Armida Records 11-080124
artist: DANIELA NOVARETTO piano
LUIGI BOCCHERINI (1743 – 1805)
Sonate G 23
The title of this CD could be disorienting. That of the sonatas for solo harpsichord or piano, in fact, is a genre that doesn’t seem to have been practiced by Luigi Boccherini, who instead turned to the keyboard for two late collections of quintets, and previously, during his brief stay in Paris, for the very successful collection of sonatas with violin accompaniment dedicated to harpsichordist and composer M.me Brillon de Jouy.
The catalogue of Boccherini’s works, expertly drawn up by Yves Gérard, however, records under the number 23 a collection of sonatas “for solo harpsichord or piano”, specifying that it, in reality, is the keyboard part of a collection of 6 trios with violin and cello published in 1781 under the name of Boccherini.
Around these compositions, of a decidedly high quality level, a double mystery is therefore revolving. On the one hand, doubts have been raised regarding their authenticity, since Boccherini never mentioned them in his autograph catalogues, unlike what happened with the violin sonatas. On the other hand, a manuscript preserved in Naples, still not sufficiently investigated, quotes only the keyboard part, and on the frontispiece it bears the title of “Sei Sonate per cembalo o pianoforte del Signor Boccherini” (Six Sonatas for harpsichord or piano by Signor Boccherini), without making any reference to string instruments.
The authenticity of the trio version was strongly supported a few decades ago by harpsichordist and scholar Laura Alvini, who also recorded it with the Galimathias Musicum ensemble. Moreover, the printing of these trios had been carried out by the heirs of the prestigious Parisian publisher La Chevardière, who throughout the 1770s had been one of Boccherini’s most important points of reference: nothing can be ruled out, but an act of piracy by the daughter and son-in-law of that illustrious exponent of the Parisian librarie is difficult to imagine.
As for the keyboard-only version, let’s say straight away that it’s completely plausible. In fact, although the violin and cello parts are anything but obvious in their melodic conduct, the fact remains that these trios belonged to the genre of keyboard sonatas with violin and cello accompaniment (con accompagnamento di violino e violoncello, as the title of the original printed edition also states).
Daniela Novaretto’s energetic and lively piano interpretation therefore constitutes an important stage in the rediscovery of these pieces, today still enigmatic, but undoubtedly fascinating.
Marco Mangani
I have chosen to record Luigi Boccherini’s Keyboard Sonatas G 23 on a Steinway & Sons grand piano dating back to 1890. My preference is rooted in a profound passion for “antique” objects, including furniture, literature, clothes, artworks, residences, and musical instruments. I firmly believe that such items, having absorbed the energies of past users when human vibrations resonated at higher frequencies than in the present, contribute in some measure to the psychophysical well-being of those who engage with them.
The intentional encounter with this exquisite grand piano occurred years ago at Checcacci, a musical instrument emporium in Poggibonsi (SI). Guided by the owner Giangastone, who invited me to play the instrument, I was captivated by the narrative that unfolded, revealing its rich history.
In 1927, the American Myron Taylor, alongside his wife Anabel, acquired Villa Palmieri, more commonly known as Villa Schifanoia, in San Domenico (Florence). Transporting their Steinway & Sons grand piano from the United States, Taylor, later appointed Ambassador of the United States to the Holy See, and donated Villa Schifanoia to Pope Pius XII after the war. Taylor asked for the property to be entrusted to the Dominican nuns of the Convent of Sinsinawa, Wisconsin. Thus commenced the activities of the Pius XII Institute in 1948, a training school for American girls, where music held a prominent role. Many alumnae subsequently embarked on prolific concert careers, such as Laverne Dalka, Sofia Kennedy, Jaqueline Mary Miller, and Mary Van Vleck. Others reached esteemed teaching positions, including Sarah Mathilde White in Minneapolis and Martha Harriet Long at the University of California.
This transformative epoch was made possible through the mentorship of Maestro Rio Nardi (Bologna 1899 – Florence 1984), then the head of the principal piano department at the “L. Cherubini” Conservatory in Florence. His appointment to teach piano at the Pius XII Institute marked a pivotal moment. The greatest exponent of this “Tuscan” piano school, Rio Nardi cultivated numerous protégés who would later achieve acclaim as performers and educators across the UK and the globe. Among them, Maestro Giovanni Carmassi, my mentor at the “G.Verdi” Conservatory in Milan, and Maestro Pier Narciso Masi, with whom I pursued a degree in Chamber Music at the piano Academy “Incontri col Maestro” in Imola in 1999. To both mentors, I express profound gratitude for the knowledge and emotions imparted during years of study. A special “Thank you” goes to Giangastone for entrusting me with an instrument that not only evoked unforgettable emotions but was also restored by him personally.
The repertoire selection reflects a combination of chance and intention. Though I had already grown to appreciate Luigi Boccherini (1743 – 1805) through frequently performing his Cello Sonatas and Op. 3 violin Sonatas in duos, my interest was piqued to explore keyboard compositions by a CD featuring works for two harpsichords.
Finding the scores of the G 23 Sonatas for harpsichord or piano, with the assistance of Monica Dreossi, proved to be a protracted endeavor. Over time, these sonatas evolved into Trio Sonatas with violin and cello accompaniment (G 143/148). The composition year is conjectured to be between 1770 and 1780, although certainty remains unclear. The absence of phrasing indications in the score, coupled with the lack of reference recordings, made the work simultaneously difficult and stimulating.
Notwithstanding the challenges, the endeavor proved worthwhile, as the resulting music is, in my estimation, lively with a bright character. This is further enhanced by a swift keyboard technique, emblematic of the era. Mastering a quick and responsive key touch, brilliant tones, and fast playing speed posed difficulties due to the historical piano’s limitations compared to the modern one. Yet, the incomparable timbre of this instrument underscores the idea that, once again, the antique triumphs over the contemporary.
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Recorded at the Atelier Checcacci – Poggibonsi, Siena (Italy) in November 2023
Sound Engineer: Marco Francini
Tuning Technician: Gian Gastone Checcacci
Mastering: Luca Ricci
Photo: Lvdomars