THE CLARINET AND THE ITALIAN orchestra. As a young composer he wrote two of which were for flute, two clarinets, the canzonetta “Or che la notte,” for so- horn and orchestra and one for flute, clari- TH OPERA COMPOSERS OF THE 19 prano, clarinet and piano, dedicated to net, horn and orchestra. One of these was CENTURY* Lady Teresina Spadaro; the Piccola com- performed in an academy of the Collegio posizione (Concertino) for clarinet and di Musica di Napoli in December 1817: by Adriano Amore orchestra; the Larghetto in Fa maggiore […]signor Mercadante conducted as for two flutes, basset horn, two horns and Concertmaster and was the composer of (English translation by Antonio Pas- bassoon and two Studi (1821), of which six nice pieces, written with bright imagi- saro) the Primo for solo clarinet and the Sec- nation, correct style and a rare purity of ondo for clarinet and bass, both composed taste. The audience appreciated mostly a ontrary to common thought, al- for his friend, the clarinetist Francesco great Concerto for four wind instruments most every Italian opera composer Benigni, who played in the ’30s in differ- which gave to the young Mercadante the of the 19th century wrote instru- ent orchestras in Bergamo. In dedicating honor of the press. Cmental music and particularly music for these studies to him, Donizetti writes his The compositions written by Giovanni the clarinet. Some of them even learned its surname incorrectly (per l’amico Beg- Pacini (1796–1867) belong to his artistic technique—like Vincenzo Bellini, Save- nigni), while in the second it is correct (a maturity. Except for the youthful Pot- rio Mercadante and Francesco Morlacchi. Benigni). On the title pages of both manu- pourrì for clarinet, two violins and cello, Others, through different orchestral and scripts, there is the addition, added later published in 1824, all the other composi- chamber music compositions, could taste by another hand “Proprietà di L. Benigni” tions date back to the period when he was its timbral and technical qualities, and (Property of L. Benigni). Probably he is chapel master and director of the Istituto later reusing them in their opera composi- Luciano Benigni, a son or a relative of Musicale in Lucca. In these situations he tions. Many opera composers also wrote Francesco, active in 1886 as first clarinet composed the Laudamus and Gratias for music for the clarinet in order to satisfy in the orchestra of the Basilica of Gandino baritone, obbligato clarinet and orchestra, virtuoso friends or primarily for didactic (Bergamo). the Quoniam in La, for bass, clarinet and purposes. Even though of German origin, orchestra, the Concertone for oboe, clari- To this last group belongs all the mu- Giovanni Simone Mayr (1763–1845) net, trumpet, trombone with orchestra. In sic composed by Bonifazio Asioli (1769– must be remembered among the most the last years of his life he composed the 1832) for his School of Music of Correg- prolific Italian composers of music for very good Divertimento for clarinet, cello gio (Reggio Emilia). For the teacher of the clarinet. As a matter of fact, he said: and piano. This was performed for the first clarinet Fortunato Palazzi he composed “Rightly I must be remembered as an Ital- time in an academy given on October 19, the Breve Metodo, while for the pupils ian, not as a German composer.” Today we 1865, at the Theatre of Buti (Pisa) by the of the same school he wrote the Sestetto have more than 100 compositions written clarinetist Luigi Angeli (1828–1877), the for harpsichord (or piano), clarinet, horn, by him for the clarinetists of the Cappella cellist Tesi and the pianist Leonetta Giulli, bassoon, viola and cello, the Sestetto for Musicale in Bergamo, of which he was for whom it was explicitly composed. two violins, clarinet, horn, viola and bas- the conductor. Included among these were Considered one of the best opera com- soon and the 16 Quartetti for clarinet, two many sacred compositions with obbligato posers of the second half of the 19th cen- horns and bassoon. clarinet or basset horn; the Concerto for tury, Amilcare Ponchielli (1834–1886) From Luigi Cherubini (1760-–1842), piccolo, flute, clarinet, basset horn and or- composed also some valuable pieces for a composer active mainly in France, we chestra; the Tema con variazioni for clari- the clarinet. In 1857 he wrote Il Convegno have 2 Morceaux for clarinet and bass net and small orchestra; the Concerto for Divertimento, Op. 76 for two clarinets written in 1822 and 1824 as a sightreading basset horn and orchestra; the 12 Baga- and orchestra, “explicitly composed and piece for the exams at the Conservatory of telles for flute, clarinet and basset horn; dedicated with true affection to the friends Music of Paris – and the Offertorium (Ave the Trio for clarinet, violin and bass; the Alessandro Peri and Massimiliano Sac- Maria gratia plena) for soprano and clari- 2 Sonate for clarinet, violone and piano; chi.” The