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ROMANZAS FOR CLARINET AND PIANO BY
ERNESTO CAVALLINI, A LECTURE
RECITAL, TOGETHER WITH
THREE OTHER RECITALS
DISSERTATION
Presented to the Graduate Council of the
University of North Texas in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Mark Stanton Hollingsworth, B.M., M.M.
Denton, Texas
December, 1989
37<? /vg/J
No,3o9<?
Hollingsworth, Mark S., Romanzas for Clarinet and
Piano by Ernesto Cavallini: A Lecture Recital Together
with Three Other Recitals. Doctor of Musical Arts
(Clarinet Performance), December 1989, 95 pp., 18 figures,
bibliography, 40 titles.
The lecture was given on September 25, 1989. The
discussion dealt with the stylistic characteristics of
music for clarinet by Ernesto Cavallini and included a
performance of four romanzas: La Calma, Un Pensiero,
L'Incudine, and Lontano dalla Patria.
Cavallini was the foremost clarinet virtuoso of
the nineteenth century as well as a prolific composer
of music for his instrument. The works presented in
the lecture represent Cavallini's proclivity for a
performance style combining virtuosity with lyrical
expression.
Copies of the original publications of Cavallini's
romanzas were obtained from the Biblioteca del Conserva-
tory, "Giuseppi Verdi," Milan, Italy.
In addition to the lecture recital, three other
recitals for solo clarinet were given. The first recital
was given on October 29, 1984, and included works by
Carl Maria von Weber, Leslie Bassett, Halsey Stevens,
and Carl Reinecke. The second recital was given on
July 29, 1985, and included works by Bernard Heinrich
Crusell, Halsey Stevens, and Johannes Brahms. The third
recital was given on October 3, 1988, and included works
by Saviero Mercadante, Eugene Bozza, and John Ireland.
All four recitals were recorded on magnetic tape and
are filed, along with the written version of the lecture
materials, as a part of the dissertation.
Copyright by
Mark Stanton Hollingsworth
1989
111
TABLE OF CONTENTS
Page
LIST OF FIGURES v
PERFORMANCE PROGRAMS
First solo recital vii
Second solo recital viii
Third solo recital ix
Lecture recital x
Chapter
I. INTRODUCTION 1
II. ERNESTO CAVALLINI: CLARINETIST AND COMPOSER 4
III. CAVALLINIfS ROMANZAS AND CHARACTER
PIECES FOR CLARINET 17
IV. SUMMARY 49
APPENDIX I 51
APPENDIX II 57
BIBLIOGRAPHY 93
IV
LIST OF FIGURES
Figure Page
2.
4.
5.
9.
10.
11 .
12.
13.
Form and Key Associations in Cavallini's Romanzas
Thematic Differences in Caprice, Op. 4, No• 4/ and La Calma . . . . . . . . . .
Motivic Cell Transformation and Phrase Structure in La Calma
Transition to the B Section of La Calma. .
Three Phrase Melody in the A Section of Un Pensiero .
Transition to the Key of B Major in Un Pensiero
Clarinet Melody in the Interlude of Un Pensiero
Transition to the Virtuoso Section of Un Pensiero
Clarinet Cadenza and Closing Phrase in Un Pensiero
Comparison of Clarinet Thematic Material in L'Incudine
Approach and Departure of the Secondary Theme in the First Section of L'Incudine,
Anvil Effect in the Piano Accompaniment in the First Two Sections of L'Incudine. .
Clarinet Arpeggio Figures in the Coda of L'Incudine
. 25
. 28
29
29
32
33
34
35
36
38
40
41
41
Figure
List of Figures, Continued
Page
14. Progression to Virtuosity in the Clarinet Thematic Material of Lontano dalla Patria. . 43
15. Clarinet Motivic Comparison in the First Section of Lontano dalla Patria 44
16. Chromatic Mediant Harmony in the First Section of Lontano dalla Patria 45
17. Thematic Contrast in the Second Section of Lontano dalla Patria 46
18. Clarinet Cadenza and Closing Material in Lontano dalla Patria 48
VI
North Texas State University School of Music
Graduate Recital
MARK HOLLINGSWORTH, Clar inet
Assisted by:
Judy Fisher, Piano Donna Meinecke, Piano Dennis Houghton, Horn
Monday, October 29, 1984 5:00 p.m. Concert Hall
Concerto for Clar inet in F Minor Opus 73 Car l Maria von Weber
Al legro moderato Adagio Rondo, a l legro
Sol i loquies for Solo B - f l a t Clar inet Lesl ie Bassett Fast, aggressive, d r i v ing , dramatic Flowing, singing Fast, abrasive, contensious Slow, l y r i c a l , expressive
Suite for Clar inet and Piano .Halsey Stevens A l legre t to Adagio Bucolico, pesante Moderato con moto
Tr io in B - f l a t Opus 274 C lar ine t , Horn and Piano. .Carl Reinecke
Al legro A Tale, andante Scherzo, a l legro Finale, a l legro
Presented in pa r t i a l f u l f i l l m e n t of the requirements for the degree of
Doctor of Musical Arts
v i i
North Texas State University School of Music
Graduate Recital
MARK HOLLINGSWORTH, Clarinet
Assisted by
Donna Tan-Meinecke, Piano Jane McCormick, Cello
Monday, July 29, 1985 8:15 p.m. Concert Hall
Introduction and Variations on a u Swedish Air Opus 12 Bernhard Heinrich Crusell
Concerto for Clarinet and . String Orchestra Halsey Stevens
Andante non troppo, allegro Quasi adagio Allegro moderato
Trio in A Minor for Piano, Cello and Clarinet Opus 114 Johannes Brahras
Allegro Adagio Andantino grazioso Allegro
Presented in partial fulfillment of the requirements for the degree of
Doctor of Musical Arts
Y 1 X 1
presents
Graduate Recital
MARK HOLLINGSWORTH, Clarinet
Dennis Boe, Piano
Concerto in B-flat for Clarinet and Chamber Orchestra Saverio Mercadante
A11egro maestoso Andante con variazioni
Concerto for Clarinet and Chamber Orchestra or Piano. . . . . Eugene Bozza
A11egro moderato Andantino Vif
Fantasy-Sonata lre1anc*
Presented in partial fulfillment of the requ i rements for the degree of
Doctor of Musical Arts
MONDAY, OCTOBER 3, 1988 CONCERT HALL
6:30 p.m.
IX
mmmimmmmmvm
presents
Lecture Recital
MARK HOLLINGSWORTH> Clarinet
Assisted by
Rose Marie Chisholm, Piano
R0MANZA5 FOR CLARINET AND PIANO
BY
ERNESTO CAVALLINI
La Calrna, Romanza senza Parole
Un Pensiero, Romanza
L' 1 ncrud i ne, Romanza A11 egor i ca
Lontano da 11a Patr i a, Romanza
Ernesto Cavallini
(1807-1874)
Presented in partial fulfillment of the
requirements for the degree of
Doctor of Musical Arts
MONDAY, SEPTEMBER 25, 1989
CONCERT HALL
6:30 P.M.
