenth centuries LIS G N that saw Rome play host to the three most important musical personalities of the time: Corelli, E Alessandro Scarlatti and Handel. The presence of these three great composers and the numerous musical initiatives financed by the two cardinals attracted many musicians to Rome, giving the city a veritable ‘musical spring’. In the large orchestra directed by Arcangelo Corelli at San Luigi dei Francesi in 1699 there were several cellists, including G. L. Lulier, N. F. Haym, F. Amadei and G. M. Perroni. These men were often also composers, usually of oratorios and vocal music, and it is curious how little has survived of their compositions for the cello. The first of them to collaborate with Corelli was Giovanni Lorenzo Lulier (Rome, 1669-1700), also known as ‘Giovannino del violone’. From 1676 he was in the permanent employ of Cardinal Pamphili; in 1688 he changed patron for Cardinal Ottoboni, while continuing to hold the post of concertino cello at San Luigi dei Francesi, in the orchestra directed by Corelli, until his death in 1700. Since no sonatas for solo cello by Lulier have come down to us, the piece on this disc is in fact an aria taken from the cantata ‘Amor di che tu vuoi’, originally written for soprano, obbligato cello and basso continuo, and here transcribed for two cellos and continuo.
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