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RES10153 Songs of Love, War and Melancholy

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RES10153 Songs of Love, War and Melancholy RES10153 Songs of Love, War and Melancholy Operatic Fantasias by Jacques-François Gallay (1795-1864) Jacques-François Gallay (1795-1864) 1. Fantaisie brillante sur l’opéra Les Martyrs de Donizetti (Op. 49) [10:37] 2. Fantaisie sur une cavatine de Belisario de Donizetti (Op. 42) [9:08] 3. ‘Fuis, laisse-moi’ de Roberto Devereux de Donizetti [4.22] Anneke Scott natural horn 4. Fantasia sopra un motivo dell’opera Bianca e Fernando di Bellini (Op. 47/2) [6:08] Lucy Crowe soprano Steven Devine piano 5. Troisième Mélodie sur une cavatine de La Sonnambula de Bellini (Op. 28) [6:16] 6. ‘Une Larme Furtive’ de L’Elisir d’amore de Donizetti [3:47] 7. Fantaisie sur l’opéra L’Elisir d’amore de Donizetti (Op. 46) [12:03] 8. Fantaisie brillante sur un motif de Norma de Bellini (Op. 40) [10:42] 9. ‘L’Appel du Chasseur’ des Soirées Italiennes de Mercadante [3:38] About Jacques-François Gallay: Préludes, Caprices & Fantaisies (RES10114): Total playing time [66:41] ‘Anneke Scott’s playing is bold and dramatic, Gallay’s theatrical background reflected in the music’s swagger’ Anneke Scott – natural horn (cor solo) by Marcel-Auguste Raoux, 1823. The Arts Desk (Loaned with kind permission by the Bate Collection, University of Oxford.) Steven Devine – grand piano by Érard, 1851. ‘These are key works in the history of horn playing [...] Anneke is to be (Loaned with kind permission by the University of Birmingham.) congratulated on her artistry and her zeal in bringing these works to us.’ The Horn Player Songs of Love, War and Melancholy: large works for horn and orchestra. In to get up again, languishing between musical opportunities both as a horn player Operatic Fantasias by Jacques-François Gallay addition to his high-profile solo career he life and death’ (La Pandore). and as a composer, but eventually, held the position of principal horn in encouraged by visiting musical ‘Listen to Rubini, Thalberg or Damoreau, the Théâtre Italien in Paris and, through Gallay was born in Perpignan in 1795; his dignitaries, Gallay made the decision Or Gallay’s horn which in turn combines this job, he would have had contact with earliest musical training was with a local to travel to Paris with a view to enrolling The songs of love, war and melancholy; You will know that their arts are the many of the great Italian composers of musician, Artus, with whom the at the Conservatoire. From its early days most beautiful.’ the age, such as Rossini, to whom he ten-year-old Gallay studied solfège. the Paris Conservatoire placed the training From ‘A Smile – Sonnet’ Revue et gazette dedicated his Grand Quartet for four horns. Perhaps Gallay had been born with a of wind and brass students at the centre musicale de Paris, 3 January, 1839 disposition towards music as the of its curriculum, attracting several Gallay joined the Théâtre Italien in 1825, Statistique des beaux-arts en France important teachers. The calibre of Paris in the mid-nineteenth century around the time that the opera house of 1834 cited him as an example of the hand-horn players in France helped boasted a musical scene with an entered its most exciting and influential excellent musicians who came from prevent the new valve-horn gaining abundance of riches. There was a great period. Originally known as the Opéra the Pyrénées Orientales, a region acceptance during the nineteenth century, appetite for instrumental and vocal virtuosi Buffa, it had opened in 1801, performing described as ‘the only [region] that and led instead to the development of a with huge audiences thronging to concert solely Italian repertoire in its original could be compared to Italy for the hand technique that pushed the instrument halls, or packed into more intimate soirées, language. This was at a time when the natural disposition of its inhabitants in almost to its limits. Gallay was to epitomise to hear the leading instrumentalists and Napoleonic Empire occupied much of Italy, favour of music’. Two years later he began this level of musicality and virtuosity. singers of their day. The violinist Niccolò and Napoleon, an Italian music enthusiast, to learn the horn with his father, an His career was, however, almost thwarted Paganini, the pianist Franz Liszt and the was keen to promote the genre. The first amateur horn player; his early progress from the start as, despite being accepted soprano Maria Malibran pushed the two decades of its existence were is thought to have been due more to as a student by Dauprat, Gallay, now aged boundaries of their art and wowed their troublesome: it often needed to change the student’s disposition than to the twenty-four, was technically too old to audiences. Among them was a horn player, venue or suspend performances for