CHAPTER I
INTRODUCTION
The clarinet gradually gained a place in the orchestra
during the eighteenth century and developed into a viable
solo instrument by 1800. The Mannheim Court was a major
center of the developing art of clarinet playing due to
the compositional efforts of Johann and Karl Stamitz and
the virtuosic performance abilities of clarinetists Joseph
Beer and Franz Tausch. The Mannheim acceptance of the
clarinet took hold throughout Germany and Austria and
spread quickly to other European musical centers. Towards
the end of the eighteenth century the clarinet became a
prominent member of the orchestra and also gained acceptance
as a chamber and solo music instrument.
Many clarinet virtuosi were also competent composers.
Anton Stadler (1753-1812) of Austria and Xavier Lefevre
(1763-1829) of France contributed to the development of
nationalistic styles of clarinet performance, which in turn
influenced the clarinetists of the nineteenth century.1
1. F. Geoffrey Rendall, The Clarinet, rev. by Philip Bate (London: Ernest Benn Ltd., 1971), 82.
The popularity of the instrument grew until clarinetists
were receiving training throughout Europe. For example,
in 1795, the Paris Conservatory employed twelve clarinet
2 instructors to teach 104 students.
Although the clarinet was used in Italy during its
early development, an Italian school of clarinet virtuosity
was not established until the mid-nineteenth century. The
major Italian clarinet virtuoso of this period was Ernesto
Cavallini.
Cavallini was well respected throughout Europe as a
virtuoso performer. In addition to his performing talents
he was also a prolific composer of clarinet music. Caval-
lini's influence as a performer was extensive; however, most
of his compositions have not retained popularity and have
not remained in publication. Only two works, Thirty Caprices
for Solo Clarinet and Adagio and Tarantella, have remained in
consistent use in the twentieth century. The caprices were
originally published as five sets of Sei capricci per clari-
netto solo each with separate opus numbers, 1 through 5 (the
only works by Cavallini that bear opus numbers).
2. John Williams Peterson, The Virtuoso Clarinet: Arrange-ments from Nineteenth-Century Italian Opera (DMA diss. North Texas State University, 1977, Denton, TX), 3.
The caprices were written during Cavallini's student
years and early career in Milan. His later compositions
for clarinet, including Adagio and Tarantella, involved
piano or orchestral accompaniment and chamber music. The
style of his accompanied clarinet works, however, relates
directly to the caprices in the treatment of melodic mate- ,
rial and in the element of virtuoso display. His preference
for a bravura style continued in his later compositions,
the romanzas and character pieces for clarinet and piano,
published while he was clarinetist in the court and theatre
orchestras of St. Petersburg.
The purpose of this lecture recital, the presentation
and performance of romanzas for clarinet by Cavallini,
reguired research in several areas, including Cavallini's
career as a clarinetist and composer, the history of
romanza composition, and analysis and stylistic comparison
of Cavallini's works in relation to the virtuoso style of
the nineteenth century.
CHAPTER II
ERNESTO CAVALLINI: CLARINETIST AND COMPOSER
Cavall irti ' s Early Career in Milan
Ernesto Cavallini (1807-1874) was one of the foremost
clarinet virtuosos of the nineteenth century. He was well
known throughout Europe as a solo performer and composer
during a period when piano and violin virtuosity over-
shadowed the capabilities of other instruments. Caval-
lini 's solo career surmounted all other clarinetists of
his day with the exception of Heinrich and Karl Baermann.^
Cavallini was born in Milan, the city which became
the center of his musical accomplishments. He was a member
of a musical family: his brother Eugenio was an accom-
plished violinist and his brother Pompey was a British
bandmaster. Cavallini entered the Milan Conservatory, at
the age of 10, as a student of Benadetto Carulli, principal
clarinetist of the La Scala Orchestra. In 1830 he accepted
the solo clarinet position of La Fenice Theatre, in Venice,
and later became a member of the Piedentesse Regiment Band.
1. Napoleon Cerminara, "Ernesto Cavallini," (The Clarinet, No. 25, Winter 1956-57), 20.
Cavallini returned to Milan after a short stay in Venice
and joined the La Scala Orchestra as second clarinetist
2
under his former instructor, Carulli.
The year 1837 marked the beginning of Cavallini's
career as a soloist. He embarked on an extensive per-
forming tour of Italy with his brother Eugenio, who was
concertmaster of the La Scala Orchestra. Cavallini
returned from this tour to succeed Carulli as principal
clarinetist at La Scala. in 1846 he was appointed Profes-3
sor of Clarinet at the Milan Conservatory.
Cavallini composed and published several works for
clarinet during his tenure at La Scala. Compositions
included five volumes of caprices for clarinet solo,
duets for clarinets, several operatic fantasias and other
sets of variations on operatic material. Cavallini per-
formed extensively throughout Europe during holidays from
his duties in Milan. He was a popular and greatly respected
performer in London, Paris, and Vienna and often performed
4 his own works.
2. Pamela Weston, More Clarinet Virtuosi of the Past (London: Halston and Co. Ltd., 1977), 68.
3. Weston, op. cit., 69.
4. Wallace R. Tenney, "Ernesto Cavallini, Paganini of the Clarinet," (Woodwind Magazine, December 1949, Vol. 2, No. 4), 7.
Cavallini's Later Career in St. Petersburg
Cavallini relinquished his positions in Milan in 1852
in favor of principal clarinet positions in the court and
theatre orchestras of St. Petersburg, a position he held
until 1867. He was also Professor of Clarinet at the
St. Petersburg Conservatory from 1862 to 1870.5 Although
the duties of his new position precipitated the end of
his touring career, Cavallini continued to compose music
for clarinet. His clarinet compositions from this period
included duos for clarinets, duos for clarinet and flute,
fantasias and other variation-type works, and romanzas and
character pieces for clarinet and piano.
Cavallini returned to Milan in 1870 as an honorary
Professor of Clarinet at the Conservatory. He retained
this position until his death in 1874.6
Cavallini's Influence as a Clarinetist
Ernesto Cavallini's extensive career as an orchestral
musician and soloist established an Italian school of
clarinetistry which influenced performers throughout the
nineteenth century. Cavallini's early training in the
5. Weston, op. cit., 69.
6. Weston, op. cit., 69.
opera orchestra of La Scala was the major influence in
his style of virtuosic display. His bravura style of
playing was admired by Italian opera composers. This
admiration resulted in the composition of prominent
clarinet solos in operas such as the obbligato and
cadenza in the third act of Giuseppe Verdi's La Forza
del Destino.
Nineteenth-century operatic style made use of exten-
sive vocal technique within a dramatic context. The
competition to dazzle audiences with fiery cadenzas and
brilliant ornamentation was common practice among singers.
Wind instrumentalists displayed virtuosity in a similar
manner by using operatic fantasias and variations on
operatic melodies, often at the expense of tone and
musicality. Cavallini's approach to solo virtuosity
was a good example of this operatic-influenced style.
He was praised for his tremendous facility in executing
difficult passages in fingering and articulation, yet
he often was criticized for poor tone quality and intona-
tion which was especially evident in slow passages. This
criticism eventually became a divided issue as his tone
quality was praised by the French but denounced by the
English. The English clarinetist, Henry Lazarus (1815-1895),
praised Cavallini for his unapproachable technique but
felt his tone quality suffered in favor of virtuosic
7
display.
