Both Martucci and Sgambati
are interesting figures and both wrote
some fascinating music. It has, though,
to be said that the works brought together
on this CD, pleasant as they are, are
not amongst the most important creations
of either composer.
Martucci was an important
presence in the musical life of his
time. His skills as a pianist won him
the praise of Liszt; as a conductor
he was admired by Richard Strauss. Martucci,
indeed, conducted the Italian premiere
of Tristan und Isolde in 1888.
He taught in Naples and Bologna – Respighi
was one of his pupils.
As a composer the best
of Martucci is to be found in his two
symphonies (especially the second),
in his piano concertos (the second is
particularly fine), in his splendid
song-cycle La Canzone dei Ricordi,
in some of his works for solo piano
and, perhaps, in such chamber works
as his piano quintet and trio. The violin
sonata which opens this programme was
written when Martucci was eighteen;
unsurprisingly there is about it more
than a little of the talented student
rather than the fully formed composer.
None of this is to deny that the work
has a certain lightweight charm. There
are some attractively lyrical passages
and moments of intriguing instrumental
interplay – but it doesn’t, finally,
seem to have a great deal to say. The
Three Pieces of 1886 have more in the
way of content – the first is graceful
and dignified, the second is an engagingly
reflective piece, with a pleasing sense
of poise, and the third is somewhat
lushly romantic. The brief Melodia
has a rather melancholic, sepia charm,
but like its companions it doesn’t offer
much that is really individual, either
formally or emotionally.
Giovanni Sgambati,
younger contemporary of Martucci, was
another gifted pianist, something of
a favourite pupil of Liszt. As with
Martucci, the strongest musical influences
came from the German tradition – especially
from the example of Schumann and Brahms.
He conducted a number of Italian premieres
of German works – including Liszt’s
Dante Symphony. He corresponded with
Wagner and Strauss; indeed, Wagner’s
initial hearing of Sgambati’s work for
piano quintet at a concert in the German
Embassy in 1876 led him to describe
Sgambati as a "most authentic and
original talent" and to encourage
the publication of his work in Germany.
Sgambati later established the Liceo
Musicale of the Accademia Santa Cecilia
in Rome.
Again, these two works
for violin and piano can claim only
a rather minor place in the canon of
Sgambati’s work – they do not rival
his Piano Concerto in G minor, his D
major symphony, or the best of his works
for solo piano. The Two Pieces are engaging
enough, especially the second, described
as a ‘serenata napoletana’ and the Gondoliera
has real charm, evocative of a peaceful,
fluid Venetian scene. But, in truth,
it can’t really be claimed that any
of this is more than superior salon
music.
Luca Braga and Lucia
Pittau give committed and well-calculated
performances throughout, sympathetic
to the music’s idioms and resisting
any temptation to oversell it. The whole
makes for some pleasant, undemanding
listening and offers an insight into
the lesser works of two figures of importance
in the nineteenth century movement to
re-establish instrumental music in an
Italy dominated by the claims of opera.
Glyn Pursglove
Tactus
catalogue
Luca Braga (violin), Lucia Pittau (piano)
for
details