periods teacher’s talent. Gallay first came to enrol. But dispensation was eventually Jacques-François Gallay, whose name of time. However, it quickly became one of public attention when, at the precocious granted and Gallay was accepted on was mentioned in the same breath as the most fashionable places to be seen. age of fourteen, he stepped into the both the horn and the composition courses. these leading musicians. Admired for ‘Our Opéra Buffa,’ enthused the Courrier shoes of the indisposed cor solo (principal his virtuosity and beautiful singing tone, de l’Europe in 1807, ‘has become the horn) of the local theatre orchestra. Upon graduation Gallay quickly established Gallay was in great demand. rendezvous of the most delicate ears and This was all the more remarkable as himself in the Parisian musical scene. He most distinguished society in the capital.’ the work in question was Devienne’s Les initially joined the orchestra of the Like many other instrumentalists from this This was to the detriment of the older, Visitandines, which contains a demanding Odéon, but this position was soon time Gallay was also a prolific composer, more established Opéra which, by 1824, obbligato horn solo in the aria ‘Ô toi dont superseded by his appointment as cor writing over sixty works and contributing was compared to ‘a poor invalid, who ma mémoire’. solo of the Théâtre Italien. Whilst this was to every genre of horn repertoire, from raises himself from the bed, makes an not the only position Gallay was to hold – he solo caprices and preludes through to effort to speak, falls back, struggles, tries For a time Perpignan offered Gallay sufficient was a member of the Société des Concerts du Conservatoire, the Chapelle Royale, the to understand both the risks and the philosophical belief dominating the French The symphonies concertante of wind Musique du Roi, the Cercle Musical (also potential of emerging designs and cultural scene of this time – namely, that instruments are preferable to violin known as the Société Musicale) and techniques. Like many composers of music was an imitative art. As a result of concertos, which almost always bore professor at the Paris Conservatoire – this the 1830s-50s, a significant proportion this view, vocal music was thought to be the the audience; all concertos should be was a role that greatly influenced his of Gallay’s works clearly show the influence most efficient at awaking sentiments in the short, melodic, varied […] Most listeners compositions, which are highly dramatic of opera and, in particular, the Théâtre audience, while instrumental music was will judge the beauty of music only by works, redolent of Italian Grand Opera. Italien and its repertoire. Gallay chooses regarded as perilously close to lacking this its flexible and brilliant In recognition of the high regard in which themes from the leading Italian capacity. Diderot and d’Alembert’s ornamentation.’ he was held, Gallay was made Chevalier composers – figures such as Rossini, Encyclopédie explains in an article on de la Légion d'Honneur in 1845. Donizetti, Bellini, Paër, Blangini and song that ‘It is natural to believe that the Despite the huge popularity of opera fantasias Romagnesi – whilst the French operatic song of birds, the different sounds of the some notable critics bemoaned the ubiquity In accounts of Parisian musical life we repertoire is represented by composers voices of animals, the noises in the air of the genre: often see Gallay identified as one of the including Halévy, Bérat and Berton. The excited by the winds, the agitation of leading performers of the time. An 1832 opera world was not the only source of the leaves of the trees, the murmur of ‘M. Gallay came next and played for us review commented: inspiration for Gallay. Some of his simplest, water; all served as a model […] The sounds a pot-pourri on Bellini themes, for solo yet most effective, works are the set of were in man: he heard the singing; he horn. The talent of this virtuoso has ‘M. Gallay, M. Tulou, M. Labarre: here Schubert song transcriptions entitled Les was struck by the noise; all his been known and valued for a long time; are three names who provide the sensations and his instinct led him the opinion of artists and amateurs is idea of perfection for their three chants du cœur (Op. 51). to imitate these sounds. Therefore unanimous on this subject. Excellent instruments. Each of these artists embouchure, surety of intonation, would seem to be born for his During this period the opera fantasia offered the first concerts were for the voice. virtuoso musicians the opportunity to Instruments came afterwards and were accuracy, a pure sound, good taste instrument: I cannot conceive of in ornaments, he has all that constitutes demonstrate a number of aspects of a second imitations because with all the harp without M.
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