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"ll ConrJegno" Anrilcare Ponchielli (1'834- 1885) PremiereRecording of Solo Works for Windg Amilcare Ponchielli (1834- 1886) Premiere Recording of Solo Works for Winds Fred Ormand, clarinets. Leone Buyse, flute. Harry Sargous, oboe. Deborah Chodacki, clarinet. Anton Nel, piano. Andrew Jennings, violin. Martin Katz, piano The Lithuanian National Philharmonic Juozas Domarkas, conductor [ 1 ] Quartetto (1857) t5:al LithuanianN atinnal P hilharmonic Juozas D omarkas,c ondu c to r, with solakts: LeoneBu1se, flute. Harry Sargous,oboe. Fred OrmaruL,Eb clarinet. Deborah Chodacki,Bb clarinet [ 2 ] Paolo e Virginia (1877) 9:39 Andrew Jennings, violin, Fred Omand, clainet. Martin Katz,pinno [ 3 ] Il Convegno (1857) t I :aI Lit huania n Nation al Philh arm oni c Juozas D omarkas,c ond.uc tor, with soloists: Fred Ormand, clarinet, Deborah Chodacki,clarinet [ 4 ] Ricordanze della Traviata (1873) 15;J1 I*one Buyse,flute. Harry Sargous,oboe. Fred Omand, clartnet.Anton Nel,piano [ 5 ] Sinfonia for Orchestra (1875), Op. ll3 I 1:02 Li Ih u a n id n Nationa I Phi I h arm o n i c Juozas D omarkas, c o nductor is known today primariiy as the composer Amilcare Ponchielli (cremona, 1834 - Milano,l886) ofLaGiocoru]a(1876).Ponchielli,togetherwithVerdi,isconsideredoneofltalianopera'smost feplesentativemusiciansdunngthese"condhalfofthenineteenthcentury'Hewasalsooneofits-a included Mascagni and Puccini' most influential teachers,with list of studentsthat DuringPonchielli.screativeliiethereweremanyimponanthistoricaleventsandartistic production, especialiy opera' On one hand we transformationsin Itaiy that also involved musical and its 'singability'; on the other we seenew seenew critical attitudestoward the old opera seria And it is precisely in a search for synthesis acceptanceof the European symphonic apptoach' and the rich European symphonic discourse fetween the traditional Iialian ;l ; anto voii characrer thatonecanplaceallofPonchielli,sworks.Infact,contemporarycriticshaveoftenurrderlined theinnovatj.veaspectofPonchiglli,sinstrumentation.Theynotethatitsuggestscurioussimilarities withcomposersandworksbelongingtodistantcultures_withMussorgsky'sBorisGodunov'for example, or with Stravinsky in his use of wind instruments' also composedmany instrumental In addition to his famous theatrical operas,Ponchielii works.Theseinciudedafewsymphonies,chambermusicforvarioussoloinstrumentsandpiano, for their vivacity and brilliance. And and ballets that were prul*"oty tn" renowned roscanini eventhoughtheyaregenerallyignot"d,hisnumerouspiecesforbandconstituteanoriginalbody consist not only of the typical marches and of work and should not b" rorg"otten.These works flowing from the fantasy and humor that dancetunes, but also have rigniand agreeablepassages' ore" (The Dance of the Hours)' today is noted only in I'a Giocowta's "La danza de11e AnanalysisofPonchielli,sinstrumentalworkdemonstratesthatitiSgroundedinquite diversetradltions.CertainlyfundamentaltoPonchielli'sdevelopmentwerehisyearsattheMilan Conservatory,notedforitsculturalvivacityandreceptiveatmosphere.ButalsovitalduringPonchieili's the operathat young musicianswhoaspired ro.rnutiu" y"u,, *as his experienceat the opera.It was at tosuccasscoulddirectlylearnthetu'tt'ofthtg"n"talpublic'anditwastheretheycouldcometnto traditions of cremona, his home town, andof contactwith the latesttrends tiom abroad.The Joncert on Ponchielli's work Sincethe beginningof Northem ltaly in g"n.rul r"." unothermajor influence had been one of the most important and the nineteenthcentury, uitan, ihe capitai of Lombardia, significance was not only due not only to its influential musical centefs m Italy. i{ilan's rise in for chambermusic' In this atmosphere famousoperahouse 'La Scatai,buialso to its marvelousmilieu Nicold Paganini,and Giovanni Bottesini suchfamous virtuosos as Alessandro Rolla, Antonio Bazzini, avenuesto expressthemselves freely' had the best opportunity to nurture their talents and to find I From Milan these aftists went on tour to the main provincial towns in the area. One of their common stops was Ponchielli's Cremona, a 'Lombard town'that enjoyed a very dynamic musical life throughout the nineteenthcentury. In Cremonamusicians of intemational fame perfor- med highly virtuosic works together with the local 'amateurs'. In Cremona's "voice and instru- mental academies" that were supported by the nobility, listeners could hear compositions by JosephMayseder, Rudoph Kreutzer, Louis Spohr and Jacque-pierreRode. Moreover, a very rich, but unimposing documentation demonstratesthe existence of many close professional contacts between Cremona's musicians and Italy's famous artists. Rolla, for example, introduced instru- mental music originating from Milan and the northem Italian publishing centers,with which he was