author also made an arrangement net with accompaniment of two violins, the 6 Fioretti for basset horn, and piano with piano accompaniment, published by viola, cello and double bass. This piece and many Divertimenti, Sonate, Quintetti, Edizioni Lucca in Milan and reprinted in was much appreciated in England where Sestetti and other pieces for solo wind in- 1888 by Edizioni Ricordi (I-Mc). In the during the 19th century it was performed struments with clarinet or clarinets and/or same year he also most likely composed many times by the clarinetists Henry La- basset horn. the Duetto, Op. 78 Paolo e Virginia, for zarus (1815–1895) and Thomas Lindsay All the compositions by Saverio Mer- violin, clarinet and piano, and the Ricor- Willman (1784–1840). cadante (1795–1870) date back to the danze della Traviata Divertimento, Op. Gaetano Donizetti (1797–1848) wrote time when he was a student at the Colle- 82, for flute, oboe, clarinet and piano. many sacred compositions for voices and gio di Musica di Napoli. For some school He composed in 1857 the Quartetto, orchestra with an obbligato clarinet or bas- concerts he composed 3 Quartetti, Op. 50 Op. 110 for flute, oboe, piccolo clarinet in set horn, between 1814 and 1821. Some for flute, clarinet, horn and bassoon, the E-flat and clarinet in B-flat with piano -ac of these compositions are: Qui tollis, for Trio for clarinet, violin and cello, the Con- companiment, performed for the first time tenor, obbligato clarinet and orchestra, certo in E-flat, Op. 76, the Concerto in on September 16, 1857, at the Teatro della Preces meae for tenor, basset horn and B-flat, Op. 101 and the three Concertoni, Concordia in Cremona: ‘‘On that night the skilled orchestra-players Alessandro Peri, time with oboe. pelouze (1777– ?), an amateur clarinetist Tronconi Giuseppe, Massimiliano Sacchi The class of clarinet taught by Petronio and member of the editorial staff of the and Valdemi Antonio performed a quartet Avoni (?-1839) was started in the Liceo Courier Francais. for clarinet, clarone , oboe and flute, a very Musicale in Bologna, only in the school The only composition by Giuseppe beautiful composition by our skilled Maes- year 1811–12, when Rossini had already Verdi (1813–1901) that we know some- tro Amilcare Ponchielli. It was welcomed completed his studies (November 1810) thing about is the Tema originale, per- with many roaring applauses.’’ and had moved to Venice. After 1812 he formed by the clarinetist Giuseppe Mari- In 1873 the composer edited a new ver- composed the septet La Notte, Temporale, gliani in Busseto on October 12, 1834, in sion of this piece with orchestral accom- Preghiera, Caccia for two flutes, clarinet the vocal and instrumental academy per- paniment, performed on the 8th of Septem- and string quartet and the Tema con vari- formed in the living room of the Barezzi ber of the same year in an academy given azioni for flute, clarinet, horn and bassoon. home. at the Conservatory of Milan by the flutist The latter—published for the first time in The compositions for clarinet by Vin- Davide Carcano, oboist Abele Zani and Paris in 1828 by the sons of the publisher cenzo Bellini (1801–1835), written when clarinetists Emilio Porrini (1858–1900) Schott, together with the first five Sonate he was a student and quoted in some 19th and Luigi Maldura (1858- post. 1907). a Quattro for two violins, cello and double century biographies, have probably been Gioacchino Rossini (1792–1868) has bass transcribed for flute, clarinet and bas- lost. always paid great attention to the clarinet, soon by Frédéric Berr (1794–1838)— Among the other compositions writ- not only as a composer but also as a con- was dedicated to his friend Sonda and was ten by “minor” opera composers, there sultant (but actually the director) of the composed almost certainly not in 1812, as are the Sestetto for oboe, two clarinets, Liceo Musicale of Bologna. As a matter stated lately by the same Rossini. Divided horn and two bassoons by Giovanni of fact, in 1841 he asked the singer Do- into two movements, (Andante and Al- Bolzoni (1841–1919); the Divertimento menico Donzelli (1791–1873) to buy in legretto), this work with its brilliant and L’Ommaggio for flute, clarinet, trumpet, Vienna new scores for the pupils of the pleasant writing style testifies to the great two violins, viola and double bass by class of clarinet of his friend Domenico talent of the young Rossini in exploiting Gaetano Braga (1829–1907); the Solo Liverani (1805–1877): the technical and expressive peculiarities for clarinet and other instruments by of the four wind instruments. In ca. 1819 Michele Enrico Carafa (1787–1872); ‘‘You will ask any Maestro or he composed the Variazioni in Sib for clar- the Nonetto for oboe, clarinet, bassoon, connoisseur of music to select some inet and orchestra, written for the profes- horn, piano and string quartet by Nicola pieces for solo clarinet, clarinet and sor of clarinet Alessandro Abate.