Cavallini was a frequent performer in Paris, where
he was well received by musicians and critics; he was
honored in 1842 with membership in the "Academie des
8
Beaux Arts." An extensive biography on Cavallini was
written by the French critic Francois Joseph Fe'tis
(1784-1871) in the Biblioqraphie Universelle des Musi-
ciens et Biblioqraphie Gene'rale de la Musique, while the
biography on the major French clarinetist of the day, • 9
Hyacinthe Klose (1808-1880), was significantly shorter.
The differences in opinion of Cavallini's tone
quality were in part due to the mechanics of his instru-
ment. The clarinet used by Cavallini throughout his
career was a simple six-key instrument of yellow boxwood,
an instrument considered very outdated and impractical
for his time. Although a significant number of clarinetists 7. F. Geoffrey Rendall, The Clarinet, third edition rev.
by Philip Bate (Ernst Benn Ltd., 1971), 112.
8. Cerminara, op. cit. , 22.
9. Franpois Joseph Fe'tis, Biblioqraphie Universelle des Musiciens et Biblioqraphie Ge'n^ral de la Musique, Library de Firman Didout, Deuxieme edition, 8 vols. (Paris: Feres, Fils et cie., 1867), Vol. 2, pp. 228-229.
used this system, multi-key clarinets were introduced
early in the nineteenth century and eventually replaced
the older simple key systems.^ Iwan Miiller introduced
a thirteen-key clarinet in 1812 which was accepted and
11 /
became readily available by 1835. Hyacmthe Klose and
Auguste Buffet successfully collaborated on the production
of a multi-key and ring system from 1839 to 1843. Their
collaboration resulted in the instrument which became the 12
prototype for the Boehm System clarinet. The Plana and
Miaro companies of Milan also produced clarinets with more
. . 13
than six keys during Cavallini's early career.
Cavallini's preference for a simple six-key clarinet
remains a curiosity as he had been exposed to more refined
systems in Italy and throughout Europe. The multi-key
systems were designed not only to improve technical facility,
but also to eliminate stuffy cross-fingerings which often
created intonation problems. The criticism of Cavallini's
tone, therefore, arose due to the noticeable differences
10. Adam Carse, Musical Wind Instruments (New York: Da Capo, 1965), 156.
11. Carse, op. cit., 158.
12. Rendall, op. cit., 97.
13. Carse, op. cit., 162.
10
in sound between the simple outdated system and the multi-
key clarinets favored by other performers. Cavallini
also favored a style of performance requiring the reed
placed against the upper lip, a style characteristic of
the Italian school of clarinet playing which existed well
14
into the twentieth century. Tone quality differences
were significant between the two styles of reed placement,
particularly in articulated passages.
Cavallini was often compared with another nineteenth-
century virtuoso, Nicolo Paganini (1782-1840). His career
paralleled that of the great Italian violinist, although
the two did not maintain a professional association. Both
musicians made virtuosity the foremost aspect of their
performance styles, possessed eccentric personality traits 15
and often were criticized for playing to the gallery.
Cavallini often demonstrated this sort of eccentric show-
manship: At a concert with orchestra in Spain, Cavallini
walked onto the stage without a clarinet. During the
14. Oskar Kroll, The Clarinet, rev. Diethand Reim, trans. Hilda Morris, ed. Anthony Baines (New York: Taplinger, 1968), 28.
15. Robert W. Flodin, The Meaning of Paganini (San Fran-cisco: Morgan Printing Co., 1953), 3.
11
orchestral introduction he assembled his instrument by
pulling pieces of it out of various pockets. He completed
the assembly briefly before he had to play the first notes
1 0
of the clarinet solo. Showmanship aside, he was contin-
ually cited for his high level of expression and inexhaust-
ible air supply.^
Both Cavallini and Paganini were composers, their
compositional contributions primarily containing works
for their individual instruments. Both virtuosi claimed
caprices as Opus 1. The similarities between the two
performers became so obvious and numerous that Cavallini 1 R
became known as the "Paganini of the Clarinet."
Cavallini's influence as a virtuoso performer
extended through the nineteenth century. In 1866 the
Spanish clarinetist, Antonio Romero, wrote of Cavallini
in the preface to the third edition of his Clarinet
Method: ". . .an admirable artist, gifted with a prodigy
of skill infingering as well as his rapidity of Articu-
. 1 9 lation." Cavallini's influence and prestige were
16. Tenney, op. cit., 10.
17. Flodin, op. cit., 8.
18. Rendall, op. cit., 112.
19. Tenney, op. cit., 10.
12
continued by the twentieth-century Italian clarinetist
Alamiro Giampieri,who revised the Thirty Caprices as well
as several accompanied works for clarinet by Cavallini.
Cavallini As a Composer
Ernesto Cavallini was a prolific composer of clarinet
music. His output was typical of a virtuoso composer
consisting mainly of solo works for his instrument which
displayed virtuosity. The title pages of most of Caval-
lini' s published works include dedications to various
associates. Cavallini dedicated several pieces to his
teacher, Benedetto Carulli, and to his brother Pompey
Cavallini, who held a position as a military bandmaster
in England. Other dedications included the composer
Saviero Mercadante, publisher Carlo Canti, fellow clari-
netist Antonio Romero, and various aristocrats including
the Contessa Sofia Franceschi, Don Jose Cruz, and the
Grand Duchess Elene of Russia. The variety of nation-
alities found in Cavallini's dedications illustrates the
widespread success of his international career.
T h e Thirty Caprices, Opp. 1-5. represent the only
examples of music Cavallini wrote for unaccompanied clari-
net. He published several sets of duets for two clarinets
as well as duets with piano accompaniment. However, the
13
major portion of his compositional output falls into two
performance categories:
1. clarinet with orchestra or piano
2. clarinet with piano
The first category includes operatic fantasias and sets
of variations. Separate accompaniments with orchestra
or piano were published simultaneously. Cavallini com-
posed thirteen works of this genre between the years
1840-1863.20
Operatic fantasias were an important performance
outlet for the nineteenth-century virtuoso composer.
Cavallini's career as an opera orchestra clarinetist
provided exposure to the music of the major opera com-
posers of his day, including Bellini, Donizetti, Meyer-
beer, Rossini, and Verdi. Cavallini borrowed material
from all of these composers for his fantasias and varia-
tion works. Another Italian opera composer, Saviero
Mercadante, was a close associate of Cavallini's and pro-
vided material for one work, Andante e Variazioni (1845),
Cavallini also dedicated a set of duets to Mercadante.
Cavallini composed only two works for clarinet with
specific orchestral accompaniment: the Concerto in E*3,
20. Publication dates listed by the Biblioteca del Conservatorio, Milan.
14
written during his student years in Milan, and the Con-
certo in C minor, written during his early years in the
21
La Scala Orchestra. Cavallini's orchestrations were
simple for his time, and instrumental usage reflected the
size of the La Scala orchestra. Aside from the usual
complement of strings, his orchestrations usually con-
tained parts for one flute, pairs of oboes, clarinets,
bassoons, horns and trumpets, two or three trombones, and
tympani. The only deviation from this instrumentation
occurred in two of Cavallini's variation works: A part
for serpent in place of trombone in the Andante e Variazioni
(1845) (on a theme of Mercadante) and a part for tamburo
in place of tympani in the variations on L'Elisir d'amore
(1840) .