in contact. And the famous Paganini, from the very heart of the parma court, took direct interest in Lombardy's young and promising musicians. Just as in other northem ltalian cities in the nineteenth century, Cremona's musical lile consisted of its orchestras (besides, of course, the theater and the Cathedral choir). As a rule membersof the orchestrahad to remain in the city, unlike the opera singersand conceft virtuosos who often spentmost of their time on tour. For Cremona's lovers of orchestralmusic the genuine musical events were the public concerts in which symphonies, famous operatic arias, and con- certo pieces for instrumental soloists were performed. According to local custom the concefto pieces,unlike the opera excerpts,always had to be new. They were composedeither by the local musical authorities - the theater'smusical director, the director of the chorus, or by the musicians themselves.Most often thesepieces consisted of fantasias,medleys, remembrances, and variations of operatic melodies or of original themes, and usually they were written with a cefiain performer in mind. In this way the foremost orchestral soloists could best demonstratetheir abilities. while at the same time surprising and delighting their audience with famous motifs presentedin new and brilliantiy altered forms. This is the envionment in which Ponchielli'sfirst instrumentalcompositions were conceived. After graduatingfrom the Milan Conservatory,the young musician returned to cremona and was well receivedby the local musical community. Here he composedIl Convegno(1857), a diveni- mento for two clarinets,and also the Quartettoperfiati (1857). Both were written con amore, asthe composerunderlined, for some ofthe city's 'performers who were also teachersthere,. For each of these two early works by Ponchielli, two separaterenditions have been preserved that were possibly performed at different times. For both 1/ Convegnoandthe Quartetto perfiati there existsthe original published version for piano, and also a secondversion written for ofthese compositionsare based orchestrathat remained in manuscfipt. Modern-day performances the piano accompaniment ln both of on the nineteenth-centuryrenditions that rely solely on theseversionsthemusicalpassagessuggestalightSalon-typedivertimento'Intherenditions acquire completely new symphonic written for orchestra, a, perfor*ld on ihi""totding' both andconcerl dimenrions. InllConvegnothesectionsincludingthewholeorchestraperfomthetaskofintroductng three. Like the classicalconcerto' // and linking the soloist sectlons,of which there are essentially ConvegnoconlainsanAllegro,anAnrlante'andanAllegrettoscherzosohnale'TheAllegroseems that is lessaccentuated, compared to th" t".hnica1 capacityofthe two soloistsand has a tone "rpior" quality of the operatic duet' to theAndante andAlLegretto.The Andante possessesan expressive in a crescendo-that becomes in which lyricism and lnstrumental idiosyncrasy merge together 'con until it arrives at the heaft-breaking increasingilypasstonate anima" as Ponchielli writes ln contrast' the concluding Allegretto is light and peat i"rtiappacuore") of its final cadenza the Allegretto is almost 'Rossinian': its ipa.tling, und it, .r".."ndo is dynamic One could say - the many sma11'pleasant rhythmic energy constltutes the driving force; its rich components and the sudden reprises - are nicely .urprise., the ihythmic inversions, the unexpected pauses' for its technical difficulty' still bursts interwovenl and the idiomatlc instntmental icore' notable with imagination while, deceptively, maintaining an air of simplicity' "concerto piece with a certaLn As ponchielli himseif stated, the Quartetto per fiati ts a effect,,,inwhichVariouselementsbecomeskillfullyunited.Theseincludethesong-likestyleand thelyricismofthethemes'amostdaringvirtuosiry'andaskilledscoreforquartet'inwhichthe figures are tightly interwoven' pafts of a polyphomc game chaLracteri'id by dittintt rhythmic densely grounded in effects that are l"rnup, .o."itl an Il Convegno,this is an instrumental piece and rich in the spirited and good- often contrasting. But most of all the Quartetto is light, lively' and imagination lt also illustrates natured irony that illustrates Ponchielli's musical vitality pregnantwith emphasisand theatricality, Ponchielli,s rebellion againstthe romantic melodic style' butalsohowhecouldnottullyescapeit.Theseareperhapsthemostcharacteristicandoriginal make them accessibleand enjoyable' t'eaturesof Ponchielli's instrumental works that continue to Theper-formanceoftheRicclrclanzedellaTraviata,adivertimentoforflute.oboe.clarinet manuscripts.were found in and piano, became possible only recently when parls ofpreserved F Ormand We can date the diverti- three separateplaces and reconstuction was
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