Bach & Italy, Vol.1: Marcello, Brahms, Busoni

Chiara Bertoglio (piano): Born in Turin in 1983, Chiara Bertoglio began her piano studies at the age of three, obtaining her Diploma in Piano summa cum laude and with honours at the Conservatory of Turin when only sixteen. She obtained Master’s Degrees in piano at the Accademia di Santa Cecilia in Rome and at the University of Venice in musicology, as well as the Swiss Diploma of Virtuosity, always with top marks and honours. She obtained a PhD in Music Performance Practice from the University of Birmingham, with the supervision of Kenneth Hamilton. She also studied with M. Rezzo, I. Deckers, E. Henz, P. Badura Skoda, S. Perticaroli and K. Bogino. She made her debut as a soloist with orchestra at the age of nine, under the baton of Ferdinand Leitner; later she performed with orchestras such as Rome Symphony Orchestra, the European Union Chamber Orchestra, the Curtis Chamber Orchestra, the Italian Philharmonic Orchestra, the Aargauer Symphonieorchester and many others. In 2005 she made her debut at Carnegie Hall under the baton of Leon Fleisher. She performed in such venues as the Concertgebouw of Amsterdam, the Royal Academy in London (during the Messiaen Festival 2008), the Mozarteum in Salzburg, the Chopin Institute of Warsaw, the Academy of Santa Cecilia in Rome, the Maggio Musicale Fiorentino and other festivals such as “Imago Sloveniae”, “Woerthersee Classics”, “MITO Settembre Musica” and many others. She performed both recitals and concertos with orchestra in Italy, United Kingdom, France, Germany, Switzerland, Austria, Poland, Israel, Denmark, Norway, the Netherlands and Slovenia, and was often broadcast by national radio and TV programs (RAI, ORF, AVRO Klassiek, Polish and Slovenian Radio and TV etc.). Her most important recordings include Respighi’s Toccata for piano and orchestra, two albums for “Velut Luna” (Schubert’s complete Impromptus, and “Mors&Vita”, with works by Mussorgskij and Messiaen, both issued in 2012) and a selection of Mozart’s Piano Concertos for “Panorama”. Her first book dates 2005, and is a study on Mozart’s piano and opera music, prefaced by Paul Badura Skoda. Later she wrote other musicological books, mostly published by Effatà, and her PhD thesis has been recently published by Lambert Academic Publishing. Her monumental monograph Reforming Music (De Gruyter 2017) has won the prestigious RefoRC Book Award in 2018. She also wrote several musicological articles for important Italian and international journals, and is often invited as a speaker at musicological conferences in Europe and the USA; she also gives seminars for Italian and British universities. She teaches musicology at the Theological University of Northern Italy and piano at the Conservatoire of Novara. Since 2007 she gives annual cycles of lectures and concerts for the private university “Studio Filosofico Domenicano” in Bologna.

Benedetto Marcello: (b Venice, 24 June or 24 July 1686; d Brescia, 24 July 1739). Italian composer and writer. The son of a Venetian nobleman, he followed the career path of all Venetian nobles of his time: he was admitted to the Maggior Consiglio of the Republic on 4 December 1706 and, after completing studies in literature and law, served in various magistracies over the next two decades. The last decade of his life is riddled with mysteries: he married the commoner Rosanna Scalfi, his singing pupil, in May 1728; had a religious experience in August of the same year; was exiled to the Istrian city of Pula (then part of the Venetian Republic) for three years (1730–33) as provincial governor; was absent from civic records for the next five years; and received his final appointment in Brescia as chief financial officer.

It is not easy to segment the musical continuum of Marcello’s life, since he held no regular appointments of a musical nature and the majority of his musical works are undated. This demonstrates how severely separated in social experience dilettante composers were from the common ranks of musical maestri. Nonetheless, Marcello’s cultivated intellect exerted, particularly through his psalm settings and cantatas, a major influence on Italian musical thought and performance throughout the 18th century and, to various degrees, on the musical practices of many other European countries until the end of the 19th century. After a perfunctory involvement with instrumental music, his main interests as a composer, particularly between 1710 and 1720, were the cantata and the chamber duet. Thereafter, his attention turned to works on a larger scale: the 50 Psalms of David, the serenata and the oratorio. The claim that Marcello forwent composition after 1728 cannot be entirely true since two of his oratorios neatly circumscribed his years in Pula.