The second category, works for clarinet and piano,
represents the largest section of Cavallini's compositional
output. He included, in this genre, fantasias and variations
as well as shorter romanzas and character pieces. The non-
fantasia works number sixteen and are based on Italian folk
melodies, such as Barcarola (1860), and Adagio e Taran-
tella, or bear descriptive titles: La Calma (1860),
21. Louis Vincent Sacchini, The Concerted Music for the Clarinet in the Nineteenth Century (Ann Arbor: University Microfilms, 1980), 69.
15
L'Incudine (1860), Lontano dalla Patria (1860), Una Laqrima
sulla Tomba dell immortale Rossini (1870).
Other works with piano accompaniment include two
duets for two clarinets and piano, La Bacana and Grand
Duet on Motives from L'Africana (1865); and three selec-
tions for clarinet, flute and piano, Reverie Russe (1865),
and duos based on operas Faust and Norma. Cavallini com-
posed several works for clarinet solo with varied instru-
mental accompaniment, but only one true work of chamber
music where the clarinet functions equally with other
instruments, the Trio for flute, clarinet, oboe and piano.
Cavallini did not compose sonatas or chamber music
other than the Trio, typical of a virtuoso composer whose
main intention was to dazzle audiences. His early attempts
at concerto composition proved not as successful as his
fantasias or character pieces which were more readily
accepted by nineteenth-century audiences attending concerts
of wind music. Cavallini also contributed to another nine-
teenth-century musical genre, the art song, composing
several single works and collections for one or two voices
with piano.
Cavallini used similar compositional techniques for
most of his clarinet music. Embellished principal themes
were most often scored in the clarion register while slow
16
melodies of variation forms were scored in the chalumeau
register. A rapid scale passage usually served as a
bridge to a well-known opera theme or recapitulation of
22 an original theme. Generally, Cavallini's style was
long and repetitious, dwelling on passages of technical
23 flourish as opposed to melodic development.
Although Cavallini was highly regarded as a virtuoso
clarinetist, he failed to achieve the same status as a
composer. He was not a symphonic or operatic composer,
nor did he produce solo virtuoso works in the manner of
Chopin or Liszt; consequently, he failed to achieve an
important rank in the history of nineteenth-century music.
Cavallini was influenced by elements of drama and musical
expression inherent in opera of his day, but his composi-
tions were based primarily on models of pre-existing
melodies as opposed to the development of a personal style.
Only a few of Cavallini's works have survived publication
in the twentieth century. These include the Thirty Caprices,
Adagio and Tarantella, Fiori Rossiniani, Adagio Sentimen-
tale, Serenata, and Six Grand Duets dedicated to Mercadante.
22. Cerminara, op. cit., 22.
23. Tenney, op. cit., 10.
CHAPTER III
CAVALLINI'S ROMANZAS AND CHARACTER
PIECES FOR CLARINET AND PIANO
History of the Romanza
The term Romanza (Italy), or Romance (Spain),
originally applied to a vocal ballad. The designation
existed as a standard descriptive title as early as
the fifteenth century. French and German composers
later developed the concept of romanza to include songs
with an extravagant, sentimental or romantic text
constructed in either prose or strophic verse. The
style of eighteenth-century romanzas broadened to
include instrumental music which expressed lyricism
and romantic qualities.
Instrumental romanzas were usually found as slow
movements of concertos and symphonies constructed in
rondo, ABA or variation form. The melodic style of
orchestral romanzas featured simple binary themes. The
earliest instrumental work to contain a movement bearing
the title "Romanza" was Gossec's Symphony in Eb. Op. 5
17
18
No. 2 (Paris, 1761)•^ Mozart included the title in the
slow movement of the Serenade, K. 525 (Eine Kleine Nacht-
musik) and the earlier Piano Concerto in D minor, K. 466.
Mozart's concerto romance was constructed in rondo
form with a simple unembellished primary theme. Mozart
contrasted this simple melody with a highly technical
virtuoso section after which the still unembellished
primary theme returns. Mozart used similar procedures
in other piano concerti, C minor, K. 491 and B*3 major, K. 595,
but did not include the designation "Romanza." This
compositional style, however, was pervasive in many later
instrumental romanzas.
The instrumental romanza gained independence in
the nineteenth century as an individual structure.
Beethoven composed two solo romances for violin and
orchestra, Opp. 40 and 50, which served as models of
expressive lyricism. The most frequent use of the title
for instrumental music was applied to single movement
character pieces of a predominantly lyrical nature, for
piano or piano and solo instrument. The vocal romanza
existed as well, but the instrumental counterpart to this
1. Roger Hickman and Jack Sage, "Romance," The New Grove Dictionary of Music and Musicians, 6th edition, 20 vols., ed. by Stanley Sadie (London: Macmillan, 1980), Vol. 16, pp. 121-126.
19
form,"Romanza senza parole" (Song without words), became
a popular performance medium for pianists. Mendelssohn's
Songs Without Words exhibit a typical style associated
with this type of romanza. The short piano pieces depict
a single mood or idea and maintain necessary lyrical
qualities inherent in the romanza. Schumann's Drei
RomanzemOp. 28, for oboe and piano, emphasizes lyricism
but does not correspond to a specific formal pattern.
Thus, the romanza of the nineteenth century evolved into
an independent musical structure without formal restric-
tions in which a composer could portray the expressive
nature of an instrument or melodic idea.
Cavallini's Romanzas and Character
Pieces for Clarinet
Cavallini composed several works for clarinet and
piano which contain similar stylistic traits of earlier
romanzas and character pieces. All were composed during
his later career in St. Petersburg (1852-1870) and pub-
lished by Giovanni Canti. The Canti firm of Milan
existed from 1835 to 1878 and was best known as Giuseppe
Verdi's first publisher. One of Verdi's early works
published by Canti was an album of vocal romances,
20
Sei Romances (1838) as well as a later Romanza senza
Parole (1865) for piano.2 Cavallini's vocal romances
also were published by the same firm. Canti apparently
was concerned with the publication of shorter expressive
pieces while Cavallini's fantasia works from the same
decade, 1860-1870, found distribution through publishers
Lucca or Ricordi.
The largest, most complete collection of Cavallini's
works exists in the Biblioteca del Conservatorio di
Musica, "Giuseppe Verdi," in Milan. Included in this
collection are the first editions of the romanzas and
character pieces published during Cavallini's St. Peters-
burg period. Extensive lists of Cavallini's music also
exist in nineteenth-century sources by Francois Joseph
Fetis^ and Adolph Hofmeister^ as well as twentieth-century
2. Richard MacNutt, "Giovanni C a n t i T h e New Grove Dictionary of Music and Musicians, 6th edition, 20 vols., ed.by Stanley Sadie (London: Macmillan, 1980), Vol. 3, p. 721.
3. Francis Joseph Fe'tis, Biblioqraphie Universelle des Musiciens et Bibliographie G^ndrale de la Musique, Library de Firman Didout, Deuxieme edition, 8 vols. (Paris: Feres, Files et cie., 1967), Vol. 2, pp. 228-229. .
4. Adolph Hofmeister, Handbuch der Musikalischer Literatur, ed. F. Hofmeister, 19 vols. (Leipziq 1844-1860), V. 1 , 98-99; V. 4, 24, 56; V. 5, 3o'.
21
sources by Franz Pazdirek5 and Pamela Weston.5 A compila-
tion of the lists produces only eight works for clarinet
by Cavallini not found in the Milan library, including a
romanza-related work listed by Hofmeister and Pazdirek:
Romance et Variations sur un Melodie Ve'ni t ienne, for
clarinet and piano.7 The two sources did not include a
date or publisher; thus, difficulty arises in placing the
work chronologically in Cavallini's career.
The works held in the Milan Library, published by
Canti, number fifteen; however, only four bear the title
of "Romanza":
La Calma, Romanza senza Parole
Un Pensiero, Romanza
L'Incudine, Romanza Alleqorica
Lontano dalla Patria, Romanza
The title pages of each romanza contain the inscription
"Clarinetto Solo di S.M. 11Imperature di tutte le Russie."
Other achievements by Cavallini are mentioned on the
5. Franz Pazdirek, Universal Handbuch der Musik Literatur, 11 vols. (Wien: Pazdirek, 1904-1912), Vol. 2, pp. 11-12
6. Pamela Weston, More Clarinet Virtuosi of the Past (London: Halston and Co., Ltd., 1977), p. 69.
7. See Appendix I.
22
title pages, including his appointment as professor at the
St. Petersburg Conservatory. The date of publication was
not included on any pages of the romanzas, but the Milan
Library lists c.1860 as the date for all the Canti publi-
cations. The publication of the romanzas, in actuality,
occurred between the years 1862 to 1870, the years of
Cavallini's tenure at the Conservatory of St. Petersburg.
Cavallini's romanzas contain a duality of composi-
tional style. The first stylistic aspect represents the
association of lyricism with the romanza. The clarinet
melodies are rhythmically simple and span a small range
of the instrument. This simplicity creates a character
similar to the syllabic melodic style of Cavallini's
vocal romances. The phrase structure of the principal
themes usually falls into concise eight-measure patterns
founded upon a short motive. This type of motive simpli-
city serves as a musically binding device to begin and
end the romanzas. The harmony also reflects simplicity.
The piano accompaniment perpetuates diatonic harmony
with few chromatic excursions. Key centers are well estab-
lished through the redundant use of tonic and dominant
pedals.
The second stylistic feature illustrates the element
of virtuosity. After the statement of lyrical themes the
romanzas proceed to contrasting sections which emphasize
23
far more rhythmic activity as well as a wider range for
the clarinet. The more active sections often begin
abruptly; however, a more progressive style of virtuosity
also exists within some of the romanzas. This "progression
to virtuosity" involves a gradual intensification of
activity as new sections occur. Although the romanzas
begin with a simple theme, the element of virtuosity
eventually overshadows the lyrical features.
Rendering a successful performance of Cavallini's
romanzas requires consideration of the stylistic duality
for the contrast between expressive and bravura sections.
Unfortunately, the Canti publications offer the clarinetist
little help in the area of expression as the scores lack
consistent dynamic and phrase indications. The examination
of the piano scores yields some information concerning
dynamics and tempo changes; however, the major content of
musical expression remains at the discretion of the per-
former .
The principal themes of the romanzas begin with a
dynamic level of piano. Although not consistently indi-
cated, the entrance of the bravura material requires a
mode of contrast consistent with the display of technical
virtuosity, achieved through a louder dynamic level.
Occasional repetitions of bravura passages lack a
24
reiteration, of dynamics. Aside from the obvious assump-
tion that Cavallini intended similar dynamic levels,
these areas offer the performer opportunities for expres-
sive contrast. The romanzas which contain a progression
to virtuosity offer another mode of expression through
the gradual intensification of dynamic levels in bravura
sections.
Only two romanzas bear explicit tempo indication:
La Calma, Andante sentimentale, m.m. 69, and L'Incudine,
Allegretto, m.m. 104. The assertion of tempi for the
remaining romanzas occurs by using the tempo indications
comparatively. Thus, Lontano dalla Patria, Andante sos-
tenuto, begins in a tempo similar to La Calma, while
Un Pensiero, Andantino, proceeds at a somewhat faster
rate. Areas demanding expressive rubato are occasionally
indicated but often suggested by the indication of Tempo I
without prior notice of a change of pace.
Articulation remains the most consistent notational
aspect in Cavallini's music. The use of slurs in contrast
to articulated passages demonstrate a coherent pattern
for delineating melodic accentuation as well as expression
in both bravura and lyrical sections. The articulation
indications were Cavallini's; however, the publisher, Canti,
confused the issue of articulation style by indicating all
25
articulated rhythmic subdivisions as staccato. The sections
centering on virtuoso display certainly demand a short ,
rapid articulation style. The more lyrical thematic
areas obviously require a more connected articulation
which does not disrupt the tone quality of longer rhythmic
values. Therefore, the indication of staccato must be
regarded as a flexible technical device which changes
according to the style of a specific section.
Although the romanzas share the distinct stylistic
contrast between lyrical expression and technical vir-
tuosity, each retains an individual form (Figure 1).
La Calma
Introduction C major
Un Pensiero
Introduction A B b maj or
L1Incudine
A B A Coda C major D b major- D major C major
A major
(interlude) B (cadenza) Coda BD major B major E major-
Bb maj or E maj or
Introduction A B C A Coda F minor F minor A*3 major- F major F minor F major
C major
Lontano dalla Patria
Introduction A B b major
B B b major a-G minor B*3 major
b-B*5 major a-G minor
(cadenza) Coda B° major
Figure 1—Form and key associations in Cavallini's romanzas
26
Cavallini was not concerned with the identification
of romanza style through form or the use of a predominantly
lyrical theme. The element of virtuosity clearly stands
out as the primary inspiration in Cavallini's compositions.
Thus his romanzas are single-movement, multi-sectioned
character pieces composed primarily for the display of
virtuosity.
Cavallini's other character pieces bear similarities
to the romanzas through the use of virtuosity, but also
harbor a certain distinction: The bravura element enters
earlier (in some cases at the beginning) in the pieces
without the designation of romanza. Thus, Cavallini's
other works lack the stylistic contrast or the progression
to virtuosity.
La Calma, Romanza senza Parole
C major, Andante sentimentale, m.m. 69
The title, translated as The Calm, Song Without Words,
invokes expectations of the typical romanza style of
lyricism within a single musical mood. La Calma, the
shortest romanza, begins with a lyrical theme that Caval-
lini borrowed from one of his own caprices, Op. 4 No. 4 in
27
D major (E major for B b clarinet).8 Cavallini used only
the opening material of the caprice as the basis for
La Calma. The initial theme was transposed to C major
and treated differently through motivic extensions and
ornamentation (Figure 2).
The principal melody evolves from a simple three-note
motivic cell first stated by the piano. The motive con-
tains the internal combination of an ascending perfect
fourth and a major second. Cavallini used various trans-
formations of the motive throughout La Calma, always main-
taining the integrity of the smaller interval but occa-
sionally changing the larger. The entire melody contains
three phrases in a ternary pattern: a b a (Figure 3).
The overall tripartite form of La Calma contains a
middle section in the foreign key of D b major. Cavallini
arrived at this key transitionally using ^VI harmony (A13)
as a dominant of D*5. Although the element of virtuosity
enters during the transition, Cavallini maintained the
development of the fundamental motivic cell (Figure 4).
8. The Capricci, Opp. 1-5, do not contain an indication of clarinet pitch; however, the romanzas as well as most works listed by the Milan Biblioteca del Conservatorio specify clarinet in B*5.
28
Caprice, Op. 4, No. 4 m. 17-26
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/"N ^ -1 -} y
J ~ t r j n4-}—
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r r 0 r
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J=bd --/4-
5
3 —z / 4 • » r r ) * r\ » n# ±
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La Calma m. 24-32
m i r fcL
Caprice, Op. 4, No. 4 m. 26-29
^ / p \
i I I——
# • 4b £ jfc *
5 5 *
La Calma m. 69-72
frm—a >
<^1S f ^
3 : P Figure 2--Thematic differences in Caprice, Op. 4, No. 4,
and La Calma.
29
r * -g I 1 c p Q r n -. . n
J. /.. •• '-TN
I S
rn it w i
i ~ ' ^ i r i a • f | / • J—r*(ff
m P P S
i ? — i r
» i = v ' 5 P r - r • • f
kj - f J J
. f ] T - 1 - . H ? r n c u
Figure 3—Motivic cell transformation and phrase structure in La Calma.
§ if m I i
t-srcsz?--
r - ^ r_>-
Figure 4—Transition to the B section of La Calma.
30
After the transition the piano states the principal
theme in the new key while the clarinet presents virtuosic
accompaniment. The clarinet part becomes more active in
this section containing scales and arpeggios in rhythmic
subdivisions of thirty-second and sixty-fourth notes.
The second phrase of the B section acts as a transition
to the recapitulation of the principal melody and home
key of C major. The harmonic transition occurs indirectly
through the key of A major. The two keys of the B section,
and A, become related through the enharmonic treatment
of the note (C#).
The use of virtuosic material continues in the orna-
mented recapitulation and the coda of La Calma; however,
the continuation of the bravura element does not completely
overshadow the essential lyricism of the principal theme.
Therefore, La Calma represents a union of the two stylistic
aspects, lyricism and virtuosity.
Un Pensiero, Romanza
B*3 major, Andantino O
Cavallini used the title of this romanza (translated
as "A Thought") for a vocal work, II Pensiero, Romanza,
also published by Canti. The score of the vocal romanza,
as well as the listing by the Milan library, does not
contain a date of publication. The two works are not
31
related thematically; therefore, one romanza was not the
inspiration of the other except in the mood suggested by
the title.
The form of Un Pensiero contains only two major sec-
tions? however, the piece maintains a similar stylistic
contrast found in La Calma. The lyrical aspect controls
the first section while the virtuoso aspect dominates the
B section. The romanza lacks a recapitulation of the
principal lyrical theme; instead, the virtuoso material
continues to the end and predominates over the lyrical
aspect. The element of virtuosity enters gradually as
opposed to a direct stylistic departure.
The piano states a brief introduction followed by a
lyrical triadic melody for the clarinet. The clarinet
melody progresses through three independent phrases modu-
lating to the relative key of G minor and returning to B*5.
The phrases are related through key association but not
through the recapitulation of previous material.
The second phrase contrasts the first, not only in
key, but also in motivic content. The phrase contains less
triadic activity as well as rests to separate motives.
The last phrase resembles the first in triadic construc-
tion, yet does not represent a true reiteration of phrase
one (Figure 5).
32
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p *lrf T" ^
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i m Mm ± / / =5 v » C 'i / i £BEg
Figure 5—Three-phrase melody in the A section of Un Pensiero.
An elusive transitory passage follows the principal
theme leading to the remote key of B major. The transi-
tion begins with a French augmented-sixth chord in the
key of B*3. The following harmony suggests movement to
the dominant; however, a sudden chromatic shift, in both
clarinet and piano, directly establishes the new key
(Figure 6).
33
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?•»# * "1 7+-T
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Figure 6--Transition to the key of B major in Un Pensiero,
The key of B lasts briefly in an interlude which
begins a progression to virtuosity. The interlude contains
more rhythmic activity and a wider clarinet range than the
principal theme (Figure 7).
A transition follows the interlude serving as connec-
tion to the virtuoso section in E b major. French augmented-
sixth harmony appears again at the beginning of a transi-
tion, serving to establish the new key. The approach
34
M
mw'*
Figure 7—Clarinet melody in the interlude of Un Pensiero.
to the augmented-sixth chord occurs through the enharmonic
relation of the interlude tonic chord (B major) to the bVI
chord (Cb major) of Eb. The transition continues the
progression to virtuosity begun earlier (Figure 8).
The virtuoso section emphasizes technical complexity
for the clarinet through rapid scale and arpeggio passages
performed in rhythmic subdivisions of thirty-second notes.
The piano rhythm also becomes more active, yet remains
subordinate to the solo line.
The transition back to the home key occurs in a more
subtle manner than the previous examples. The mediant
note (G) of the secondary key (Eb) descends by a minor
second to form a bVI relationship to the original key
"K
of B . This altered note in turn proceeds to the domi-
nant. Although the last transition does not contain
augmented-sixth harmony, a consistency exists in the use
of chromatic mediant relationships for transitory passages.
35
H i
* all. atempo
I I f
Figure 8—Transition to the virtuoso section of Un Pensiero,
The piano introductory material returns tempo doppio
after the virtuoso section. The clarinet continues with
virtuoso material disposing of the indication of a true
recapitulation. A lengthy, bravura clarinet cadenza
follows the false recapitulation leading to a single-
phrase coda in lyrical style. Although the closing
clarinet melody retains the triadic character of the
36
principal theme, the piano lines create tension with
chromatic movement above a tonic pedal (Figure 9).
f^
f
Figure 9—Clarinet cadenza and closing phrase in Un Pensiero,
The lyrical and virtuosic sections of Un Pensiero are
c.learly delineated, but not equally balanced. The progres-
sion to virtuosity gradually overwhelms the lyrical aspect
and reaches a climax in the clarinet cadenza. The remain-
ing lyrical phrase does little to dispel the persistent
37
bravura character; yet, it serves to briefly remind the
listener of the lyrical aspect associated with the
beginning of the romanza.
L'Incudine, Romanza Allegorica
F minor, Allegretto, m.m. 104
L'Incudine (the Anvil) contains distinct differences
from the previous romanzas in form and compositional
style. As the title suggests, the piece musically depicts
an inanimate object as opposed to an ethereal mood. The
form of L'Incudine contains four distinct sections (A B C A)
in different, but closely related, keys. Stylistically,
the work contains thematic contrast, yet lacks the progres-
sion to virtuosity present in other romanzas.
The first two sections maintain thematic simplicity
in contrast with the virtuoso section (Figure 10). A
recapitulation of the principal theme follows the virtuoso
section, and the romanza ends with a coda in the relative
major key.
The first section contains three thematic areas
arranged a (repeated) b a codetta. The first theme,
constructed from a simple two-measure motive, does not
project the similar qualities found in the opening material
38
of the other romanzas. The theme contains more disjunct
movement and rests separating each two-measure motive.
ikm B E i t t
f v N -
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ty • | / '
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L1Incudine, in
39
The b theme enters in the key of E major. The
theme serves to expand the clarinet range and perpet-
uate the angular melodic quality. Although the use
of a half-step key relationship alludes to previous
techniques, the direct chromatic approach bears little
similarity to the transitions in La Calma or Un Pensiero.
However, the return to the a theme contains familiar
augmented-sixth harmony in a short transition (Figure 11).
The second section begins directly in the relative
major key, Ab. The section continues the stylistic
qualities of the principal theme, yet contains a dif-
ferent phrase structure: a a b. The b theme contrasts
the a material -with an abrupt entrance of ornamented
clarinet motives and a change of key to C major. The
new key remains intact until the end of the second section.
The piano presents the allegorical material asso-
ciated with the title of the romanza in the first and
second sections. The bass clef line contains reiterated
tonic or dominant pedals on the first downbeat of every
measure. The pedals are followed by repeated eighth-
notes on a higher pitch. This style of bass repetition
creates a "hammering" effect to portray the sounds of an
anvil being struck (Figure 12).
40
Direct approach to E major
if" i i j W n i u ^ g
•>*/•- f tr*.*
i M i i h ; $ r r r T r T
EE 3 = 3 -
3 t r r r f. 1 - * r jh J * ' j •'
f f f ¥ Augmented-sixth harmony
4± J}£~bf.
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I ¥ "5 °f
I S Er WO To
O'V. b, 4# r-H fr* • *
w. w ¥ 3 S S
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Figure 11—Approach and departure of the secondary theme in the first section of L'Incudine.
The clarinet virtuoso section/ in F major/ portrays
the anvil effect through a motive beginning with a
rapid ascending arpeggio and ending on a pair of high
notes (see Figure 10). Unlike the previous sections,
p /
3 "FIT
a i /rh
^ m
t-
i r
-7 -f i
41
f t * »' r » 1" ?• t
T F F Figure 12—Anvil effect in the piano accompaniment in the
first two sections of L'Incudine.
the virtuoso area does not contain contrasting melodic
material or modulations. The third section ends abruptly
after one repetition of the bravura material.
The first section returns directly in the original
key (F minor) with one statement of the principal theme.
A transitory passage leads to an extensive coda in F major,
The coda contains arpeggiated figures reminiscent of the
virtuoso section, but without the anvil effect (Figure 13).
S S
Figure 13—Clarinet arpeggio figures in the coda of L'Incudine.
42
Although the coda begins at a faster pace and contains
elements of virtuosity, the tempo gradually slows to the
end. Thus, the virtuoso effect becomes less important
as the romanza concludes.
L'Incudine contains less stylistic contrast than
the other romanzas. The separate sections portray dif-
ferent musical characteristics through melodic contrast
and the insertion of selective virtuosic elements. The
lack of a predominant lyrical theme stands out as a major
difference in L'Incudine when compared with Cavallini's
other romanzas.
Lontano dalla Patria, Romanza
k 3 BD major, 4, Andante sostenuto
Lontano dalla Patria (Far From the Homeland) represents
a culmination of various stylistic features found in the
previous romanzas. A progression to virtuosity exists
(similar to Un Pensiero) within a tripartite form. The
three sections are separated in a fashion similar to the
delineation found in L'Incudine. The opening lyrical
theme serves as contrast to the more virtuosic middle
section, yet returns in an elaborated bravura recapitu-
lation (Figure 14). The predominant use of tonic or
dominant pedals, within a simple harmonic framework,
extends throughout the romanza.
43
A theme
j i . ) c i v f i L i f r i [ j 1 •
tfi f •( t i ' u m i •f* accel.
B theme
{>(C0 f t f -f- •
rail.
•;-f +• •
B * P . #
f- a :r
% H f L U ; Elaborated Recapitulation
lf.n i i f l w * » #
# r A O
•3- • -H it» f
s S3 T h Hh #
#
—r 5' •jr • 1 W*
# #J » , H 1 1
Figure 14—Progression to virtuosity in the clarinet thematic material of Lontano dalla Patria.
44
The lyrical clarinet theme enters after a piano
introduction. It contains three different phrases
arranged a b (repeated) c. Each phrase develops from
a simple motive containing a one-beat triplet figure
and a larger note value (Figure 15).
Figure 15 Clarinet motivic comparison in the first section of Lontano dalla Patria.
The endings of the a and b phrases contain identical
melodic material.while the c phrase ends with an extension
to close the first section. The first section does not
modulate; however, the b phrase contains chromatic
45
mediant harmony usually reserved for transitory passages
in the other romanzas (Figure 16).
P l .
^ = 1 M
3b; /T* m t p
P P i 3:
'L f ~i>A.. a -bT v.? Xjr
- j 4 - t > r / . . T v.b»
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i 3 1 f hi 9 m f
£ ~%1
feT lb* •
~V1
4
1 £ I5ZE Ge*+fc>
Figure 16—Chromatic mediant harmony in the first section of Lontano dalla Patria.
The second section enters directly at a faster tempo
and in the relative key, G minor. The section contains
an independent three-part structure, a b a , with its
own stylistic contrast of lyricism and virtuosity. The
first theme exemplifies virtuosity with sixteenth-note
46
scales and arpeggios over a wide clarinet range. The
second thematic area, in Bb, displays lyricism with
a melody indicated cantabile (Figure 17.).
Theme a
ft 9 1 I H»
Lit) Z-i-C i
[4=H f m # i — i ^
- f — r 1 *
P ;
Q2^_ =4= = 4 =
p : ^
Ujf-J LUj J / jti.
1T7
Theme b
C a. k-"!" a. b i (C-
i
Figure 17—Thematic contrast in the second section of Lontano dalla Patria.
47
The transitions to the different thematic areas of
the second section are accomplished through passing
diminished-seventh chords. This technique differs from
the chromatic mediant progressions in the other romanzas;
however, the diminished chord passages achieve the same
goal by approaching the dominant of the successive key.
The principal theme of the first section returns
in a highly ornamented virtuoso fashion. The original
motives are extended with rapid thirty-second note scales
and arpeggios without disturbing the recognizable triplet
figure. The pursuance of virtuosity continues through the
clarinet cadenza near the end of the romanza. The piece
concludes with a short restatement of lyrical material
from the piano introduction (Figure 18).
48
^ a piaceire JL *>JL
b 0 ,* • » f
r*f *f~*t hf i bi at #
IT a I I. ur\ p o co
Iu n g he
jCri f EJ 7 morehJo
Figure 18—Clarinet cadenza and closing material in Lontano dalla Patria.
CHAPTER IV
SUMMARY
Ernesto Cavallini contributed to the art of clarinet
playing, through his brilliant virtuosity, at a time when
other instruments held a higher rank in the hierarchy
of solo performance. His success as a performer influenced
many European clarinetists to achieve higher levels of
musical expression as well as technical virtuosity.
Cavallini was not an innovator of new styles or
procedures in performance or composition. He maintained
an operatic-influenced performance style throughout his
career and continually attempted to dazzle audiences
through the sheer power of his virtuosic playing. His
compositional style, although simple, was a personal
declaration of his intention to promote the clarinet on
a level of equality with other prominent solo instruments,
such as the piano and violin. However, his salon style
of composition proved an inadequate means of solo por-
trayal as the nineteenth century progressed, and most of
his music fell into obscurity.
The four romanzas not only demonstrate Cavallini's
zeal for virtuosity but also portray his fondness for
49
50
lyrical expression. The individuality of each romanza
creates interesting performance possibilities in combina-
tions as well as single selections. Although the element
of virtuosity tends to dominate, the romanzas contain
sufficient lyrical passages for musical contrast. The
romanzas not only offer the clarinetist an interesting
alternative to the usual selection of major recital
pieces, but also present an historical perception of the
nineteenth-century virtuoso.
APPENDIX I
MUSIC FOR CLARINET
BY
ERNESTO CAVALLINI
LOCATED IN THE
BIBLIOTECA DEL CONSERVATORIO DI MUSICA
"GIUSEPPE VERDI"
MILAN, ITALY
The entries are listed according to information found
in the card catalog of the Biblioteca del Conservatorio
di Musica. Most of the entries contain a date for publica-
tion and a dedication. Entries are for B b clarinet unless
specified otherwise.
The entries are listed by title, date, and dedication.
CLARINET SOLO
Six Capricci Op. 1
Six Capricci Op. 2 1836
Six Capricci Op. 3 1840
Six Capriccios Op. 4 1840
Six Capricci Op. 5 1840
Six Capricci or Studies 1895
Thirty Capricci Op. 1-5 1904
Cristoforo Balabio
Antonio Urio
Benedetto Carulli
M. Pompey Cavallini
Prospero Bargigozzi
Benedetto Carulli
51
52
CLARINET SOLO cont'd
Thirty Capricci 1930 (rev. by Alamiro Giampiero)
Thirty Capricci 1974 (rev. by Arieglo Prisco)
Thirty Piccolo Studies by B. Carulli, Arr. by Cavallini
TWO CLARINETS
Six Grand Duets
Six Grand Duets
Three Duos
Three Duos
1862
1905
1836
1845
Saviero Mercadante
Saviero Mercadante
I \ «
"a son frere Pompee"
Edward Bertis
CLARINET AND PIANO
Adagio and Tarantella
Adagio Sentimentale
Don Jose Cruz
1949 (rev. by Alamiro Giampieri)
1966
1870 Carlo Canti
Album II No. 6, Adagio Sentimentale, Una Lagrima sulla tomba dell' immortale Rossini.
Barcarola 1860
La Calma, Romanza senza 1860 parole
Canto Greco variato 1843
Un Carnevale di piu,
Adagio e variazioni
Cicalio I860
Elegie I860
Fantasie on L'Africana 1865
Gioachino Curti
Giulio Litta
Luigi Gassier
Joseph Galli
53
CLARINET AND PIANO cont'd
Fantasia sopra un 1860 Canto populaire
L'Incudine, Romanza 1860 allegorica
Antonio di Lupo Parra
Una Lagrima sulla tomba dell' immortale Rossini. Adagio Sentimentale. 1860
Lontano dalla Patria,
Romanza
Mazurka di Concerto 1860
Melodia Campestre 1860
Mie impressioni al Nord
Paolo Serrao
Anetta Anderson
Gaetano Rossi
La Neguita. Tango Americano
1852 (composed with Francesco Ferrarie)
Passo Doppio di Concerto
Un Pensiero, Romanza 1860
La Ronda 1860
Alphonso Guercia
Benedetto Carulli
Amalli Rossi
La Semaine Musicale. Seven Duos on opera themes (composed with Pasquale Bona).
Serenata 1860 Giovanni Bimboni
Transcription du Bananier 1856 de Gottschalk
Monferrine Variee par J. N. Hummel
Ballible con Variazioni
1860
1834 (composed with Giacoma Panizza).
Passa a due. E*5 clarinet (composed with Giacoma Panizza)
Three Variations on the Russian Romance "Oh! dites lui!" by the Princess L. Kotschoubey
1864 Antoine Romero
54
CLARINET AND ORCHESTRA
Concerto in E b
Concerto in c minor
Guiseppi Cattaneo
Guiseppi Vanoni
CLARINET AND ORCHESTRA OR PIANO
Adagio, Tema e variazioni 1840 con coda
/ \ Air v a n e sur un theme 1845
original
Andante e variazioni sopra un 1845 theme del Mercadante
Fantasia
Fantasia on La Sonnambula
Fiori Rossiniani, Capriccio on motives from Rossini operas
Remembranza Russe, Grand Fantasia (available only for clarinet and piano)
Scherzo on motives of Don Pasquale
Souvenir de Linda de Chamounix, Morceau de Concert
Souvenir de Norma, Fantasia
Transcription of the opera Trovatore (available only for clarinet and piano)
Variations on motives from L'Elisir d'amore
Variations on a theme from La Straniera
1840
1843
1845
1860
1849
1848
1843
1860
1840
1840
Alessandro Taveggia
Joseph Piana
Francesco Corradini
Antonio Albesoni
Contessa Sofia Franchesi
Tomaso Green
Aldolphe Laffond
Conte Alberto Geva
Luigi Genorini
Carlo Pizzi
55
TWO CLARINETS AND PIANO
La Bacana, Grand Duet
Grand Duet on motives from L'Africana
1865
1865
Antonio di Luppo Parra
CLARINET, FLUTE, AND PIANO
Reverie Russe, Grand Duo
Transcription of the opera Faust, Grand Duo
Duo from the opera Norma
1865 Aldolphe Leroy
CLARINET AND OTHER INSTRUMENTAL COMBINATIONS
Canto Religiose for two clarinets with a chamber ensemble of flute, oboe, clarinet, bassoon and two pianos (transcription for two clarinets and piano also)
Gran Duchess Elena di Russia
Canto Greco for clarinet, two violins, viola, cello and bass 1843
Un Carnivale di piu. Adagio e variazioni for clarinet with a chamber ensemble of string quintet and flute
1847 Giulio Litta
Morceau de Salon apres Gounod et Chopin for clarinet, piano, and organ
Transcription du Bananier de Gottschalk for clarinet and string quartet 1856 Nicolas de Stieglitz
Trio for flute, clarinet, oboe, and piano — Joseph Poniatowski
56
ADDITIONAL WORKS FOUND IN LISTS BY HOFFMEISTER, PAZDIREK, AND WESTON BUT NOT FOUND IN THE MILAN BIBLIOTECA DEL CONSERVATORIO
Canzone Popolare Napolitana con Tarentella for E*3 clarinet and piano
Le Carnivale di Venise Variazioni (Paganini) arranged by Cavallini. According to the Pazdirek listing, the arrangement is for clarinet, two violins, viola, cello, bass, and two horns. According to the Hoffmeister listing, the arrangement is for E^ clarinet and orchestra or piano.
Concerto for flute, clarinet, and orchestra
Fantasia on II Trovatore for clarinet and piano This may possibly be a later edition of the Transcrip-tion of the opera Trovatore found in the Milan Biblio-teca del Conservatorio.
Norma Concerto for clarinet and band This may possibly be a later transcription of the Souvenir de Norma Fantasia found in the Milan Biblio-teca del Conservatorio.
Robert il diavolo, potpourri for clarinet and piano
Romance and Variations on a Venetian Melody for clarinet and piano
Ultimo giorno di Pompei Fantasia for clarinet and orchestra or piano
APPENDIX II
TITLE PAGES AND SCORES
OF THE
FOUR ROMANZAS FOR CLARINET AND PIANO
BY
ERNESTO CAVALLINI
PUBLISHED BY
GIOVANNI CANTI, MILAN
57
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