Marcello’s intent in his Salmi, which were published with etchings by Sebastiano Ricci, was to restore dignity to devotional music by reviving musical practices of antiquity (seeillustration). They are set in texturally differentiated sections and are for the most part through-composed. Numerous testimonials (by Gasparini, Antonio and Giovanni Bononcini, Sarri, Mattheson and Telemann) were included in each of the eight volumes. Caldara, who found the music ‘eccentric’, was one of Marcello’s few detractors. Later Italians, in particular Padre Martini and Giovenale Sacchi, revered Marcello’s Salmias models of contrapuntal writing. Still more accomplished examples are the six-voice canon In omnem terram, published with the psalms, and the four-voice Missa Clementina, which Marcello composed for his admission to the Accademia Filarmonica, Bologna, in 1711. Being impressed with the fact that women were not permitted to sing in the ancient temple, Marcello favoured low, mainly male, voices in his psalms. Some 16 of the works incorporate sections based on quotations from Greek and Hebrew psalmody; the original sources are interpolated at the appropriate points. Like his secular vocal music of the 1720s, which is inspired by Roman and Greek epics, the melodic content varies from an ambitus which is very restricted to one which is almost impossibly broad, expressing emotional peaks and depths.

In the 1710s, when Marcello was coaching the young Faustina Bordoni and writing music for Roman nobles, such as the Borghese family, he led, in parallel with Apostolo Zeno’s attempted reform of the opera libretto, a movement to reform singing style. Here his goal was to remove ‘tasteless’ ornamentation and to focus more on actual sound. In this phase of his life, his vocal music was much more lyrical and formally structured. Several of his chamber duets were composed for Laura and Virginia Predieri. The vast majority of his lyrical cantatas seem to have been written for performances at weekly academies (social gatherings of the nobility that featured poetry, music, oratory and debate). The texts, many of which were written by the composer, were usually pastoral. Mattheson praised the rhetorical detail of Marcello’s approach to the setting of (lyrical) aria texts. More original are Marcello’s intensely dramatic cantatas on tragic and heroic subjects from antiquity, which feature such figures as Andromeda, Arianna, Cleopatra, Dido, Medea and Timothy (probably mediated through the dramas of Corneille and Racine). Some of these works lack arias: others use abberations of musical notation to express a heroine’s (or hero’s) mental frenzy or anguish. Although the subject matter is again usually from antiquity, Marcello’s serenatas are somewhat more conventional and use obbligato instruments and instrumental figuration to reinforce images and to convey elements of the drama.

The lighter side of Marcello’s nature was expressed in his several satires. Of prime importance among these is the treatise Il teatro alla moda, first published anonymously in 1720, which is concerned especially with the decline of careful composition and well-rehearsed performance, as well as the invasion of Bolognese singers, at the Teatro S Angelo, Venice. It was especially popular in Italy in the 18th century, in France in the 19th, and in Germany in the early 20th, and it appears never to have been out of print from the time of its writing to the present. Comic musical works include the letter cantata Carissima figlia (1718), in which the singing styles of such opera figures as Vittoria Tesi, Faustina Bordoni and Gaetano Berenstadt are imitated; the castrato madrigals, in which it is debated whether the divinity of the singing of (adult) male sopranos and altos can save them from eternal damnation (1715); and the comic intermezzos Spago e Filetta (?1719). Although Marcello’s two late oratorios are not satirical works, a playful mood prevails.

The impetus for the keyboard and recorder sonatas is likely to have come from academies. While the Marcello family had one of its own on the Fondamenta Nuove in Venice, Benedetto seems to have maintained a network of contacts in Rome, Florence, Bologna and various rural retreats in the Veneto. Only the motivation for composing the Concerti op.1, remains unaccounted for. These works now lack the principal violin part and so accurate evaluation is impossible. Within this opus was the one piece by Marcello known to, and transcribed by, Bach. Of Marcello’s keyboard works, the sonatas are the most important, for they seem to have played a role in the establishment of the genre as it was later developed by Platti, Pescetti, Galuppi and J.C. Bach. His cello sonatas, which are among his most widely performed works today, were probably composed much earlier than their date of publication suggests and, in fact, their authenticity is not beyond question.

Marcello’s legacy was greatest for those who lived between 1750 and 1875, when recognition of his Salmi led to their translation into many other languages (French, German, Swedish, English, Russian) and their performance, as liturgically generic sacred works, in a host of different liturgical contexts. It was during this period that a great number of the manuscripts in which Marcello’s secular works are now preserved seem to have been copied. In the 19th century the Salmi were sometimes divided into short ‘motets’ or ‘songs’, or stripped of their texts and offered as instrumental works, or retexted and offered as ‘new’ works. Such varieties of psalm progeny seem to number well beyond 10,000 (arrangers included Paer, Mayr, Rossini and Bizet; Verdi was a great enthusiast). Another work of the same period, the oratorio Joaz, is reckoned to have anticipated the reforms of Gluck many years later. Marcello’s call to restore the classical virtue of ‘noble simplicity’ in music, found in the preface to his Salmi, anticipates the analogous invitation of the German archaeologist Winkelmann (who spoke of sculpture) by 30 years. Although little noted today, Marcello’s role in formulating the values of classicism and promoting their musical implementation was his most significant contribution to cultural history. His influence was enormously, if subtly, pervasive.

Differing national values coloured perceptions of Marcello’s music: the English revered its ‘harmony’, the Germans its ‘melody’ and the Italians its ‘counterpoint’. It was only in the 20th century that Marcello’s name started to fall from grace in lists of important composers in the past. Even as this change occurred, however, the influence of his Salmi was regenerated in ethnomusicology: the materials Marcello quoted from Judaic and Hellenic traditions in the 1720s are frequently requoted (often without attribution) in studies of ancient and oriental music. He undoubtedly would have been amused by the reflexive nature of the esteem that accrued to his work after his death.

Ferruccio Busoni: (b Empoli, 1 April 1866; d Berlin, 27 July 1924). Italian composer and pianist, active chiefly in Austria and Germany. Much to his detriment as composer and aesthetician, he was lionized as a keyboard virtuoso. The focus of his interests as a performer lay in Bach, Mozart and Liszt, while he deplored Wagner. Rejecting atonality and advocating in its place a Janus-faced ‘Junge Klassizität’, he anticipated many later developments in the 20th century. His interests ranged from Amerindian folk music and Gregorian chant to new scales and microtones, from Cervantes and E.T.A. Hoffmann to Proust and Rilke. Only gradually, during the final decades of the 20th century, has his significance as a creative artist become fully apparent.

Johann Sebastian Bach: (b Eisenach, 21 March 1685, d Leipzig; 28 July 1750). Composer and organist. The most important member of the family, his genius combined outstanding performing musicianship with supreme creative powers in which forceful and original inventiveness, technical mastery and intellectual control are perfectly balanced. While it was in the former capacity, as a keyboard virtuoso, that in his lifetime he acquired an almost legendary fame, it is the latter virtues and accomplishments, as a composer, that by the end of the 18th century earned him a unique historical position. His musical language was distinctive and extraordinarily varied, drawing together and surmounting the techniques, the styles and the general achievements of his own and earlier generations and leading on to new perspectives which later ages have received and understood in a great variety of ways.
The first authentic posthumous account of his life, with a summary catalogue of his works, was put together by his son Carl Philipp Emanuel and his pupil J.F. Agricola soon after his death and certainly before March 1751 (published as Nekrolog, 1754). J.N. Forkel planned a detailed Bach biography in the early 1770s and carefully collected first-hand information on Bach, chiefly from his two eldest sons; the book appeared in 1802, by when the Bach Revival had begun and various projected collected editions of Bach’s works were underway; it continues to serve, together with the 1754 obituary and the other 18th-century documents, as the foundation of Bach biography.

Johannes Brahms: (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid- and late 19th-century art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime.